A preliminary study on narrative function of source music in Taiwanese films

• Main Authors: Hsiao-Chun Cheng, 鄭曉駿
• Other Authors: Li-Sing Liu
• Format: Others
• Published: 2013
• Online Access: http://ndltd.ncl.edu.tw/handle/01309903710026802581

碩士 === 國立臺灣師範大學 === 圖文傳播學系 === 102 === Although film industry in Taiwan is gradual revival, recent studies have rarely investigated films in the point of film music and many studies have not been touched the division of fine soundtrack narrative categories and the function of film music. Therefore, this study will research the topic which was rarely be discussed in field of Taiwanese films and summarize some of the preliminary proposition. Today, the division of Taiwanese film music has been more and more sophisticated.So, Yeh (1999) divided film music into background music and source music according to their characteristics. In addition, she pointed out that the development of film music will interact with commercial, politics, and arts. Therefore, this study trends to understand how Taiwanese film music interacted with commercial, politics, and arts, exploring the types of film music, features and performances. This study will use the Russian film director S. M. Eisenstein's vertical montage theory as a research framework, and the music-scene figure as research capabilities, analyzing source music from five Taiwanese films for 2007 to 2012. By deconstructing story structure, timing of using music, song structure, and still, this study can explain the music narrative functions and the role of source music within Taiwanese films. This study found that the function of source music has matured. Source music can be used as the main narrative of the story, the no longer being an auxiliary tool. And because of highly commercialized, source music has become a part of movie merchandise. And the singers, cinema marketing are closely related with source music.