This book investigates Australia’s relationship with the Eurovision Song Contest over time and place, from its first screening on SBS in 1983 to Australia’s inaugural national selection in 2019. Beginning with an overview of Australia’s Eurovision history, the contributions explore the contest’s role in Australian political participation and international relations; its significance for Australia’s diverse communities, including migrants and the LGBTQIA+ community; racialised and gendered representations of Australianness; changing ideas of liveness in watching the event; and a reflection on teaching Australia’s first undergraduate course dedicated to the Eurovision Song Contest. The collection brings together a group of scholar-fans from a variety of interdisciplinary perspectives — including history, politics, cultural studies, performance studies, and musicology — to explore Australia’s transition from observer to participant in the first thirty-six years of its love affair with the Eurovision Song Contest.
Table of Content
1.“Good evening, Europe — good morning, Australia”: an Introduction.- 2. Australia and the Eurovision Song Contest: a Historical Survey.- 3. The Politics of Diversity and Participation.- 4. Indigenous Representation at the Eurovision Song Contest: a Quintessentially Australian Identity.- 5. Gender-Bending or Gender-Straightening? Australia and the ESC at the Intersections of Gender, Sexual Orientation and Ethnicity.- 6. Sounds like Australia? Listening to Australia’s Eurovision Song Performances.- 7. Australia in Eurovision: the View from Europe.- 8. Euro-visions from Down Under: multicultural community preferences and the national broadcaster, SBS.- 9. Lessons Learned: Teaching European Studies in Full Eurovision.- 10. Our Aussie Divas: Interrogating Australian Identity through Audience Reactions to Australia’ s Eurovision Entrants.-11. “It Really Makes You Feel Part of the World”: Transnational Connection for Australian Eurovision Audiences.- 12. Pyjama Fandom: Watching Eurovisionfrom Down Under.- 13. Eurovision — Australia Decides: a Conclusion.
About the author
Chris Hay is Lecturer in Drama at the University of Queensland, Australia. As a Eurovision fan, he identifies as the love child of Cezar Ouatu and Petra Mede.
Jessica Carniel is Senior Lecturer in Humanities at the University of Southern Queensland, Australia. She is a passionate advocate for bangers over ballads.
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