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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
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  • 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.

    Table of Contents Chapter 1: Backstage – The making of the Defenders of the Faith 1 Methodological approach and thesis structure 1 Primary and secondary research sources 2 Primary research source – interviews with members of Taiwanese extreme metal scene 3 Interviewing process 3 What is extreme metal? – an introduction 7 Chapter 2: Who is who in the Taiwanese 1990s extreme metal scene 10 Jack Tung – drummer for Lycanthropy and Almost Human 11 Boy Scout – leader of Manum 14 Vic Zhao – Bass player for Bazöoka 17 Liao Bo-wei – guitarist for Bazöoka 19 Han Hsiao-han and the Skeleton Fortress team 21 Chapter 3: Gaining scenic consciousness – how record stores and bulletin board systems became an information source for extreme metal in 1990s Taiwan 24 Introduction 24 Part I: Record Stores 27 Hanjiang and the very beginning of extreme metal record retail 27 Jason Records 28 Jason’s Expansion to Magnum Records 32 Part II: Bulletin board systems 34 Skeleton Fortress and the very beginning of online extreme metal discussion boards 34 Bombs and the beginning of record mail order services 37 Internet wars 39 Beyond Skeleton Fortress 40 The role of bulletin board systems in the 1990s Taiwanese extreme metal scene 41 The legacy of online extreme metal discussion boards 42 Chapter 4: Scene building 45 Introduction 45 Part I: Record Industry 46 Jack Tung’s Lycanthropy – first piece of Taiwanese extreme metal music ever recorded on tape? 46 Forbidden Ground’s debut record – first Taiwanese extreme metal album officially released by a mainstream record label 47 Chthonic’s Where Ancestors’ Souls Gathered – a milestone in the art of self-releasing music records 51 Manum’s early recordings 53 Vic Zhao and Almost Human 54 Part II: Live venues, music festivals and band competitions 57 How Taipei 1990s live music bars influenced Taiwanese extreme metal scene 57 The three lives of Scum 58 Rise of the Zeitgeist 60 Band competitions 61 Music festivals 62 Chapter 5: Conclusion – The legacy of Taiwan’s extreme metal scene from the 1990s 68 Introduction 68 The legacy of 1990s extreme metal scene 69 The elders and their tales of creation 71 Positioning Taiwan within the global extreme metal scene 72 Coming to terms with Chthonic and the current state of Taiwanese extreme metal scene 73 Bibliography 77 Audiovisual materials 79

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