Il logo dell’ESC


esc_generic_black 2015

“L’Eurovisione sta cambiando”, disse a Riga Sarah Yuen, l’ex sovrintendente all’ESC. Il risultato di questa affermazione si ritrovò nella nuova strategia di marketing creata per pubblicizzare l’Eurovision Song Contest e, in primo luogo, nella creazione di un nuovo logo che potesse identificare la manifestazione musicale più importante d’Europa.

Eurovision logo and theme: The current generic logo was introduced for the 2004 Eurovision Song Contest in Turkey, to create a consistent visual identity. The host country’s flag appears in the heart of the generic logo. Each year of the contest, the host country creates a sub-theme which is usually accompanied and expressed with a sub-logo and slogan. The theme and slogan are announced by the EBU and the host country’s national broadcaster.

The generic logo was revamped in 2014, ten years after the first generic logo was created. The revamped logo was conducted by lead designer Cornelis Jacobs and his team of Cityzen Agency. The logo will be used for the first time in the 2015 Eurovision Song Contest, the 60th anniversary of the contest.

Slogans: Since the 2002 contest, slogans (or themes) have been introduced in the show (2009 being the only exception). The slogan is decided by the host broadcaster and based on the slogan, the theme and the visual design are developed.

Year Host city Slogan
2002 Tallinn “A Modern Fairytale”
2003 Riga “Magical Rendezvous”
2004 Istanbul “Under The Same Sky”
2005 Kiev “Awakening”
2006 Athens “Feel The Rhythm!”
2007 Helsinki “True Fantasy”
2008 Belgrade “Confluence of Sound”
2010 Oslo “Share The Moment!”
2011 Düsseldorf “Feel Your Heart Beat!”
2012 Baku “Light Your Fire!”
2013 Malmö “We Are One”
2014 Copenhagen “#JoinUs”
2015 Vienna “Building Bridges”

Eurovision_Song_Contest_logo 2004

Il cuore: Il 24 Gennaio 2004 il logo fu presentato durante la finale nazionale turca, trasmessa dalla TRT. L’edizione di quell’anno dell’Eurovision Song Contest, ospitato dalla Turchia, fu la prima ad utilizzare il nuovo logo ufficiale.

Ogni anno, il paese ospitante del concorso progettava un logo dedicato al concorso che stava organizzando. Semplice fino agli anni ’90 e più creativo nei primi anni 2000, la rivelazione del logo del concorso era un momento speciale ogni anno, particolarmente per gli eurofans. Nel 2004, il lancio del logo fu speciale. L’EBU-UER decise che il concorso aveva bisogno di un logo riconoscibile, ricorrente ogni anno. Ciò significava che, d’ora in poi, il marchio del concorso non sarebbe stato cambiato di anno in anno. Soltanto alcuni particolari secondari sarebbero stati modificati.

Nel 2003, l’agenzia T.E.A.M (Svizzera) fu nominata dall’EBU-UER per occuparsi del marketing dell’ESC. La loro esperienza con il marketing della Lega dei Campioni e della Coppa UEFA furono importanti per l’EBU-UER, poiché cercarono un’azienda abbastanza esperta per poter svolgere questo lavoro. Sviluppare un logo forte faceva parte del programma di marketing.

The Eurovision Song Contest Brand Identity Summary

Il nucleo del nuovo logo è la parola Eurovision con un cuore al posto della “V”, che “rappresenta l’emozione dell’evento”; questo è il logo generico. Il cuore è l’elemento che cambia nel logo, il che significa che, ogni anno,  il cuore vestirà i colori della bandiera del paese ospitante. Se il concorso dovesse tenersi in Italia per esempio, il cuore vestirebbe la bandiera italiana e così via (le cosiddette applicazioni visive). Ci sono inoltre disegni in bianco e nero del logo (senza bandiera nel cuore).

Sotto la parola “Eurovision” potete naturalmente trovare le parole “Song Contest”. Per porre in evidenza un anno particolare, la linea seguente indica la città ospitante e l’anno. C’è inoltre una versione del logo dove il cuore è disposto sopra la parola Eurovision (il cosiddetto logo evento).

Nel 2001, la TV danese DR decise di usare un cuore come elemento del logo. Il cuore 2001 era formato da quattro anelli, che insieme generavano il profilo di un cuore. La descrizione del logo fu abbastanza simile alla descrizione del nuovo logo, ma è chiaro che il quest’ultimo ha uno stile del tutto differente.

La prima impressione data dal nuovo logo dovrebbe essere semplice. I direttori ed i progettisti del marketing hanno discusso se il logo dovesse essere semplice oppure no. Alcuni dicono che un logo semplice è molto più facile da riconoscere, mentre altri pensano che un logo semplice potrebbe dare un’impressione poco costosa.

Ogni anno, comunque, il paese ospitante crea un tema che di solito è accompagnato ed espresso con un sub-logo e da uno slogan. Il tema e lo slogan sono annunciati dall’EBU-UER e dall’emittente nazionale del paese ospitante.

Eurovision Week: The term “Eurovision Week” is used to refer to the week during which the Contest takes place. As it is a live show, the Eurovision Song Contest requires the performers to have perfected their acts in rehearsals in order for the programme to run smoothly. In addition to rehearsals in their home countries, every participant is given the opportunity to rehearse on the stage in the Eurovision auditorium. These rehearsals are held during the course of several days before the Saturday show, and consequently the delegations arrive in the host city many days before the event. Journalists and fans are also present during the preceding days, and so the events of Eurovision last a lot longer than a few hours of television. A number of officially accredited hotels are selected for the delegations to stay in, and shuttle-bus services are used to transport the performers and accompanying people to and from the contest venue.

Each participating broadcaster nominates a Head of Delegation, whose job it is to coordinate the movements of the delegate members, and who acts as that country’s representative to the EBU in the host city. Members of the delegations include performers, lyricists, composers, official press officers and—in the years where songs were performed with a live orchestra—a conductor. Also present if desired is a commentator: each broadcaster may supply their own commentary for their TV and/or radio feed, to be broadcast in each country. The commentators are given dedicated commentary booths situated around the back of the arena behind the audience.

Rehearsals and press conferences: Traditionally, delegations would arrive on the Sunday before the contest, in order to be present for rehearsals starting on the Monday morning. However, with the introduction of the semi-finals—and therefore the resulting increase in the number of countries taking part since 2004, the first rehearsals have commenced on the Sunday almost two weeks before the Grand Final. There are two rehearsal periods for each country. The countries taking part in the semi-finals have their first rehearsal over four days from the first Sunday to Wednesday. The second is from Thursday to Sunday. The countries which have already directly qualified for the Grand Final rehearse on the Saturday and Sunday. 

After each country has rehearsed, the delegation meets with the show’s artistic director in the video viewing room. Here, they watch the footage of the rehearsal just performed, discussing camera angles, lighting and choreography, in order to try to achieve maximum aesthetic effect on television. At this point the Head of Delegation may make known any special requirements needed for the performance, and request them from the host broadcaster. Following this meeting, the delegation hold a press conference where members of the accredited press may pose them questions. The rehearsals and press conferences are held in parallel; so one country holds its press conference, while the next one is in the auditorium rehearsing. A printed summary of the questions and answers which emerge from the press conferences is produced by the host press office, and distributed to journalists’ pigeon-holes.

Before each of the semi-finals three dress rehearsals are held. Two rehearsals are held the day before (one in the afternoon and the other in the evening), while the third is held on the afternoon of the live event. Since tickets to the live shows are often scarce, tickets are also sold in order that the public may attend these dress rehearsals.

The same applies for the final, with two rehearsals on the Friday and the third on Saturday afternoon before the live transmission of the grand final on Saturday evening. For both semi-finals and for the final, the second dress rehearsal is also the Jury Final, this is where the jury from each country casts their votes. This means that 50% of the result is already decided before the live contests have taken place.

Parties and Euroclub: On the Monday evening of Eurovision Week, a Mayor’s Reception is traditionally held, where the city administration hosts a celebration that Eurovision has come to their city. This is usually held in a grand municipally owned location in the city centre. All delegations are invited, and the party is usually accompanied by live music, complimentary food and drink and—in recent years—fireworks.

After the semi-final and grand final there are after-show parties, held either in a facility in the venue complex or in another suitable location within the city.

A Euroclub is held every night of the week: this is a Eurovision-themed nightclub, to which all accredited personnel are invited.

During the week many delegations have traditionally hosted their own parties in addition to the officially sponsored ones. However, in the new 2000 millennium the trend has been for the national delegations to centralise their activity and hold their celebrations in the Euroclub.

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