請用此 Handle URI 來引用此文件:
http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/1284
完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.advisor | 蔡振家 | |
dc.contributor.author | Chia-Han Yeh | en |
dc.contributor.author | 葉家含 | zh_TW |
dc.date.accessioned | 2021-05-12T09:35:31Z | - |
dc.date.available | 2018-03-02 | |
dc.date.available | 2021-05-12T09:35:31Z | - |
dc.date.copyright | 2018-03-02 | |
dc.date.issued | 2018 | |
dc.date.submitted | 2018-02-12 | |
dc.identifier.citation | Andrade, E. B., & Cohen, J. B. (2007). On the consumption of negative feelings. Journal of Consumer Research, 34(3), 283-300. doi: Doi 10.1086/519498
Apter, M. J. (1992). The dangerous edge: The psychology of excitement: Free Press. Baron-Cohen, S. (2002). The extreme male brain theory of autism. Trends in cognitive sciences, 6(6), 248-254. Baumgartner, T., Esslen, M., & Jäncke, L. (2006). From emotion perception to emotion experience: Emotions evoked by pictures and classical music. International Journal of Psychophysiology, 60(1), 34-43. Baumgartner, T., Lutz, K., Schmidt, C. F., & Jäncke, L. (2006). The emotional power of music: how music enhances the feeling of affective pictures. Brain research, 1075(1), 151-164. Benedek, M., & Kaernbach, C. (2011). Physiological correlates and emotional specificity of human piloerection. Biological psychology, 86(3), 320-329. Biehl, M., Matsumoto, D., Ekman, P., Hearn, V., Heider, K., Kudoh, T., & Ton, V. (1997). Matsumoto and Ekman's Japanese and Caucasian Facial Expressions of Emotion (JACFEE): Reliability data and cross-national differences. Journal of Nonverbal behavior, 21(1), 3-21. Bowie, B. (2016). What Makes A Movie Scary? Do Sound or Video Contribute More To Fear? Wofford College, Department of Psychology: Unpublished manuscript. Brehm, S., Kassin, S., & Fein, S. (1999). Social Psychology (5 th ed.): Boston: Houghton Mifflin. Bruneau, E. G., Jacoby, N., & Saxe, R. (2015). Empathic control through coordinated interaction of amygdala, theory of mind and extended pain matrix brain regions. Neuroimage, 114, 105-119. doi: 10.1016/j.neuroimage.2015.04.034 Buhler, J. (2000). Music and cinema: Wesleyan University Press. Cohen, A. J. (2001). Music as a source of emotion in film. Music and emotion: Theory and research, 249-272. Corey, G. (2015). Theory and practice of counseling and psychotherapy: Nelson Education. Decety, J., Chen, C., Harenski, C., & Kiehl, K. A. (2013). An fMRI study of affective perspective taking in individuals with psychopathy: imagining another in pain does not evoke empathy. Frontiers in human neuroscience, 7, 489. Downey, L. E., Blezat, A., Nicholas, J., Omar, R., Golden, H. L., Mahoney, C. J., . . . Warren, J. D. (2013). Mentalising music in frontotemporal dementia. Cortex, 49(7), 1844-1855. Eerola, T., Vuoskoski, J. K., & Kautiainen, H. (2016). Being moved by unfamiliar sad music is associated with high empathy. Frontiers in psychology, 7. Ekman, P., & Friesen, W. V. (1971). Constants across cultures in the face and emotion. Journal of personality and social psychology, 17(2), 124. Eldar, E., Ganor, O., Admon, R., Bleich, A., & Hendler, T. (2007). Feeling the real world: limbic response to music depends on related content. Cerebral Cortex, 17(12), 2828-2840. Gerrig, R. J., Zimbardo, P. G., Campbell, A. J., Cumming, S. R., & Wilkes, F. J. (2011). Psychology and life: Pearson Higher Education AU. Greenberg, D. M., Rentfrow, P. J., & Baron-Cohen, S. (2015). Can music increase empathy? Interpreting musical experience through the empathizing–systemizing (ES) theory: Implications for Autism. Empirical Musicology Review, 10(1-2), 80-95. Grove, D. (2005). Arranging concepts complete: Alfred Music. Hatfield, E., Cacioppo, J. T., & Rapson, R. L. (1993). Emotional contagion. Current directions in psychological science, 2(3), 96-100. Haxby, J. V., Hoffman, E. A., & Gobbini, M. I. (2000). The distributed human neural system for face perception. Trends in cognitive sciences, 4(6), 223-233. Hayes, J. P., Morey, R. A., Petty, C. M., Seth, S., Smoski, M. J., McCarthy, G., & LaBar, K. S. (2010). Staying cool when things get hot: emotion regulation modulates neural mechanisms of memory encoding. Frontiers in human neuroscience, 4, 230. Himichi, T., & Nomura, M. (2015). Modulation of empathy in the left ventrolateral prefrontal cortex facilitates altruistic behavior: an fNIRS study. Journal of integrative neuroscience, 14(02), 207-222. Hutcherson, C. A., Montaser-Kouhsari, L., Woodward, J., & Rangel, A. (2015). Emotional and utilitarian appraisals of moral dilemmas are encoded in separate areas and integrated in ventromedial prefrontal cortex. Journal of Neuroscience, 35(36), 12593-12605. Iacoboni, M. (2009). Imitation, empathy, and mirror neurons. Annual review of psychology, 60, 653-670. IJzerman, H., Coan, J., Wagemans, F., Missler, M., Van Beest, I., Lindenberg, S. M., & Tops, M. (2014). A theory of social thermoregulation in human primates. Available at SSRN 2521717. Juslin, P. N., & Sloboda, J. A. (2001). Music and emotion: Theory and research: Oxford University Press. Koelsch, S. (2014). Brain correlates of music-evoked emotions. Nature Reviews. Neuroscience, 15(3), 170. Konecni, V. J. (2005). The aesthetic trinity: Awe, being moved, thrills. Bulletin of Psychology and the Arts, 5(2), 27-44. Konečni, V. J., Wanic, R. A., & Brown, A. (2007). Emotional and aesthetic antecedents and consequences of music-induced thrills. The American journal of psychology, 619-643. Lazarus, R. S. (1991). Cognition and motivation in emotion. American psychologist, 46(4), 352. Le Huray, P., & Day, J. (1988). Music and aesthetics in the eighteenth and early nineteenth centuries: CUP Archive. Lerner, Y., Papo, D., Zhdanov, A., Belozersky, L., & Hendler, T. (2009). Eyes wide shut: amygdala mediates eyes-closed effect on emotional experience with music. PloS one, 4(7), e6230. Ma, W., & Thompson, W. F. (2015). Human emotions track changes in the acoustic environment. Proceedings of the National Academy of Sciences, 112(47), 14563-14568. Mash, E., & Wolfe, D. (2012). Abnormal child psychology: Cengage Learning. Menninghaus, W., Wagner, V., Hanich, J., Wassiliwizky, E., Jacobsen, T., & Koelsch, S. (2017). The Distancing-Embracing model of the enjoyment of negative emotions in art reception. Behav Brain Sci, 1-58. doi: 10.1017/S0140525X17000309 Mercado, G. (2010). The filmmaker's eye: Learning (and breaking) the rules of cinematic composition: Taylor & Francis. Miu, A. C., & Balteş, F. R. (2012). Empathy manipulation impacts music-induced emotions: a psychophysiological study on opera. PloS one, 7(1), e30618. Mori, K., & Iwanaga, M. (2017). Two types of peak emotional responses to music: The psychophysiology of chills and tears. Sci Rep, 7, 46063. doi: 10.1038/srep46063 Morricone, E., & Miceli, S. (2013). Composing for the cinema: the theory and praxis of music in film: Scarecrow Press. Owsinski, B. (2013). The mixing engineer's handbook: Nelson Education. Pehrs, C., Deserno, L., Bakels, J.-H., Schlochtermeier, L. H., Kappelhoff, H., Jacobs, A. M., . . . Kuchinke, L. (2014). How music alters a kiss: superior temporal gyrus controls fusiform–amygdalar effective connectivity. Soc Cogn Affect Neurosci, 9(11), 1770-1778. Pehrs, C., Zaki, J., Schlochtermeier, L. H., Jacobs, A. M., Kuchinke, L., & Koelsch, S. (2015). The temporal pole top-down modulates the ventral visual stream during social cognition. Cerebral Cortex, 27(1), 777-792. Pramaggiore, M., & Wallis, T. (2005). Film: a critical introduction: Laurence King Publishing. Simon-Thomas, E. R., Godzik, J., Castle, E., Antonenko, O., Ponz, A., Kogan, A., & Keltner, D. J. (2012). An fMRI study of caring vs self-focus during induced compassion and pride. Soc Cogn Affect Neurosci, 7(6), 635-648. Simon-Thomas, E. R., Godzik, J., Castle, E., Antonenko, O., Ponz, A., Kogan, A., & Keltner, D. J. (2012). An fMRI study of caring vs self-focus during induced compassion and pride. Soc Cogn Affect Neurosci, 7(6), 635-648. doi: 10.1093/scan/nsr045 Singer, N., Podlipsky, I., Esposito, F., Okon-Singer, H., Andelman, F., Kipervasser, S., . . . Hendler, T. (2014). Distinct iEEG activity patterns in temporal-limbic and prefrontal sites induced by emotional intentionality. Cortex, 60, 121-138. Sumpf, M., Jentschke, S., & Koelsch, S. (2015). Effects of Aesthetic Chills on a Cardiac Signature of Emotionality. PloS one, 10(6), e0130117. doi: 10.1371/journal.pone.0130117 Swaminathan, S., & Schellenberg, E. G. (2015). Current emotion research in music psychology. Emotion Review, 7(2), 189-197. Trost, W., Ethofer, T., Zentner, M., & Vuilleumier, P. (2012). Mapping aesthetic musical emotions in the brain. Cerebral Cortex, 22(12), 2769-2783. van der Heiden, L., Scherpiet, S., Konicar, L., Birbaumer, N., & Veit, R. (2013). Inter-individual differences in successful perspective taking during pain perception mediates emotional responsiveness in self and others: an fMRI study. Neuroimage, 65, 387-394. doi: 10.1016/j.neuroimage.2012.10.003 Vuoskoski, J. K. (2015). Music, Empathy, and Affiliation: Commentary on Greenberg, Rentfrow, and Baron-Cohen. Empirical Musicology Review, 10(1-2), 99-102. Ward, J. (2015). The student's guide to cognitive neuroscience: Psychology Press. Wurm, M. F., & Schubotz, R. I. (2018). The role of the temporoparietal junction (TPJ) in action observation: Agent detection rather than visuospatial transformation. Neuroimage, 165, 48-55. doi: 10.1016/j.neuroimage.2017.09.064 Zentner, M., Grandjean, D., & Scherer, K. R. (2008). Emotions evoked by the sound of music: characterization, classification, and measurement. Emotion, 8(4), 494. 井迎兆(2006)《電影剪接美學:說的藝術》。台北:三民。 王美珠(2005)。《音樂認識與欣賞》。台北:麥格羅希爾。 王碧蓉(2006)《Ennio Morricone的電影音樂研究》。臺北藝術大學音樂系碩士在職專班音樂學組學位論文。 朱書瑶(2014)《韓國偶像劇中的歌曲運用與閱聽經驗分析:以《我的女孩》,《原來是美男》,《秘密花園》為例》。臺灣大學音樂學研究所學位論文。 李玉琇、蔣文祁(2005)《認知心理學》。台北:雙葉書郎。 李亞梅(1999)《好萊塢類型電影:公式,電影製作與片廠制度》。台北:遠流。 李囿運、謝淑蘭、翁嘉英、孫蒨如、梁庚辰(2012)〈情緒影片誘發的自律神經反應模式〉,《中華心理學刊》,54卷第4期,頁527-560。 李顯立(1996)《解讀電影》。台北:遠流。 卓奕秀(2015)《[崇高]在電影音樂中的跨文化作法:李安的《少年Pi的奇幻漂流》》。臺灣大學音樂學研究所學位論文。 桂冠學術編輯室譯(1999)《音樂概論》。臺北:桂冠。 焦雄屛(1991)《認識電影》。台北:遠流。 曾偉禎(1979)《電影藝術-形式與風格》。臺北市:麥格羅希爾。 蔡振家(2013)《音樂認知心理學》。臺北:國立臺灣大學出版中心。 | |
dc.identifier.uri | http://tdr.lib.ntu.edu.tw/handle/123456789/1284 | - |
dc.description.abstract | 本研究探討好萊塢災難片電影配樂在戲劇中的功能,並分析相關閱聽經驗。災難片中主要有兩種情感,其一是災難中的人際情感鍵結(如:生離死別),其二是災難場面所帶來的恐懼及崇高情感。電影配樂可強化閱聽者的情緒感受、增進對於劇中人的同理心,音樂分析結果顯示,人際情感鍵結場景的配樂特徵為:調性穩定、清晰主旋律、音值長的襯底音,災難場景的配樂特徵為:不協和音、細碎短值的背景節奏、節奏強烈的主律動。研究者對26位實驗參與者進行情緒生理量測,發現在欣賞災難片中的主角面臨生命危險時,觀眾心跳速率增加。本研究認為,災難場景不僅可引起緊張害怕情緒,也會因畫面呈現自然奇觀現象帶來崇高感而有正向的興奮情緒,上述情緒可能與心理距離有關。本研究初步勾勒出災難片中的情感元素與配樂功能,並藉由情緒訊號測量,指出電影配樂閱聽行為研究的新方向。 | zh_TW |
dc.description.abstract | This study analyzed the functions of soundtracks in Hollywood disaster films and the audience’s emotional responses to disastrous scenes. Interpersonal connection scenes and disastrous scenes are two pillars of disaster films. In these scenes, soundtracks enhance audience’s engagement and feelings, as well as increase their empathy toward the characters. Musical analysis revealed that interpersonal connection scenes are usually accompanied by music with a clear tonality, a lyrical melody, and a soft pad. On the other hand, disastrous scenes are usually accompanied by music with dissonant intervals, dense rhythms, and loud foundation. Emotional-physiological data were collected from 26 participants while they were watching disastrous scenes. The results suggest that their heart rate increased when the main characters were in danger. This study advanced our understanding of how soundtracks have been employed in Hollywood disaster films, and offers a new approach for future audience studies in film and video genres. | en |
dc.description.provenance | Made available in DSpace on 2021-05-12T09:35:31Z (GMT). No. of bitstreams: 1 ntu-107-R03144001-1.pdf: 3304542 bytes, checksum: 1f88b13df46688757066a439ce4c8c54 (MD5) Previous issue date: 2018 | en |
dc.description.tableofcontents | 第一章 緒論 1
第一節 研究背景與動機 1 第二節 研究範圍與目的 3 第三節 文獻回顧 4 一、電影配樂理論 4 二、情緒與音樂 6 三、欣賞電影時的腦與心智機制—感同身受的同理心(移情作用) 12 四、視聽整合相關之情緒生理研究 18 第四節 研究方法 21 第二章 災難片配樂分析 25 第一節 電影作品簡介 25 一、《鐵達尼號》 25 二、《彗星撞地球》 25 三、《世界末日》 26 四、《明天過後》 26 五、《2012》 26 第二節 人際情感鍵結與同理 26 一、《鐵達尼號》 27 二、《彗星撞地球》 34 三、《世界末日》 39 四、《明天過後》 44 五、《2012》 49 第三節 災難場景:緊張情緒與奇觀的崇高感 54 一、《鐵達尼號》 55 二、《彗星撞地球》 60 三、《世界末日》 65 四、《明天過後》 69 五、《2012》 74 第四節 配樂特徵綜合討論 81 第三章 情緒生理訊號測量實驗 90 第一節 研究問題 90 第二節 研究對象 91 第三節 刺激材料與實驗儀器 91 一、 刺激材料內容 91 第四節 研究步驟 92 第五節 資料分析 94 第六節 實驗結果 95 第七節 討論 99 第四章 結論 103 第一節 災難片中二種主要情緒 103 第二節 研究限制與未來研究方向 105 附錄 108 附錄一 電影片段故事敘述與劇中人對白 108 附錄二 研究倫理審查證明 114 參考文獻 115 | |
dc.language.iso | zh-TW | |
dc.title | 災難片的配樂分析與觀眾情緒反應研究 | zh_TW |
dc.title | Analysis of Soundtracks of Disaster Films and Audience Emotional Responses | en |
dc.type | Thesis | |
dc.date.schoolyear | 106-1 | |
dc.description.degree | 碩士 | |
dc.contributor.oralexamcommittee | 周泰立,陳峙維 | |
dc.subject.keyword | 災難片,同理心,崇高,電影配樂,心跳速率, | zh_TW |
dc.subject.keyword | disaster films,empathy,sublime,film music,heart rate, | en |
dc.relation.page | 118 | |
dc.identifier.doi | 10.6342/NTU201800506 | |
dc.rights.note | 同意授權(全球公開) | |
dc.date.accepted | 2018-02-12 | |
dc.contributor.author-college | 文學院 | zh_TW |
dc.contributor.author-dept | 音樂學研究所 | zh_TW |
顯示於系所單位: | 音樂學研究所 |
文件中的檔案:
檔案 | 大小 | 格式 | |
---|---|---|---|
ntu-107-1.pdf | 3.23 MB | Adobe PDF | 檢視/開啟 |
系統中的文件,除了特別指名其著作權條款之外,均受到著作權保護,並且保留所有的權利。