劉立行Liu, Li-Sing陳郁安Chen, Yu-An2020-10-192020-12-312020-10-192020http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G060472020H%22.&%22.id.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/111066重金屬（heavy metal）自1980年代全球化以來，成為獨特且擁有忠誠樂迷的音樂類型。其形式不同於一般流行樂，且樂迷行為均有固定、狂熱崇拜的儀式現象；而閾限（linimal）是一種儀式的門檻，參與成員介於現實與虛幻的狀態，本研究將探討台灣重金屬樂團之表演意象、樂迷參與行為，描繪出重金屬樂團、樂迷之間，所存在的儀式現象。 本研究分析台灣重金屬樂團音樂錄影帶作品之基本樣貌，並現場參與台灣重金屬樂團表演、觀察樂迷行為與互動。研究結果發現：重金屬音樂透過神話、暴力、瘋狂、恐怖圖像等誇大的方式展現力量，此種力量將重金屬樂團的表演意象閾限化，且引起現場演出的狂喜狀態，樂團與樂迷所組成的閾限團體，則是一種基於信任與認同感組成的社群。Heavy metal has been a unique music genre, and had many loyal fans since globalization in the 1980s. The form of heavy metal music is different from pop music, and its fans' behavior is regular, passionate and religious. Liminality is a threshold of ritual, the liminal members is between reality and fantasy. The study will discuss Taiwanese heavy metal bands' performance and their fans participation to find out the ritual between bands and fans. The study analyzes Taiwanese heavy metal bands' music video, observe fans behavior and interaction by going to live concerts of heavy metal bands. The study shows that heavy metal music represented power with myths, violence, madness, and icongraphy of horror, the power liminalized bands' performance, and contributed to a situation of ecstasy. The liminal group, which composed of heavy bands and their fans, is a community based on trust and identity.重金屬音樂儀式閾限身分認同heavy metal musicritualliminalidentity