This One Loves That One: Queerbaiting at the Eurovision Song Contest

Abstract

Most queerbaiting scholarship focuses on drama series, but queerbaiting functions differently in nonnarrative event television like Eurovision. At Eurovision, there are no characters or storylines as such. Even so, producers and performers are able to suggest queer content and meaning in a variety of ways, including the selection of hosts, the scripting of their banter and other interval entertainment, and the deliberate queering of performances

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