Bibliography of ESC Research

We’re working on compiling an archive of academic works related to the Eurovision Song Contest! We’re going to continue adding to the list below, so check back frequently. If you have written or know of anything that belongs on this list, let us know!

Note: Some of the articles below may be behind a paywall. You may be able to gain access through your university library or workplace. If not, you can also try emailing the author to ask for a PDF copy for personal use.


Abakoumkin, Georgios. 2018. ‘Mere Exposure Effects in the Real World: Utilizing Natural Experiment Features from the Eurovision Song Contest’. Basic and Applied Social Psychology 40 (4): 236–47.

Akin, Altug. 2013. “‘The Reality is Not as It Seems From Turkey’: Imaginations About the Eurovision Song Contest From Its Production Fields.” International Journal of Communication, 7.

Alessandrini, Claudia degli. 2015. ‘Eurovision Song Contest: A Platform for European Identity Contestations and Imaginary Membership Narratives’. MA, Amsterdam: Universiteit Van Amsterdam.

Allatson, Paul. 2007. ‘“Antes Cursi Que Sencilla”: Eurovision Song Contests and the Kitsch-Drive to Euro-Unity’. Culture, Theory & Critique 48 (1): 87–98.

Andersson, Ida, and Thomas Niedomysl. 2010. “Clamour for Glamour? City Competition for Hosting the Swedish Tryouts to the Eurovision Song Contest.” Tijdschrift voor economische en sociale geografie, 101:2, pp. 111–25.

Andjelić, Neven. 2015. “National Promotion and Eurovision: from Besieged Sarajevo to the Floodlights of Europe.” Contemporary Southeastern Europe, 2:1 (2015), 94–109.

Antipov, Evgeny A., and Elena B. Pokryshevskaya. 2017. ‘Order Effects in the Results of Song Contests: Evidence from the Eurovision and the New Wave.’ Judgment & Decision Making 12 (4).

Astikainen, Heidi S. 2018. ‘The Reception of the Finnish Subtitles of Songs Performed At The Eurovision Song Contest’. Master’s Thesis, Itä-Suomen yliopisto.

Badenoch, Alexander. 2013. “‘In What Language Do You Like to Sing Best?’: Placing Popular Music in Broadcasting in Post-War Europe.” European Review of History, 20:5 (2013), pp. 837–57.

Baker, Catherine. 2008. ‘Wild Dances and Dying Wolves: Simulation, Essentialization, and National Identity at the Eurovision Song Contest’. Popular Communication 6 (3): 173–89.

Baker, Catherine. 2015. ‘Introduction: Gender and Geopolitics in the Eurovision Song Contest’. Contemporary Southeastern Europe 2 (1): 74–93.

Baker, Catherine. 2017. ‘The “Gay Olympics”? The Eurovision Song Contest and the Politics of LGBT/European Belonging’. European Journal of International Relations 23 (1): 97–121.

Baker, Catherine. 2019a. ‘“I Am the Voice of the Past That Will Always Be”: The Eurovision Song Contest as Historical Fiction’, Journal of Historical Fictions 2:2: 102-125.

Baker, Catherine. 2019b. ‘“If Love Was a Crime, We Would Be Criminals”: The Eurovision Song Contest and the Queer International Politics of Flags’. In Eurovisions: Identity and the International Politics of the Eurovision Song Contest since 1956, 175–200. Springer.

Baker, Catherine. 2008. “When Seve Met Bregović: Folklore, Turbofolk and the Boundaries of Croatian Musical Identity.” Nationalities Papers, 36:4 (2008), pp. 741–64.

Blangiardo, Marta, and Gianluca Baio. 2014. ‘Evidence of Bias in the Eurovision Song Contest: Modelling the Votes Using Bayesian Hierarchical Models’. Journal of Applied Statistics 41 (10): 2312–22.

Bolin, Göran. 2006. ‘Visions of Europe: Cultural Technologies of Nation-States’. International Journal of Cultural Studies 9 (2): 189–206.

Bolman, Filip V. 2012. “On Track to the Grand Prix: The National Eurovision Competition as National History.” Popularizing National Pasts: 1800 to the Present, edited by Stefan Berger, Chris Lorenz, and Billie Melman, Routledge.

Bolman, Filip V. 2007. ‘The Politics of Power, Pleasure and Prayer in the Eurovision Song Contest’. Музикологија/Musicology, no. 7: 39–67.

Budzinski, Oliver, and Julia Pannicke. 2017a. ‘Culturally Biased Voting in the Eurovision Song Contest: Do National Contests Differ?Journal of Cultural Economics 41 (4): 343–78.

Budzinski, Oliver, and Julia Pannicke. 2017b. ‘Do Preferences for Pop Music Converge across Countries?–Empirical Evidence from the Eurovision Song Contest’. Creative Industries Journal 10 (2): 168–87.

Buhin, Anita. 2015.“‘A Romantic, Southern Myth’: One Day by the Troubadours of Dubrovnik.” TheMA: Open Access Research Journal for Theatre, Music, Arts, 4.1–2 (2015), pp. 1–19.

Bull Christiansen, Lene. 2016. “Basim Mouhajid’s (Non)Immigrant Celebrity: Flying the Flag ‘as a Dane’.” Celebrity Studies, 7:3 (2016), pp. 405–11.

Carniel, Jessica. 2019. ‘Nation Branding, Cultural Relations and Cultural Diplomacy at Eurovision: Between Australia and Europe’. In Eurovisions: Identity and the International Politics of the Eurovision Song Contest since 1956, 151–73. Springer.

Carniel, Jessica. 2015. ‘Skirting the Issue: Finding Queer and Geopolitical Belonging at the Eurovision Song Contest’. Contemporary Southeastern Europe 2 (1): 136–54.

Carniel, Jessica. 2017. ‘Welcome to Eurostralia: The Strategic Diversity of Australia at the Eurovision Song Contest’. Continuum 31 (1): 13–23.

Carniel, Jessica. 2018. Understanding the Eurovision Song Contest in Multicultural Australia: We Got Love. Springer.

Carniel, Jessica. 2019. ‘“It Really Makes You Feel Part of the World”: Transnational Connection for Australian Eurovision Audiences’. In Eurovision and Australia, 213–37. Springer.

Carniel, Jessica, and Chris Hay. 2019. ‘Conclusion—Eurovision—Australia Decides’. In Eurovision and Australia, 259–79. Springer.

Cassiday, Julie A. 2014. ‘Post-Soviet Pop Goes Gay: Russia’s Trajectory to Eurovision Victory’. The Russian Review 73 (1): 1–23.

Christensen, Miyase, and Christian Christensen. 2008. ‘The After-Life of Eurovision 2003: Turkish and European Social Imaginaries and Ephemeral Communicative Space’. Popular Communication 6 (3): 155–72.

Coleman, Stephen. 2008. ‘Why Is the Eurovision Song Contest Ridiculous? Exploring a Spectacle of Embarrassment, Irony and Identity’. Popular Communication 6 (3): 127–40.

Collins, Julie L., and Lorina Barker. 2019. ‘Indigenous Representation at the Eurovision Song Contest: A Quintessentially Australian Identity’. In Eurovision and Australia, 57–74. Springer.

Danero Iglesias, Julien. 2015. ‘Eurovision Song Contest and Identity Crisis in Moldova’. Nationalities Papers 43 (2): 233–47.

Dekker, Anthony. 2007. ‘The Eurovision Song Contest as a ‘Friendship’ Network’. Connections 27 (3): 53–58.

Demergis, Dimitri. 2019. ‘Predicting Eurovision Song Contest Results by Interpreting the Tweets of Eurovision Fans’. In 2019 Sixth International Conference on Social Networks Analysis, Management and Security (SNAMS), 521–28. IEEE.

Dunin-Wąsowicz, Roch. 2017. ‘The Eurovision in Ukraine Was an Exercise in Soft Power’. LSE European Politics and Policy (EUROPP) Blog.

Farrell-Wortman, Laura. 2010. “The Riverdance Phenomenon and the Development of Irish Identity in the Global Era.” Studies in Musical Theatre, 4:3 (2010), pp. 311–19.

Fenn, Daniel, Omer Suleman, Janet Efstathiou, and Neil F. Johnson. 2006. ‘How Does Europe Make Its Mind up? Connections, Cliques, and Compatibility between Countries in the Eurovision Song Contest’. Physica A: Statistical Mechanics and Its Applications 360 (2): 576–98.

Filippidis, Filippos T., and Anthony A. Laverty. 2018. ‘“Euphoria” or “Only Teardrops”? Eurovision Song Contest Performance, Life Satisfaction and Suicide’. BMC Public Health 18 (1): 1–6.

Fornäs, Johan. 2017. “Euro-Visions: East European Narratives in Televised Popular Music.” In Europe Faces Europe: Narratives from its Eastern Half, edited by Johan Fornäs, Intellect, 2017, 179–236.

Fricker, K., and M. Gluhovic. 2013. Performing the ‘New’ Europe: Identities, Feelings and Politics in the Eurovision Song Contest. Houndmills: Palgrave Macmillan.

Fricker, Karen. 2013. ‘“It’s Just Not Funny Any More”: Terry Wogan, Melancholy Britain, and the Eurovision Song Contest’. In Performing the ‘New’ Europe: Identities, Feelings and Politics in the Eurovision Song Contest, edited by Karen Fricker and Milija Gluhovic, 53–76. Houndmills: Palgrave Macmillan.

Fricker, Karen, and Milija Gluhovic. 2013a. ‘Introduction: Eurovision and the ‘New’Europe’. In Performing the ‘New’ Europe: Identities, Feelings and Politics in the Eurovision Song Contest, edited by Karen Fricker and Milija Gluhovic , 1–28. Springer.

Fürnkranz, Magdalena, and Ursula Hemetek (eds). 2017. Performing Sexual Identities: Nationalities on the Eurovision Stage, Institut für Volksmusikforschung und Ethnomusikologie, Vienna.

Gatherer, Derek. 2006. ‘Comparison of Eurovision Song Contest Simulation with Actual Results Reveals Shifting Patterns of Collusive Voting Alliances.Journal of Artificial Societies and Social Simulation 9 (2).

Gauja, Anika. 2019. ‘Europe: Start Voting Now! Democracy, Participation and Diversity in the Eurovision Song Contest’. In Eurovisions: Identity and the International Politics of the Eurovision Song Contest since 1956, 201–19. Springer.

Georgiou, Myria. 2008. “‘In the End, Germany will Always Resort to Hot Pants’: Watching Europe Singing, Constructing the Stereotype.” Popular Communication, 6:3 (2008), pp. 141–54.

Ginsburgh, Victor A., and Abdul Noury. 2005. ‘Cultural Voting: The Eurovision Song Contest’. Available at SSRN 884379.

Ginsburgh, Victor, and Abdul G. Noury. 2008. ‘The Eurovision Song Contest. Is Voting Political or Cultural?’ European Journal of Political Economy 24 (1): 41–52.

Gluhovic, Milija. 2013. ‘Sing for Democracy: Human Rights and Sexuality Discourse in the Eurovision Song Contest’. In Performing the ‘New’Europe, 194–217. Springer.

GÜVENİK, Ecenur. 2020. ‘Music in Political Culture: The Eurovision Song Contest’. Etnomüzikoloji Dergisi 3 (1): 96–103.

Haan, Marco A., S. Gerhard Dijkstra, and Peter T. Dijkstra. 2005. ‘Expert Judgment versus Public Opinion–Evidence from the Eurovision Song Contest’. Journal of Cultural Economics 29 (1): 59–78.

Halliwell, Jamie. 2018. ‘“All Kinds of Everything”? Queer Visibility in Online and Offline Eurovision Fandom’. Westminster Papers in Communication and Culture 13 (2).

Hay, Chris. 2019. ‘Pyjama Fandom: Watching Eurovision Down Under’. In Eurovision and Australia, 239–58. Springer.

Hay, Chris, and Jessica Carniel. 2019. Eurovision and Australia: Interdisciplinary Perspectives from Down Under. Springer.

Hay, Chris, and Billy Kanafani. 2017. “Boos, Tears, Sweat and Toil: Experiencing the 2015 Eurovision Song Contest Live.” Popular Entertainment Studies, 8:1 (2017), pp. 57–73.

Heller, Dana. 2007. ‘TATu You! Russia, the Global Politics of Eurovision, and Lesbian Pop’. Popular Music, 195–210.

Highfield, Tim. 2017. ‘Social TV and Depictions of Community on Social Media: Instagram and Eurovision Fandom’. Digital Media: Transformations in Human Communication (2nd Edition), 156–65.

Highfield, Tim, Stephen Harrington, and Axel Bruns. 2013. “Twitter as a Technology for Audiencing and Fandom: the #Eurovision Phenomenon.” Information, Communication, and Society, 16:3 (2013), pp. 315–39.

Hubby, Turner Wilbanks. 2019. ‘Eurovision Winners and the European Hyphenated Identity’.

Ibrus, Indrek, Ulrike Rohn, and Alessandro Nanì. 2019. ‘Searching for Public Value in Innovation Coordination: How the Eurovision Song Contest Was Used to Innovate the Public Service Media Model in Estonia’. International Journal of Cultural Studies 22 (3): 367–82.

Ismayilov, Murad. 2012. ‘State, Identity, and the Politics of Music: Eurovision and Nation-Building in Azerbaijan’. Nationalities Papers 40 (6): 833–51.

Jackson, Phil. 2017. ‘The Politics of Belonging at the Eurovision Song Contest’. EuropeNow.

Johnson, Emily D. 2014. “A New Song for a New Motherland: Eurovision and the Rhetoric of Post-Soviet National Identity.” The Russian Review, 73:1 (2014), pp. 24–46.

Jones, Shannon, and Jelena Subotić. 2011. “Fantasies of Power: Performing Europeanization on the European Periphery.” European Journal of Cultural Studies, 14:5 (2011), pp. 542–57.

Jordan, Paul. 2019. ‘Australia and Eurovision: The View From Europe’. In Eurovision and Australia, 125–37. Springer.

Jordan, Paul. 2015. “From Ruslana to Gaitana: Performing ‘Ukrainianness’ in the Eurovision Song Contest.” Contemporary Southeastern Europe, 2:1 (2015), 110–35.

Jordan, Paul. 2014. The Modern Fairy Tale: Nation Branding, National Identity and the Eurovision Song Contest in Estonia. Politics and Society in the Baltic Region 2.

Jordan, Paul. 2014. “Nation Branding: a Tool for Nationalism?Journal of Baltic Studies, 45:3 (2014), pp. 283–303.

Jordan, Paul. 2015. “Walking in Singing: Brand Estonia, the Eurovision Song Contest and Estonia’s Self-Proclaimed Return to Europe, 2001–20.” Histories of Public Diplomacy and Nation Branding in the Nordic and Baltic Countries, edited by Louis Clerc, Nikolas Glover, and Paul Jordan, Brill, pp. 217–236.

Kalman, Julie. 2019. ‘Which Belgium Won Eurovision? European Unity and Belgian Disunity’. In Eurovisions: Identity and the International Politics of the Eurovision Song Contest since 1956, 73–90. Springer.

Kalman, Julie, Ben Wellings, and Keshia Jacotine. 2019. Eurovisions: Identity and the International Politics of the Eurovision Song Contest Since 1956. Springer.

Kannisto, Maiju, and Pekka Kauppinen. 2020. ‘Of Great Men and Eurovision Songs: Studying the Finnish Audio-Visual Heritage through NER-based Analysis on Metadata’. Digital Histories: Emergent Approaches within the New Digital History, 165.

Kerr, Zachary Y. 2018. “The Importance of “Buy-In” to the Culture of Safety and Injury Management: Lessons From the 2018 Eurovision Song Contest.” Journal of Athletic Training, 53:9 (2018), pp. 817–19.

Kiel, Christina. 2020. ‘Chicken Dance (off): Competing Cultural Diplomacy in the 2019 Eurovision Song Contest’. International Journal of Cultural Policy, 1–15.

Kleinhans, Chuck. 1994. ‘Taking out the Trash: Camp and the Politics of Parody’. In The Politics and Poetics of Camp, edited by Moe Meyer, 182–201. Routledge.

Kumpulainen, Iiro, Eemil Praks, Tenho Korhonen, Anqi Ni, Ville Rissanen, and Jouko Vankka. 2020. ‘Predicting Eurovision Song Contest Results Using Sentiment Analysis’. In Conference on Artificial Intelligence and Natural Language, 87–108. Springer.

Kyriakidou, Maria, Michael Skey, Julie Uldam and Patrick McCurdy. 2018. “Media Events and Cosmopolitan Fandom: ‘Playful Nationalism’ in the Eurovision Song Contest.” International Journal of Cultural Studies, 21:6 (2018), pp. 603–18.

Lam, Celia. 2019. ‘Our Aussie Divas: Interrogating Australian Identity through Audience Reactions to Australia’Eurovision Entrants’. In Eurovision and Australia, 189–212. Springer.

Lam, Celia. 2018. “Representing (Real) Australia: Australia’s Eurovision Entrants, Diversity and Australian Identity”. Celebrity Studies, 9:1 (2018), pp. 117–25.

Lampropoulos, Apostolos. 2013. “Lausanne–Zagreb via Berlin, or Heading for an Unforeseen Europeanness.” Journal of European Popular Culture, 4:2 (2013), pp. 139–54.

Lemish, Dafna. 2004. ‘“My Kind of Campfire”: The Eurovision Song Contest and Israeli Gay Men’. Popular Communication 2 (1): 41–63.

Lewis, Alison. 2019. ‘Germany as Good European: National Atonement and Performing Europeanness in the Eurovision Song Contest’. In Eurovisions: Identity and the International Politics of the Eurovision Song Contest since 1956, 21–45. Springer.

Lewis, Alison, and John Hajek. 2019. ‘Lessons Learned: Teaching European Studies in Full Eurovision’. In Eurovision and Australia, 165–87. Springer.

Linden, Henrik, and Sara Linden. 2018. ‘“There Were Only Friendly People and Love in the Air”: Fans, Tourism and the Eurovision Song Contest’. In The Routledge Handbook of Popular Culture and Tourism. Routledge.

Lombardini, Emanuele. 2019. Good Evening Europe: L’Italia e L’Eurovision song contest. Youcanprint.

Lombardini, Emanuele. 2021. EUROVISIONI: Nation branding e identità europea attraverso l’Eurovision Song Contest. Self-published.

Lucas Rojo, Sergio. 2020. ‘Linguistic and Cultural Changes throughout the History of the Eurovision Song Contest’.

Mantzaris, Alexander V., Samuel R. Rein, and Alexander D. Hopkins. 2017. ‘Examining Collusion and Voting Biases between Countries during the Eurovision Song Contest since 1957’. ArXiv Preprint ArXiv:1705.06721.

Mantzaris, Alexander V., Samuel R. Rein, and Alexander D. Hopkins. 2018. ‘Preference and Neglect amongst Countries in the Eurovision Song Contest’. Journal of Computational Social Science 1 (2): 377–90.

McNamara, Kathleen. 2017. “Buildings, Spectacles, and Songs” in The Politics of Everyday Europe: Constructing Authority in the European Union. Oxford University Press.

Merelli, Annalisa. 2014. ‘Russia’s Latest Cold War-like Move – Bring Back the Intervision Song Contest’. Quartz (blog). 13 August 2014.

Miazhevich, Galina. 2012. ‘Ukrainian Nation Branding Off-Line and Online: Verka Serduchka at the Eurovision Song Contest’. Europe-Asia Studies 64 (8): 1505–23.

Miazhevich, Galina. 2017. ‘Paradoxes of New Media: Digital Discourses on Eurovision 2014, Media Flows and Post-Soviet Nation-Building’. New Media & Society 19 (2): 199–216.

Miazhevich, Galina. 2010. “Sexual Excess in Russia’s Eurovision Performances as a Nation Branding Tool.” Russian Journal of Communication, 3:3–4 (2010), pp. 248–64.

Miazhevich, Galina. 2021. “Ukrainian Nation Branding Off-Line and Online: Verka Serduchka at the Eurovision Song Contest.” Europe–Asia Studies, 64:8 (2012), pp. 1505–23.

Miklóssy, Katalin. 2011. ‘Competing for Popularity: Intervision Song Contests’. European Margins and Multiple Modernities, Royal Holloway College, London 1.

Mitrović, Marijana. 2010. ‘‘New Face of Serbia’at the Eurovision Song Contest: International Media Spectacle and National Identity’. European Review of History—Revue Européenne d’histoire 17 (2): 171–85.

Montoya, Daniel. 2017. ‘The Eurovision Contest: Singing for the Political Upper Hand’. Harvard International Review 38 (4): 7–10.

Motschenbacher, Heiko. 2013. ‘“Now Everybody Can Wear a Skirt”: Linguistic Constructions of Non-Heteronormativity at Eurovision Song Contest Press Conferences’. Discourse & Society 24 (5): 590–614.

Motschenbacher, Heiko. 2016. Language, Normativity and Europeanisation: Discursive Evidence from the Eurovision Song Contest. Springer.

Neves, Mauro. 2017. “Croatia in the Eurovision Song Contest: From an Anti-War Message to the Recognition of a Cultural Tradition.” International Review of the Aesthetics and Sociology of Music, 48:1 (2017), pp. 133–47.

O’Connor, J. K. 2010. The Eurovision Song Contest: The Official History. Carlton.

Orinius Welander, Julia. 2020. ‘The Battle of Eurovision: A Case Study of Russia and Ukraine’s Use of the Eurovision Song Contest as a Cultural Battlefield’.

Pajala, Mari. 2013. ‘Europe, with Feeling: The Eurovision Song Contest as Entertainment’. In Performing the ‘New’Europe, 77–93. Springer.

Pajala, Mari. 2013. “Intervision Song Contests and Finnish Television Between East and West.” Airy Curtains in the European Ether: Broadcasting and the Cold War, edited by Alexander Badenoch, Andreas Frickers and Christian Henrich-Franke, Nomos, 2013, pp. 215–70.

Pajala, Mari. 2011. “Closeting Eurovision: Heteronormativity in the Finnish National Television.” SQS: Journal of Queer Studies in Finland, 2 (2007), pp. 25–42.

Pajala, Mari. 2011. “Making Television Historical: Cultural Memory of the Eurovision Song Contest in the Finnish Media 1961-2005.” Media History, 17:4 (2011), pp. 405–18.

Pajala, Mari. 2012. “Mapping Europe: Images of Europe in the Eurovision Song Contest.” VIEW: Journal of European Television History and Culture, 1:2 (2012), pp. 3–10.

Pavlyshyn, Marko. 2006. “Envisioning Europe: Ruslana’s Rhetoric of Identity.” Slavic and East European Journal, 50:3 (2006), pp. 469–85.

Pinto Teixeira, Luisa, and Martin Stokes. 2013. ‘“And after Love…”: Eurovision, Portuguese Popular Culture, and the Carnation Revolution’. Empire of Song: Europe and Nation in the Eurovision Song Contest, 221–39.

Piotrowska, Anna G. 2020. ‘The Eurovision Song Contest–A Continent (Still) Divided?Journal of Historical Sociology 33 (3): 371–88.

Piotrowska, Anna G. 2016. “About Twin Song Festivals in Eastern and Western Europe: Intervision and Eurovision.” International Review for the Aesthetics and Sociology of Music, 47:1 (2016), pp. 123–35.

Piotrowska, Anna G. 2019. “The Vision of the Balkans in Musical Culture: Between Viennese Operetta and Eurovision.” Religious History and Culture of the Balkans, edited by Nicolae Roddy, Kripke Center, 2019.

Pires, Fernanda, and Antoni Roig. 2020. “All Aboard⁈ Co-Viewing with and within Connected Platforms in the Eurovision Song Contest.” Observatorio (OBS*) 14 (4).

Poļakova, Samanta (Tīna, Samanta). 2019. “Eirovīzijas Nacionālās Atlases Procesa Analīze Un Auditorijas Līdzdalības Veicināšana.” Ekonomikas un Kultūras Augstskola. Bakalaura darbs.

Polychronakis, Ioannis. 2019. “Anna Vissi: Singing Greece’s Contemporary Socio-Cultural History.” Made in Greece: Studies in Popular Music, edited by Dafni Tragaki, Routledge.

Press-Barnathan, Galia, and Naama Lutz. 2020. ‘The Multilevel Identity Politics of the 2019 Eurovision Song Contest’. International Affairs 96 (3): 729–48.

Pyka, Marcus. 2019. ‘The Power of Violins and Rose Petals: The Eurovision Song Contest as an Arena of European Crisis’. Journal of European Studies 49 (3–4): 448–69.

Raykoff, Ivan. 2020. ANOTHER SONG FOR EUROPE: Music, Taste, and Values in the Eurovision Song Contest. Routledge.

Raykoff, Ivan, and Robert Deam Tobin. 2007a. A Song for Europe: Popular Music and Politics in the Eurovision Song Contest. Ashgate.

Raykoff, Ivan. 2018. “Queer Patriotism in the Eurovision Song Contest.” The Oxford Handbook of Music and Queerness, edited by Fred Everett Maus and Sheila Whiteley, Oxford University Press.  

Raykoff, Ivan, and Robert Deam Tobin. 2007b. ‘Introduction’. In A Song for Europe: Popular Music and Politics in the Eurovision Song Contest, edited by Ivan Raykoff and Robert Deam Tobin, xvii–xxi. Aldershot: Ashgate.

Rehberg, Peter. 2013. ‘Taken by a Stranger: How Queerness Haunts Germany at Eurovision’. In Performing the ‘New’ Europe: Identities, Feelings and Politics in the Eurovision Song Contest, edited by Karen Fricker and Milija Gluhovic, 178–93. Houndmills: Palgrave Macmillan.

Rehberg, Peter. 2007. “Winning Failure: Queer Nationality at the Eurovision Song Contest.” SQS: Journal of Queer Studies in Finland, 2 (2007), pp. 60–5.

Rehberg, Peter, and Mikko Tuhkanen. 2007. ‘Danzing Time: Dissociative Camp and European Synchrony’. SQS 2: 43–59.

Ritzarev, Marina G. 2018. ‘Singing Ethos, Pathos, and Ethnos: Three Generations, Four Israeli Eurovision Victories, 1978–2018’. Наука Телевидения, no. 14.3.

Rosenberg, Tiina. 2020. ‘Rising Like the Eurovision Song Contest’. Lambda Nordica 25 (2): 93–113.

Rufí, José Patricio Pérez. 2018. ‘Convergences between the Music Video and the Television Production of Musical Performances: Live Music Videos in the Eurovision Song Contest.’ CUICIID 2018, 363.

Şahin, Nevin. “Dervish on the Eurovision Stage: Popular Music and the Heterogeneity of Power Interests in Contemporary Turkey.” Popular Music and Public Diplomacy: Transnational and Transdisciplinary Perspectives, edited by Mario Dunkel and Sina A. Nitzsche, Transcript, pp. 69-92.

Sandvoss, Cornel. 2008. ‘On the Couch with Europe: The Eurovision Song Contest, the European Broadcast Union and Belonging on the Old Continent’. Popular Communication 6 (3): 190–207.

Scott, Derek B. 2013. “Imagining the Balkans, Imagining Europe: Balkan Entries in the Eurovision Song Contest.” Ottoman Intimacies, Balkan Musical Realities, edited by Risto Pekka Pennanen, Panagiotis C. Poulos and Aspasia Theodosiou, Finnish Institute at Athens, 2013, pp. 125–35.

Shields, Catrina. 2020. ‘Eurovision: Performing State Identity and Shared Values’.

Sieg, Katrin. 2013. ‘Conundrums of Post-Socialist Belonging at the Eurovision Song Contest’. In Performing the ‘New’ Europe: Identities, Feelings and Politics in the Eurovision Song Contest, edited by Karen Fricker and Milija Gluhovic, 218–37. Houndmills: Palgrave Macmillan.

Sieg, Katrin. 2013.“Cosmopolitan Empire: Central and Eastern Europeans at the Eurovision Song Contest.” European Journal of Cultural Studies, 16:2 (2013), pp. 244–63.

Sieg, Katrin. 2017. “Imagining European Diversity in an Age of Migration.” German Politics and Society, 35:4 (2017), pp. 22–45.

Sieg, Katrin. 2013. “Wii are Family: Performing Race in Neo-Liberal Europe.” Theatre Research International 38:1 (2013), pp. 20–33.

Siganos, Antonios, and Isaac T. Tabner. 2020. ‘Capturing the Role of Societal Affinity in Cross-Border Mergers with the Eurovision Song Contest’. Journal of International Business Studies 51 (2): 263–73.

Singleton, Brian, Karen Fricker, and Elena Moreo. 2007. ‘Performing the Queer Network. Fans and Families at the Eurovision Song Contest, 12–24.’ SQS–Suomen Queer-Tutkimuksen Seuran Lehti 2 (2).

Skey, Michael, Maria Kyriakidou, Patrick McCurdy, and Julie Uldam. 2016. “Staging and Engaging With Media Events: a Study of the 2014 Eurovision Song Contest.” International Journal of Communication, 10, 2016.

Sonevytsky, Maria. 2019. Wild Music: Sound and Sovereignty in Ukraine. Wesleyan University Press.

Spierdijk, Laura, and Michel Vellekoop. 2009. ‘The Structure of Bias in Peer Voting Systems: Lessons from the Eurovision Song Contest’. Empirical Economics 36 (2): 403–25.

Stiernstedt, Fredrik, and Irina Golovko. 2019. ‘Volunteering as Media Work: The Case of the Eurovision Song Contest’. Culture Unbound 11 (2): 231–51.

Stockemer, Daniel, André Blais, Filip Kostelka, and Chris Chhim. 2017. ‘Voting in the Eurovision Song Contest’. Politics 38 (4): 428–42.

Swedenburg, Ted. 2014. “Mizrahi/Arab/Israeli/Queer: the Cultural Politics of Dana International.” The Routledge Handbook of Contemporary Jewish Cultures, edited by Laurence Roth and Nadia Valman, Routledge, 236–45

Thorne, Steven L., and Dejan Ivković. 2015. ‘Multilingual Eurovision Meets Plurilingual YouTube’. Dialogue in Multilingual and Multimodal Communities 27: 167.

Tragaki, Dafni. 2013. Empire of Song: Europe and Nation in the Eurovision Song Contest. Scarecrow Press.

Tuhkanen, Mikko. 2007. “Introduction: Queer Eurovision, Post-Closet.” SQS: Journal of Queer Studies in Finland, 2 (2007), pp. 8–11.

Ulbricht, Alexej, Indraneel Sircar, and Koen Slootmaeckers. 2015. “Queer to be Kind: Exploring Western Media Discourses about the ‘Eastern Bloc’ during the 2007 and 2014 Eurovision Song Contests.” Contemporary Southeastern Europe 2:1 (2015), pp. 155–72.

Ural, Haktan. 2019. ‘Turkishness on the Stage: Affective Nationalism in the Eurovision Song Contest’. International Journal of Cultural Studies 22 (4): 519–35.

Vänskä, Annamari. 2007. “Bespectacular and Over the Top: on the Genealogy of Lesbian Camp.” SQS: Journal of Queer Studies in Finland, 2 (2007), pp. 66–80.

Verrier, Diarmuid. 2012. ‘Evidence for the Influence of the Mere-Exposure Effect on Voting in the Eurovision Song Contest’. Judgement and Decision Making 7 (5): 639–43.

Vuletic, Dean. 2019. Postwar Europe and the Eurovision Song Contest. Bloomsbury.

Vuletic, Dean. 2019. “Public Diplomacy and Decision-Making in the Eurovision Song Contest.” Popular Music and Public Diplomacy: Transnational and Transdisciplinary Perspectives, edited by Mario Dunkel and Sina A. Nitzsche, Transcript, pp. 301-314.

Vuletic, Dean. 2019a. ‘Australia and the Eurovision Song Contest: A Historical Survey’. In Eurovision and Australia, 17–32. Springer.

Vuletic, Dean. 2018. “The Eurovision Song Contest in the Musical Diplomacy of Authoritarian States.” International Relations, Music and Diplomacy: Sounds and Voices on the International Stage, edited by Frédéric Ramel and Cécile Prévost-Thomas, Palgrave Macmillan.

Vuletic, Dean. 2019b. ‘The Intervision Song Contest: A Commercial and Pan-European Alternative to the Eurovision Song Contest’. In Eastern European Popular Music in a Transnational Context, 173–90. Springer.

Vuletic, Dean. 2018. “Where is Central Europe in the Eurovision Song Contest?” Voices of Identities: Vocal Music and De/con/struction of Communities in the Former Habsburg Areas, edited by Daniel Ender and Christoph Flamm, Cambridge Scholars Publishing.

Vuletic, Dean. 2020. “Yugoslavia in the Eurovision Song Contest.” Made in Yugoslavia: Studies in Popular Music, edited by Danijela Š. Beard and Ljerka V. Rasmussen, Routledge.

Waysdorf, Abby. 2020. “This Is Our Night: Eurovision Again and Liveness Through Archives.” Pandemic Media: Preliminary Notes Toward an Inventory, pp. 295-302.

Wellings, Ben, Zoë Jay, and Catherine Strong. 2019. ‘“Making Your Mind Up”: Britain, Europe and Eurovision-Scepticism’. In Eurovisions: Identity and the International Politics of the Eurovision Song Contest since 1956, 47–72. Springer.

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Special thank you to Dr. Catherine Baker and Dr. Jessica Carniel for helping us put this together!