研究生: |
陳偉思 Czerwiński, Bartosz Henryk |
---|---|
論文名稱: |
信仰捍衛者 - 極端金屬音樂如何到達了台灣 1990-2000 Defenders of the Faith – How Extreme Metal Arrived in Taiwan 1990-2000 |
指導教授: |
蔡如音
Tsai, Eva |
口試委員: |
朱夢慈
Chu, Meng-tze 何東洪 Ho, Tung-hung |
口試日期: | 2021/06/11 |
學位類別: |
碩士 Master |
系所名稱: |
大眾傳播研究所 Graduate Institute of Mass Communication |
論文出版年: | 2021 |
畢業學年度: | 109 |
語文別: | 英文 |
論文頁數: | 79 |
中文關鍵詞: | 重金屬 、極端金屬 、黑金屬 、死亡金屬 、口述歷史 、全球化 |
英文關鍵詞: | metal music, extreme metal, black metal, death metal, oral history, globalization |
研究方法: | 口述歷史研究 、 深度訪談法 |
DOI URL: | http://doi.org/10.6345/NTNU202101186 |
論文種類: | 學術論文 |
相關次數: | 點閱:189 下載:18 |
分享至: |
查詢本校圖書館目錄 查詢臺灣博碩士論文知識加值系統 勘誤回報 |
雖然以前極端金屬音樂是地下文化當中的奇異現象,目前它絕對是一個每個人都可以享受的文化資源。毫無疑問,屬於極端金屬音樂類型的黑金屬,死亡金屬或鞭擊金屬都已經到達了世界的每一個角落。隨著網路串流平台的普及化(例如Bandcamp, Spotify或Last.fm),現代的聽眾瞬間可以接觸到來自於世界各個地方金屬樂團的唱片。不過回歸到二十年前沒有無限網路的社會,會讓我們完全不知道哪裡該尋找任何地下音樂的資源。本文主要的目標是確定國外文化現象——極端金屬音樂90年代的時候如何達到了台灣。透過與台灣90年代極端金屬場景成員的訪問,作者希望解釋台灣當時的唱片行,電子佈告欄系統與現場音樂酒吧如何於本國地下文化普及化了極端金屬音樂。雖然90年代這一段期間該被認為是台灣極端金屬場景創造過程最初級的階段,使用本人研究過程中收集的訪問資料,可以描述台灣最早出現極端金屬樂團的歷史。最後,作者希望斷定台灣90年代極端金屬場景的遺產在哪裡,它如何影響了台灣極端金屬粉絲的下一代,並台灣極端金屬場景於全球金屬音樂文化裡面佔什麼位置。
Once a niche, created by and for outsiders, now a resource available for everyone. There is no doubt that extreme genres of metal music such as black, death or thrash metal have already reached nearly every corner of the world, earning themselves a global fanbase. With internet platforms and streaming services like Bandcamp, Spotify or Last.fm reaching to any metal band from any country across the globe seems now effortless. However, taking a step 20 years back, to a world where VHS tapes were still more popular than the internet, would leave us with no clue where to look for anything flowing under the mainstream hit radar. This thesis aims to determine how a foreign cultural phenomenon – extreme metal, arrived in Taiwan in the 1990s. Through interviews with key figures in Taiwan’s extreme metal scene, I aim to explain how record stores, bulletin board systems and live venues popularized extreme metal in Taiwan and rooted it within the island’s underground culture. Although the decade of 1990s should be considered an initial stage in the formation of Taiwanese extreme metal community, the gathered research material is sufficient to document the history of the first Taiwanese extreme metal bands. Finally, I aim to determine what is the legacy of Taiwan’s 1990s extreme metal scene, how it influenced further generations of Taiwanese metalheads, and what is its place within the global metal scene.
Baulch, Emma. “Gesturing elsewhere: the identity politics of Balinese death/thrash metal scene.” Popular Music 22, no.2 (2003): 195-215.
Burns, Robert G. H. “German Symbolism in Rock Music: National Signification in the Imagery and Songs of Rammstein.” Popular Music 27, No. 3 (Oct., 2008): 457-472.
Chu Meng-tze, “台北創作樂團之音樂實踐與美學-以「閃靈」樂團為例” [The Musical Practice and Aesthetics of Taipei Rock Bands - a Case Study of "Chthonic"]. Master’s thesis, National Taiwan University, 2001.
Clinton, Esther, Jeremy Wallach. “Talking Metal – The Social Phenomenology of Hanging Out.” In Heavy Metal Music and the Communal Experience. Edited by Nelson Varas- Diaz and Niall Scott, 37-55. Lanham: Lexington Books, 2016.
Granholm, Kennet. “Sons of Northern Darkness: Heathen Influences in Black Metal and Neofolk Music.” Numen 58, No. 4 (2011): 514-544.
Huang Shangquan, Lin Yiren, Xiao Weixin, Li Shaoliang. 碗君妳好嗎?給覺醒鄉民的PTT進化史 [What's up Mrs. Wan? Awakened Netizen's Guide to the Evolution of PTT]. New Taipei City: Socio Publishing, 2016.
Kahn-Harris, Keith. Extreme Metal - Music and culture on the Edge. New York: Berg, 2007.
Kahn-Harris, Keith. “Roots?: The Relationship between the Global and the Local within the Extreme Metal Scene.” Popular Music 19, No. 1 (January 2000): 13-30.
Lawson, Dom. “The Top 10 Best Indonesian Metal Bands.” Metal Hammer, August 22, 2016. https://www.loudersound.com/features/the-top-10-best-indonesian-metal bands.
Luo Yizhen.“那些聲光轟炸的夜晚,90年代的音樂頻道重開機”[Nights of Flashing Lights and Striking Sounds. Rebooting the 90s Music Channels] every little d., October 13, 2018. https://everylittled.com/article/105512
Overell, Rosemary. Affective Intensities in Extreme Music Scenes: Cases of Australia and Japan. London: Pallgrave Macmillan, 2014.
Payne, Christopher. “Wushe, Literature, and Melodic Black Metal: The ‘Nonpolitics’ of Wuhe and the ‘Political’ ChthoniC.”, Positions 22, no.2 (2014): 403-428.
Sharman, Leah, Genevieve A. Dingle. “Extreme Metal Music and Anger Processing.”, Frontiers in Human Neuroscience 9, no. 272 (May 2015): 1-11. https://www.frontiersin.org/articles/10.3389/fnhum.2015.00272/full
Shuo Lee, “搖滾台灣:台灣重金屬樂迷的文化認同與實踐” [Rock Taiwan: The Cultural Identities and Practices of Heavy Metal Music Fans in Taiwan]. Master’s thesis, Shih Hsin University, 2006.
Straw, Will. “Systems of articulation, logics of change: Communities and scenes in popular music.” Cultural Studies 5, no. 3 (1991):368-388.
Wallach, Jeremy, and Alexandra Levine. “I want you to support local metal: A theory of metal scene formation” Popular Music History 6, no. 1 (2011): 116-134.
Wai Chung-Ho, “Music and Cultural Politics in Taiwan.” International Journal of Cultural Studies 10, no. 4 (2007): 463-483.
Weinstein, Deena. Heavy Metal – The Music and Its Culture, Cambridge: Da Capo Press, 2000.
You Daluo. “M.I.T. (Metal in Taiwan) 兼談台灣呀滾論述發展”, 島嶼邊緣 [Intermargins], October, 1992. http://intermargins.net/intermargins/IsleMargin/mountain/pdf/15.pdf