Visions of Europe in the Eurovision Song Contest

The 59th Eurovision Song Contest will take place in Copenhagen, Denmark in May 2013. The Eurovision Song Contest is the oldest continuous television program in the world. Launched by the European Broadcasting Union (EBU) in 1956 as one of many initiatives to develop live broadcasting technology in Europe and to contribute to peaceful interaction across the European continent the contest which has been broadcast annually ever since, has developed into the most-watched international festival of popular music.

With a TV audience of around 120 million people plus an increasing viewer base on the internet, the popularity of the contest rivals sporting events such as the UEFA Euro and the American Super bowl.

You can watch the final of the 22nd Eurovision Song Contest in London on EUscreen:


Since its inception the Eurovision Song Contest have become a communicative and negotiated space triggering discussions of Europe, its boundaries and identities. Over the years national broadcasters, journalists, audiences, performers and even politicians have promoted their vision of Europe in relation to the Eurovision Song Contest. This Years Eurovision conference, which will take place in Copenhagen during Eurovision week 2014, will as its main theme focus on the multiple visions of Europe in the Eurovision Song Contest. Such visions can take many shapes, be they politically, economically, culturally, sexually and (mental)geographically charged. Visions of Europe link intrinsically to specific comprehensions of Europe in past and present. Visions are always partial, situated, embodied; they have material-discursive implications. Popular culture and performance cultures represented in the Eurovision Song Contest offer distinct opportunities for observing and displaying the contested nature of envisioning Europe.

Visions of Europe in the Eurovision Song Contest conference at Copenhagen University, Faculty of Humanities, will take place on the 5th-7th of May 2014. The organizers announce first call for papers on European visions in the Eurovision Song Contest – with emphasis on empirical, theoretical, analytical and/or methodological dimensions; Other papers presenting research about the Eurovision Song contest is however also welcome.

Please send an abstract of no more than 300 words to: by February 15th 2014

The conference is co-organized by the research program Modern Europe at Aarhus University and Centre for Modern European Studies (CEMES) at Copenhagen University.



Calls for Papers on Commercial Television, Private Television and Waste

1. Call for papers: Moving at Different Speeds

Comunicazioni sociali, I, 2013. Monographic issue: Moving at Different Speeds. The Commercialization of Television Systems in Europe and its Consequences. Co-editors: Massimo Scaglioni, Luca Barra (Università Cattolica di Milano). Accepted languages: English, Italian, and French

This special issue of Comunicazioni sociali will analyze the gradual diffusion of several models of commercial TV throughout the decades into different nations across Europe. It aims to provide readers with an outline of the implications of commercialization at the social, cultural, institutional, political, textual and technological level, through case studies of individual nations or regions, comparative studies or theoretical analyses. Abstracts are invited for contributions to a special issue that will seek to further our understanding of the historical dynamics of TV commercialization that have differently shaped broadcasting systems in various European contexts: similarities and differences will emerge, contributing to a deeper comprehension both of European television histories and of the historical logics and developments of the medium.

Paper proposals (250-300 words, in English, French or Italian), along with short biographical notes and key bibliographical references, are due by October 31, 2012. Submissions should be sent to both the editors, Massimo Scaglioni (massimo.scaglioni@ and Luca Barra ( Notifications of acceptance will be sent no later than November 15th, 2012. See the full CfP at:

2. Call for papers: Media Innovations & Private Television Conference

IBBT-SMIT-VUB organizes the Second International Symposium on Media innovations and the Private Television Conference in cooperation with the University of Oslo (Norway) on April 18-19, 2013

The Media Innovations Symposium explores how changing technologies, and changing modes of usage and engagement with media bring about innovation and transformation of the media industry and its policy. The second day will be a co-organization with the Private Television Conference and will be dedicated to innovations in the television broadcasting industry.

Send your 750-word extended abstract to by 15 November 2012. Topics/sectors: innovating in formats; innovating in business models; innovating in delivery (trying to reach the consumer in new ways) ; innovating in consumption practices (new roles of users).  Abstract acceptance will be announced in December 2012. Full paper deadline March 1st , 2013. The best paper award will be announced during the conference.

3. Call for papers: ‘Waste’.

NECSUS_European Journal of Media Studies #4, Autumn 2013  – Guest editors: Alexandra Schneider and Wanda Strauven

NECSUS is an international, open access, peer-reviewed journal of media studies published by Amsterdam University Press in partnership with NECS (European Network for Cinema and Media Studies). The journal is multidisciplinary and strives to bring together the best work in the field of media studies across the humanities and social sciences.
A special section of NECSUS will address the phenomenon of waste in the broad range of past and present media practices. We suggest to consider waste not only in terms of content or representation, but also and especially as a rhetoric, a method, or a strategy. At stake are issues such as the deterioration of film stock and VCR tapes, the future of dead media, the massive growth of electronic garbage, game consoles that can no longer be played due to the industry’s ‘planned obsolescence’, and the ephemerality of organic art. Waste is understood here in its multiple dimensions both as (everyday) matter and (conceptual) metaphor, as materiality and immateriality, as a socio-economical concern and artistic technique, and as repulsion and beauty.

Topics may include, but will not be limited to the (renewed) tradition of found footage; the archiving of bits and pieces; the aesthetics of decay; obsolete media devices; e-waste; biodegradable art works and installations; the display and concealment of waste in various media. NECSUS looks forward to receiving abstracts of 500 words and a short bio of no more than 150 words by 1 December 2012 at the following address: NECSUS also continues to accept a wide variety of abstracts for both full-length essays and short reviews that may not be related to a special section theme.

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