多媒體作品中媒體間的關係：以Lady Gaga三部音樂影片中的「兩極對立」表現手法為例

Abstract

Lady Gaga 在近幾年的西洋流行樂壇中，可說是一位在各方面引起廣泛討論甚至是備受爭議的歌手。無論是其常以驚世駭俗的造型出現在媒體前的作風，或是其演唱作品常觸及敏感議題的風格，在在都吸引了普羅大眾的目光。有人認為她是一場災難，也有人稱許她的才華或創意；但不管如何，她已是目前最受矚目的歌手之一無疑。無論是 Gaga 的外在形象、她的音樂影片（music video）所引起的觀眾反應或是她自己的自白，似乎都透露出一種「兩極對立」的矛盾衝突。這種「兩極對立」的特質，在 Gaga 的其他作品中也以多種形式樣貌出現，並在不同媒體間的關係中形塑。 Nicholas Cook 曾在其《Analysing Musical Multimedia》一書中提到多媒體作品，其媒體與媒體之間的關係有同步、衝突、互補等三種類型，且暗示媒體與媒體間的關係是單一的；然而，以 Gaga 的三部作品《Bad Romance》、《Judas》、《Born This Way》為主，其他作品為輔加以分析，可發現其作品在「是否具備兩極對立」的特性上，音樂與其他媒體之間的關係較不一致，但從其他環節分析之，卻又會發現這些媒體之間的關係視乎不同環節或不同片段，可能出現互相同步配合的情形。如此一來，同一作品本身或是作品內的特定片段，其媒體與媒體之間的關係便可能同時出現一致與不一致的情形。換言之，多媒體作品中，媒體與媒體之間的關係未必只有單一樣貌，而是可能同時存在不同關係。

In recent years, Lady Gaga has become a major pop icon. She is successful not only because of her “eccentric” behavior in front of the media, but also because of her music. Lady Gaga’s shocking music videos are always the focus in discussions of her works. In this paper, I argue that there is a striking factor in Lady Gaga’s videos: the polarity. The factor shows up in the manifesto delivered at the beginning of Gaga’s video Born This Way: “...And as she herself split into two, rotating in agony between two ultimate forces, the pendulum of choice began its dance.” This paper argues that the stories and images in Gaga’s music videos, as well as her lyrics all feature the polarity, while her music may not. On the other hand, in his book Analysing Music Multimedia, Nicholas Cook has mentioned that there are three different models of multimedia: conformance, complementation, and contest. It seems that he implied there would only be one model at one time. However, in this paper, after analyzing three music videos of Lady Gaga, I found that there would be different models at one time. This paper will analyze three of Gaga’s videos—Bad Romance, Judas, and Born This Way—in terms of the multimedia interactions presented in the works.