Identity, spectacle and representation: Israeli entries at the Eurovision Song Contest1
Identidad, espectáculo y representación: las candidaturas de Israel en el Festival de la Canción de Eurovisión
1 This paper is partial result of the author’s research stay in the Department of Media, Culture and Language at the University of Roehampton (London) between May 22th and June 22th, 2018, as a part of the programme of the pre-doctoral internship from UCLM’s (University of Castilla-La Mancha) own plan. Hebrew translations has been compared with the assistance of Inbal Czeizler.
doxa.comunicación | nº 27, pp. 121-145 | 121
July-December of 2018
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Panea, J. L. (2018). Identity, spectacle and representation: Israeli entries at the Eurovision Song Contest. Doxa Comunicación, 27, pp. 121-145.
José Luis Panea holds a Degree in Fine Arts (University of Salamanca, 2013), and has interchange stays at Univer-sity of Lisbon and University of Barcelona. Master’s degree in Art and Visual Practices Research at University of Castilla-La Mancha with End of Studies Special Prize (2014) and Pre-PhD contract in the research project ARES (www.aresvisuals.net). Editor of the volume Secuencias de la experiencia, estadios de lo visible. Aproximaciones al videoarte español 2017) with Ana Martínez-Collado. Aesthetic of Modernity teacher and writer in several re-views especially about his research line ‘Identity politics at the Eurovision Song Contest’.
Abstract:
Through a sophisticated investment, both capital and symbolic, the Eurovision Song Contest generates annually a unique audio-visual spectacle, debating concepts as well as community, Europeanness or cultural identity. Following the recent researches from the An-glo-Saxon ambit, we will research different editions of the show. Seeking out the movement-image paradoxes through the dialogue between nation and song, the participation of countries in the mar-gins of Europe and his victory –the winning country has to organ-ize the following show the next year– has decentred the host venue and the notion of Eurovision branding. We will focus on the Israeli entries (1973-2018) in order to make an issue on how in this me-ga-event the nation is narrated through the song.
Keywords:
Eurovision Song Contest; Israel; Nationality; Host; Show.
Resumen:
A partir de una sofisticada inversión, capital y simbólica, el Festival de Eurovisión genera anualmente un espectáculo audiovisual en la televisión pública problematizando conceptos como “comunidad”, “Europeidad” e “identidad cultural”. Siguiendo las investigaciones re-cientes en el ámbito anglosajón, recorreremos sus distintas ediciones hallando las paradojas inherentes a la imagen en movimiento en el diálogo entre “canción” y “nación” con la participación de países “en los márgenes” de Europa, cuyo triunfo –puesto que el país vencedor ha de ser el organizador al año siguiente– ha descentrado la sede an-fitriona y la “marca Eurovisión”. Nos centraremos en las candidaturas de Israel (1973-2018) para debatir, por tanto, cómo esta nación es re-presentada en dicho mega-evento a través de la canción.
Palabras claves:
Eurovisión; Israel; nacionalidad; anfitrión; espectáculo.
Recibido: 01/08/2018 - Aceptado: 14/11/2018
Received: 01/08/2018 - Accepted: 14/11/2018
