Specific historical, sociological, and theoretical perspectives might address the following:- How are changing aspects of "Europe" reflected in the Eurovision Song Contest since its founding in the post-war decade, or since Europe's post-Wall expansion? - Case studies on participating countries, performers, songs, musical styles, language choice, cultural references, voting results, critical reception - The notion of border-crossing: political, musical, linguistic, aesthetic, or otherwise - Theoretical approaches to media spectacle, popular music, nationality, performativity - Technologies of fan culture: television broadcasting, telephone voting, record collecting, Internet websites - Europop aesthetics: kitsch or camp, humor and parody, tribute bands - Comparable institutions: The San Remo Song Festival (founded in 1951), Intervision (the former East Bloc answer to Eurovision), World Pop Idol, etc.How about one on the German pop influence on the Brooklyn Jewish music scene?
Thursday, February 05, 2004
JMWC Announcements has a call for papers on the Eurovision contest from a wide range of historical, sociological, and theoretical perspectives.
Posted by Hasidic Musician at 9:42 AM