英文摘要 |
This paper discusses how the film music of Hou Hsiao-Hsien’s Goodbye South, Goodbye (1997) and Millennium Mambo (2001) characterize where each is set and the younger generations of millennials in Taiwan. The soundscape corresponds with the sociopolitical environment following the lifting of martial law in 1987, when the ’90s Taiwan New Music scene, spurred on by a surge of creative energy, witnessed an explosion of previously banned Taiwanese songs. Songs of underground musicians began to emerge in the 1990s and resonated with a sense of otherness and possibility of pursuing new alternatives in Goodbye South, Goodbye. These underground sensibilities persist in Millennium Mambo, transformed into the electronic music scene of Millennial Taipei City. In this context, this paper considers the role of film music in relation to the local setting in which it is consumed and inscribed with cultural significance. In Goodbye South, Goodbye, the indierock music style both informs the conflict between old and new generation and suggests means of resisting the dominance of particular turn of the century cultural and authoritative institutions. The mapping of the electronic dance music scene in Millennium Mambo illuminates the dynamic relationship between musical cultures and local identities. Finally, this paper proposes a new perspective on Taiwan cinema studies, in which film music can be conceptualized as a way of thinking about urban spaces and local identities. |