Abstract
Due to the COVID-19 pandemic, there was no Eurovision Song Contest for the first time in 65 years. For fans of the contest, this was distressing, at a time when life was distressing enough. Without the live event to watch and comment on, how could they participate in their fandom and connect with fellow fans? In this essay, I look at how the fan initiative Eurovision Again works to solve this problem by recreating the experience of live viewing through the use of archives. Throughout the lockdown, Eurovision Again has chosen a “classic” Eurovision Grand Final for a Saturday night viewing, complete with Twitter hashtag and voting. I argue that in combining the “shared social reality” of live viewing with the shared culture of archives, Eurovision Again serves to sustain and reinforce a “Eurofan” identity while providing a break from the anxiety of everyday pandemic life.
| Original language | English |
|---|---|
| Title of host publication | Pandemic Media: Preliminary Notes Towards an Inventory |
| Editors | Philipp Dominik Keidl, Laliv Melamed |
| Publisher | Meson Press |
| Number of pages | 17 |
| Publication status | Published - 2020 |
Keywords
- Eurovision Song Contest
- Fandom
- COVID-19
- Archives