Het samenwerkingsverband van Europese omroepen, de European Broadcasting Union (EBU), vatte in juni 1954 het plan op voor een grote, op geheel Europa gerichte serie uitzendingen: Eurovisie. Dat was ambitieuzer dan de uitwisseling van programma's waaruit de activiteiten van de EBU tot dan toe hadden bestaan. Juridische en andere problemen stonden een 'Europese Gemeenschap voor Televisie' echter in de weg, vooral in het geval van programma-experimenten die niet met sport of nieuws te maken hadden. Wolfgang Degenhardt analyseert aande hand van drie voorbeelden welke problemen dat nu precies waren, die ervoor zorgden dat we heden ten dage Eurovisie voornamelijk kennen als voorvoegsel bij Songfestival.Playing with borders. Communal production of Eurovision television programmes in the 1950s and 1960sThe group of European broadcasting corporations, the European Broadcasting Union (EBU), devised a plan in 1954 for a series of broadcasts aimed at all of Europe: Eurovision. Up until then, EBU.activities had been confined to simply exchanging programmes and thus the Eurovision concept was quite ambitious. Legal issues and other problems created obstacles in forming a 'European Television Community', especially in cases of experimental programmes not related to sport or news. Using three examples, Wolfgang Degenhardt analyses the problems that led to our current perception of 'Eurovision' mainly as a prefix to the 'Song Festival'.

Additional Metadata
Keywords eurovisie, songfestival, ebu, european broadcasting union, samenwerking
Publisher Netherlands Institute for Sound and Vision
Persistent URL dx.doi.org/10.18146/tmg.33
Journal Tijdschrift voor Mediageschiedenis
Rights Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License (CC BY-SA 4.0) that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
Note TMG Journal for Media History; Vol 2, No 1 (1999): Media & oorlog; 52-77
Citation
Degenhardt, Wolfgang. (2018). Spel met grenzen: De gemeenschappelijke productie van Eurovisie-televisieprogramma's in de jaren vijftig en zestig. Tijdschrift voor Mediageschiedenis, 2(1), 52–77. doi:10.18146/tmg.33