Advertisement

Aussie-Fying Eurovision: Local Commentary as Media Interpolation

  • Jessica Carniel
Chapter

Abstract

Local commentary of the contest plays an important role in interpolating the Eurovision Song Contest for specific national audiences. For its first twenty-five years, Australian audiences received the BBC broadcast with commentary by the late Sir Terry Wogan, introducing consistent Australian commentary from Sam Pang and Julia Zemiro upon Wogan’s retirement in 2008. Fans value knowledge, passion, and humour from their commentators, which have been delivered by Australian commentators with various degrees of success. This chapter explores these mixed views of Australian Eurovision commentary with a particular consideration of how multiculturalism and queerness are utilised within this national context.

Keywords

Commentary Media interpolation Multiculturalism Queerness Humour 

References

  1. Andreoni, Helen. 2003. Olive or White? The Colour of Italians in Australia. Journal of Australian Studies 27 (77): 81–92.CrossRefGoogle Scholar
  2. Ang, Ien, Gay Hawkins, and Lamia Dabboussy. 2008. The SBS Story: The Challenge of Diversity. Sydney: UNSW Press.Google Scholar
  3. Carniel, Jessica. 2017. “Fireworks, Feelings, and Fraught Relations at Eurovision 2017.” The Conversation, May 14. https://theconversation.com/fireworks-feelings-and-fraught-relations-at-eurovision-2017-77396.
  4. Douglas, Kate. 2001. “Increasing the Interactivity: The Eurovision Song Contest and Australian Viewers.” M/C Reviews, October 25. http://reviews.media-culture.org.au/features/interactive/kdouglas.html.
  5. Egan, John. 2005. “SBS Australia: The What and Why of This Year’s ESC Coverage.” ESC Today, May 13. http://esctoday.com/4467/sbs_australia_the_what_and_why_of_this_year%ef%bf%bds_esc_coverage/.
  6. Emig, Rainer. 2014. “Queer Humor: Gay Comedy Between Camp and Diversity.” In Gender and Humor: Interdisciplinary and International Perspectives, edited by Delia Chiaro and Raffaella Baccolini, 276–287. New York: Routledge.Google Scholar
  7. Eriksen, Denise. 2017. “The Inside Story of Julia Zemiro and Sam Pang’s Eurovision Journey.” The New Daily, March 3. https://thenewdaily.com.au/entertainment/tv/2017/03/03/julia-zemiro-sam-pang-eurovision/.
  8. 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.CrossRefGoogle Scholar
  9. Fricker, Karen, Elena Moreo, and Brian Singleton. 2007. “Part of the Show: The Global Networking of Irish Eurovision Song Contest Fans.” In Performing Global Networks, edited by Karen Fricker and Ronit Lentin, 139–162. Newcastle upon Tyne: Cambridge Scholars Publishing.Google Scholar
  10. Georgiou, Myria. 2008. “‘In the End, Germany Will Always Resort to Hot Pants’: Watching Europe Singing, Constructing the Stereotype.” Popular Communication 6 (3): 141–154.CrossRefGoogle Scholar
  11. Griffiths, Neil. 2018. “Julia Zemiro Talks Eurovision Departure: ‘It Became Weird To Do’.” The Music, February 10. http://themusic.com.au/news/all/2018/02/10/julia-zemiro-talks-eurovision-departure-it-became-weird-to-do/.
  12. Hawkins, Gay, and Ien Ang. 2007. “Inventing SBS: Televising the Foreign.” Australian Cultural History 26: 1–14.Google Scholar
  13. Herbert, Emily. 2016. Sir Terry Wogan—A Life in Laughter 1938–2016. London: John Blake Publishing.Google Scholar
  14. Katsabanis, Maria, and Adele Murdolo. 1993. “The World According to Effie.” Lilith: A Feminist History Journal 8: 71.Google Scholar
  15. Mangan, Des. 2004. This Is Sweden Calling: Everything You’ve Ever Wanted to Know About the Eurovision Song Contest but Were Laughing Too Hard to Ask! Milsons Point, NSW: Random House Australia.Google Scholar
  16. Martin, Adrian. 2001. “Kitsch and Kin.” Sydney Morning Herald, 23 June, 70, Good Weekend.Google Scholar
  17. McCallum, John. 2004. “Cringe and Strut: Comedy and National Identity in Post-War Australia.” In Because I Tell a Joke or Two: Comedy, Politics and Social Difference, edited by Stephen Wagg, 200–218. London: Routledge. Google Scholar
  18. McKie, David, and Hilaire Natt. 1996. “An ABC of Australian Sitcoms: British Influences, Middle Class Mores and Boutique Quality.” Continuum 10 (2): 141–156.CrossRefGoogle Scholar
  19. Parker, Heidi M., and Janet S. Fink. 2008. “The Effect of Sport Commentator Framing on Viewer Attitudes.” Sex Roles 58 (1–2): 116–126.CrossRefGoogle Scholar
  20. 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.CrossRefGoogle Scholar
  21. Turnbull, Sue. 2010. “Missing in Action: On the Invisibility of (Most) Australian Television.” Critical Studies in Television 5 (1): 111–121.CrossRefGoogle Scholar
  22. Wills, Sara. 2004. “When Good Neighbours Become Good Friends: The Australian Embrace of Its Millionth Migrant.” Australian Historical Studies 36 (124): 332–354.CrossRefGoogle Scholar
  23. Wright, Sharleen. 2011. “The Special Relationship: Australia and Its Love of Eurovision.” ESC Insight, January 26. http://escinsight.com/2011/01/26/the-special-relationship-australia-and-its-love-of-eurovision/.

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Jessica Carniel
    • 1
  1. 1.School of Arts and CommunicationUniversity of Southern QueenslandToowoombaAustralia

Personalised recommendations