The study discusses sustainable development of events and the research displays that this is often connected to mega events or the work of specific destinations. The events Eurovision Song Contest and the Ice Hockey World Championships are therefore chosen because of their size, impact in both media and visitors and the lack of theory regarding their sustainability. The specific cases chosen are Eurovision in Malmö 2013 and Stockholm 2016, the 2013 Ice Hockey World Championship in Stockholm with help from the 2014 Junior Ice Hockey World Championship in Malmö. The purpose of this study is to analyze the host destinations and the national organization Swedish Ice Hockey Association’s work with sustainability regarding social, economic and ecological aspects and if and how that work impacts the host communities in the long run. Also, how the relationship with the head organizations who are the owners of the events, European Broadcasting Union (EBU) and the International Ice Hockey Federation (IIHF), functions regarding sustainability. This is examined by 11 qualitative semi-structured interviews with key individuals for both events which is then analyzed against what the research and literature points to regarding social, economic and ecological with a clear focus on sustainability.This study shows that the work with sustainability was very well conducted at Eurovision in both Malmö and Stockholm where Malmö even got the parts they were responsible for ISO-certified. The idea was also a part of the Worlds in Stockholm and the Junior Worlds in Malmö but there are opportunities for development. Particularly the question of how well the effects of the events hold up afterwards as there is no clear follow-up to initiatives and values discussed during the events. It is made clear that the focus on sustainability is foremost something insisted by the host destinations and in some part by the Swedish Ice Hockey Association as there is a lack of both focus and guidelines on the subject from the head organizations. A focus on sustainable events from the host destinations could be positive both during the bidding process and implementation as it contributes to a greater competitiveness. The initiative from public organizations such as host destinations and national sports organizations may be the driving force in pushing head organizations to be more sustainable. For a successful sustainable development of both events the entire organization, both the head organizations and the host destinations, behind these events needs to have the same perspective on sustainability and work towards the same goal. This study is written in Swedish. / Studien diskuterar hållbar utveckling av evenemang och forskningsöversikten visar att detta oftast kopplas till megaevent eller specifika destinationers arbete. Evenemangen Eurovision Song Contest och Ishockey-VM väljs därför ut i den här studien på grund av deras storlek, genomslag i både medier och besökare och bristen på teori gällande deras hållbarhet. Fallen som diskuteras är Eurovision som ägde rum i Malmö 2013 och i Stockholm 2016 och Ishockey-VM i Stockholm 2013 (A-VM) med hjälp av Junior-VM 2014 i Malmö. Syftet för studien är att analysera värddestinationernas och den nationella organisationen Svenska Ishockeyförbundets arbete med hållbarhet inom sociala, ekonomiska och ekologiska aspekter. Relationen med huvudorganisationerna och tillika ägare av evenemangen European Broadcasting Union (EBU) och Internationella Ishockeyförbundet (IIHF) undersöks också gällande deras arbete med hållbarhet. Studiens empiri samlas in genom 11 kvalitativa semistrukturerade intervjuer med nyckelpersoner för de båda evenemangen. Empirin analyseras sedan med hjälp av den forskning och litteratur som finns gällande social, ekonomisk och ekologisk hållbarhet.Studien visar att det arbetades väldigt bra med hållbarhet under Eurovision i både Malmö och Stockholm där Malmö Stad till och med ISO-certifierade alla delar de själva var ansvariga för. Tänket fanns även under A-VM i Stockholm och Junior-VM i Malmö men där finns det utvecklingsmöjligheter. Främst frågan om hur väl effekterna kvarstår efter evenemangen då det inte finns någon tydlig uppföljning på de initiativ och värderingar som diskuterades under själva eventen. Tydligt är dock att hållbarhetstänket i första hand är något som drivs av värddestinationerna och till viss del de nationella organisationerna. Det råder nämligen brist på både fokus och riktlinjer gällande hållbarhet hos de båda huvudorganisationerna. Hållbarhetsfokus på evenemang från värddestinationer kan vara positivt både under ansökning och genomförande då det bidrar till större konkurrenskraft. Initiativet från offentliga aktörer som värddestinationer och nationella sportorganisationer kan vara en drivande kraft i att uppmana huvudorganisationer till att arbeta mer hållbart. För en framgångsrik hållbar utveckling av de båda evenemangen behöver hela organisationen, både huvudorganisationerna och värddestinationerna, bakom de båda evenemangen ha samma perspektiv på hållbarhet och arbeta mot samma mål.

The paper starts by providing the overview of the Eurovision Song Contest, its participant countries and the audience. The aim of the research is to find out how everyday political talk takes place on non-political platforms. For this study, a blog dedicated to the Eurovision Song Contest was chosen. The research is netnographic, and the conclusions are drawn based on content analysis (the comments left on the Eurovision news blog - Wiwibloggs.com) and interviews with the journalists of the blog. The paper approaches the blog as anon-institutionalized space, also known as “the third space.” It covers issues such as nation branding, communication in an anonymous setting and deliberative democracy. The paper further analyses different characteristics of the content shared on the blog and answers a question on whether such content is agonistic or antagonistic by nature.

This thesis examines the extent to which European journalistic coverage of the Eurovision Song Contest (ESC) supports the nation branding of individual countries, focusing on Ukraine's participation during 2016 and 2022. Through an analysis of 16 selected articles from British and Swedish media outlets, the study investigates how Swedish and British media outlets report on how Ukraine's portrayal in the ESC contributes to its nation branding efforts. Drawing upon theoretical frameworks of strategic narrative and nation branding, the research explores two main questions: To what extent does media coverage support Ukraine's nation branding in the ESC? And has there been any change in coverage since 2016? Furthermore, the study reflects on why nation branding within the profession of journalism has become accepted and not questioned, examining the implications for the profession and its role in society. Through a qualitative narrative analysis based on the concept of framing, two distinct narratives were revealed: "Ukraine's Resistance Against Oppression and Invasion" and "Support and Solidarity from Europe." The findings demonstrate differences in reporting between Swedish and British media, with shifts in focus observed between 2022 and 2016. This study underscores the role of media in shaping perceptions and nation branding, offering insights into the dynamics of strategic narratives and media influence, and the evolving role of journalism in society.

The diploma thesis focuses on the connection of interest in the international music competition Eurovision Song Contest and in the European Union. The theoretical part shows the current approaches to the study of the contest, which is watched annually by almost 200 million viewers worldwide. The work also provides space for a brief history of the contest, including a detailed description of how the Czech Republic participated there, what the country has done only at the time of membership in the European Union. The competition, based on a grouping of European states, is placed here in the context of the European Union, which together share the motivation for their historical establishment. The text therefore shows the history and development of the European Communities and the establishment of the European Union and its institutions. One of them is the European Parliament, whose representatives are directly elected by the citizens of the Member States. On the example of the elections to the European Parliament in 2019, the work penetrates the possible interest of events in the European Union and watching the Eurovision Song Contest, as both events - elections and contest evenings - took place at about the same time - in mid-May 2019. With the help of quantitative and qualitative methods, data from...

Over the last six decades, the Eurovision Song Contest has tried to embody the voice of European unification and international corporation. Previous scholars have depicted Eurovision as something highly influential and beneficial for all participating parties, whether that relates to the opportunity for commercial profit, outspoken Europeanist aspirations, or desired political progress– the song contest is utilized by multiple actors for varying reasons. In this study, I aim to demonstrate how it functions as an alternative cultural battlefield, a unifying apparatus, a signifier of projections, and a vehicle for soft power politics in warfare. It is an essay about political storytelling– the dichotomies between collaboration and resistance, Europeanist aspirations versus nationalistic objectives, the democratic against the totalitarian, the good and the bad. The Eurovision rationale aims to encourage certain rules of behavior and regulate conduct towards those nations that have failed to adhere to these rules. When these assumptions gain terrain in the public discourse, epistemological hegemonies are maintained, power relations sustained and public opinion affected. The study uses a methodological framework of qualitative research, and the empirical data consists of seven interviews followed by a visual analysis of the performances and context surrounding entries from Ukraine, Belarus, and Russia over the years. Three main narratives emanated from this study. The Eurovision Song Contest can be understood as an imagined community created by language and imagined through symbols of meaning. The governing body of Eurovision is the sovereign player who gets to control the political discourse by managing the selection of songs and participating countries. With impression management, the participating nations try and regulate how they are perceived in a public setting. It is communicated through carefully curated performances and acted out by constructed characters. When one fails to adhere to the rules set by the ESC organizers, disturbances occur, and the competition's core values are threatened.

The use of media technology to pre-program the camera work of performances (with tools such as CuePilot) became a state-of-theart solution in live broadcasted music competitions and events, allowing to create technologically advanced and more appealing live performances. In this paper we study how the use of such solutions affect the viewer’s experience, assuming that preprogrammed camera work results in a more unified experience compared to manual camera work. The paper also investigates whether pre-programmed camera work is noticeable by the viewers. To study these effects an experiment was conducted. The material used was a set of four entries from the Latvian music competition Supernova available in two versions: one produced manually without CuePilot and one pre-programmed with CuePilot. Each participant watched two of the entries without CuePilot and two with, and provided quantitative input according to GEMS (Geneva Emotional Music Scale), an instrument developed in order to measure musically evoked emotions, as well as qualitative input, as each participant had to determine which two of the performances watched were directed with CuePilot and asked to explain their choices. An analysis of the data using statistical tools and significance tests showed that pre-programmed camera work can result in a more unified experience compared to manual camera work, up to some degree. The ability to decrease the variance depends on the creativity value of the Creative Space of the specific production. Pre-programmed camera work is not directly noticeable but can be identified more easily with the presence of video effects, quick cuts or explicit interaction of the artist with the camera. / Användningen av medieteknik för att förprogrammerad kameraarbetet för framträdanden (med verktyg såsom CuePilot) har blivit en lösning i teknologisk framkant inom direktsända musiktävlingar och event vilket möjliggjort tekniskt avancerade och mer attraktiva liveframföranden. I denna uppsats undersöks hur användningen av sådana lösningar påverkar tittarens upplevelse under antagande att förprogrammerat kameraarbete resulterar i en mer enad upplevelse i jämförelse med manuellt kameraarbete. Vidare undersöker uppsatsen om förprogrammerat kameraarbete är märkbart hos tittaren. För att undersöka denna inverkan utfördes ett experiment. Materialet som användes var fyra bidrag från den lettiska musiktävlingen Supernova tillgängliga i två versioner: en producerad manuellt utan CuePilot och en förprogrammerad med CuePilot. Varje deltagare tittade på två av bidragen utan CuePilot och två med och bidrog med kvantitativ input enligt GEMS (Geneva Emotional Music Scale), ett verktyg framtaget för att mäta musikaliskt framkallade känslor, tillsammans med kvalitativ input då deltagarna också blev ombedda att gissa vilka av de sedda bidragen som producerats med CuePilot tillsammans med en motivering av valet. Med statistiska verktyg och signifikanstest visade en analys av datan att förprogrammerat kameraarbete till viss del kan resultera i en mindre varians av upplevelser. Möjligheten att minska variansen beror på kreativitetsvärdet av den kreativa rymden (Creative Space) för en specifik produktion. Förprogrammerat kameraarbete är inte direkt noterbart men kan lättare bli identifierat om videoeffekter, snabba klippningar och tydlig interaktion mellan artist och kamera är närvarande.

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This thesis examines how member nations manage their national identities within the supranational context of the Eurovision Song Contest (ESC) and the significance of the ESC in creating a shared European identity. Patterns of identification and attitudes relating to culture, ethnicity/nationality, religion/faith, and gender/sex are discovered by studying the winning submissions from 1998 to 2022 through content analysis and discourse analysis. The ESC acts as a soft power instrument by encouraging member nations' sense of solidarity and cultivating respect for and understanding of other cultures. It serves as a platform for cross- cultural dialogue, self-promotion, and nation branding, fostering diplomatic connections and providing opportunities for commercial and cultural exchanges.  The ESC emphasizes the dichotomy between national and European identity, but it also demonstrates how these identities intersect and support one another. It advances the formation of a European identity while giving states a forum to showcase their national and cultural identities. The ESC influences notions of European identity and defines what it means to be European.