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This book presents the first in-depth study of the Eurovision Song Contest from an Australian perspective. Using a cultural studies approach, the study draws together fan interviews and surveys with media and textual analysis of the contest itself. In doing so, it begins to answer the question of why the European song contest appeals to viewers in Australia. It explores and challenges the dominant narrative that links Eurovision fandom to post-WWII European migration, arguing that this Eurocentric narrative presents a limited view of how contemporary Australian multicultural society operates in the context of globalized culture. It concludes with a consideration of the future of the Eurovision Song Contest as Australia enters into the 'Asian century'.
List of contents
Chapter 1 - Introduction.- Chapter 2 - A tale of two broadcasters: the EBU and SBS.- Chapter 3 - Aussie-fying Eurovision: local commentary as media interpolation.- Chapter 4 - Part of the party: celebrating Eurovision together.- Chapter 5 - 'We're a nation of proud multicultural dags': multiculturalism and viewer identities.- Chapter 6 - From Mr Eurovision to Australian Idols: Australian performances (and performing Australia).- Chapter 7 - "Every region of the world should have a -Vision": Eurovision in the Asian century.- Chapter 8 - Epilogue.
About the author
Jessica Carniel is Senior Lecturer in Humanities at the University of Southern Queensland, Toowoomba, Australia. Understanding the Eurovision Song Contest in Multicultural Australia draws together her ongoing research interests in migration, multiculturalism, and popular culture with her lifelong fandom of the contest.
Summary
This book presents the first in-depth study of the Eurovision Song Contest from an Australian perspective. Using a cultural studies approach, the study draws together fan interviews and surveys with media and textual analysis of the contest itself. In doing so, it begins to answer the question of why the European song contest appeals to viewers in Australia. It explores and challenges the dominant narrative that links Eurovision fandom to post-WWII European migration, arguing that this Eurocentric narrative presents a limited view of how contemporary Australian multicultural society operates in the context of globalized culture. It concludes with a consideration of the future of the Eurovision Song Contest as Australia enters into the ‘Asian century’.
