二戰後，隨著經濟的持續發展，日本音樂產業在1998年到達實體唱片銷售額6075億日圓的極致巔峰，之後伴隨著全球音樂市場的萎靡以及數位資訊產品技術的逐漸成熟，日本音樂產業進入長達數年唱片銷量大跌的低迷期。唱片銷售衰退，其原因除了科技中介的變革帶來的影響外，群眾對音樂市場的需求改變更是一大關鍵，為此許多唱片公司紛紛轉型為經紀公司，積極的發展音樂市場的新價值，其中以藝人品牌化和現場展演為最受矚目的價值創造趨勢。
流行音樂市場越趨多樣性與娛樂性，2008年正式出道的日本視覺系搖滾樂
團—Golden Bomber金色爆彈，以短劇表演代替樂器演奏的空氣樂團形式打入日本音樂市場，顛覆群眾對傳統樂團的既定印象，特有的表演型態亦成為其樂團特色。從品牌建構的角度而言，金爆樂團作為一個藝人品牌，其利基點、競爭優勢與品牌建構之步驟為何？在競爭激烈的日本藝能界中勝出之關鍵又是什麼？而台灣與日本的藝人品牌之建構又有何雷同、差異性與需要省思處？
本研究以日本金爆樂團作為一藝人品牌進行個案分析，藉由深度訪談金爆的十位日本fans，以及參與觀察金爆的現場演唱會和活動過程，再輔以相關的次級資料，透過金爆樂團在核心價值、識別系統、事件經歷與附屬商品等多處的呈現，作為新生代藝人品牌建構與台灣音樂市場後續發展等研究目的之參考。分析結果發現，「惡搞」、「空氣」、「搖滾」和「地下樂團」的標籤初步定位了金爆在日本藝能界裡的位置，打破主流樂團在日本音樂市場稱霸的藩籬，而品牌承諾的落實與識別系統的創新則緊緊抓住了粉絲的心，在互信互賴的專業團隊的品質把關下，金爆樂團秉持初衷，繼續他們的演藝之路。 / After World War II, as the economy developed continuously, Japanese music industry had reached its ultimate peak in 1998 with physical record sales of JPY 607.5 billion. However, due to the contraction of the global music market and the rapidly maturing digital technology, Japanese music industry has entered a steep downturn for the record sales for years. In addition to the impact of technological revolution, the changes in the masses’ demands for the music market are also a significant factor in the decline of record sales. On this account, many record companies have transformed themselves into a brokerage firm, actively developing the new value of the music market, among which the branding of artists and live performances are the most two notable trends of the value creation.
At the same time, the pop music market has become more diverse and entertaining. Golden Bomber, a Japanese “visual kei” air rock band that officially debuted in 2008, is famous for their unique performance by acting out short dramas instead of playing with instruments, which has not only overthrown the common view of a traditional band and also become the band’s unique characteristic. From the perspective of brand building, what are the niche point, competitive advantages, and brand building steps of Golden Bomber as an artist brand? What is the crucial key they can stand out in the fierce competition in the Japanese entertainment industry? As for Taiwanese artists, what are their similarities and differences from Japanese artists and what should they reflect on?
This study aims to conduct a case study of Golden Bomber as an artist brand by utilizing the in-depth interviews of ten Japanese fans of the band and the author’s observation during the personal participation in the live concerts and events of the band in combination with the supplemented relevant secondary data, hoping to be taken as a reference for the artists of the new generation for brand building and for the future development of Taiwanese music industry with the presentation of various aspects of Golden Bomber, including the band’s core values, identification systems, event experience and affiliated commodities. The analysis results found that several labels attached to Golden Bomber such as “parody”, “air”, “rock” and “underground band” have initially positioned the band in the Japanese entertainment industry, breaking the barriers built by the mainstream bands that dominate the Japanese music industry. Furthermore, the band’s implementation of brand promise and the innovation of identification systems have firmly kept their fans glued to the band. With the mutual trust with a professional team and the persistence in the quality, Golden Bomber has continued their career with their original intention.
| Identifer | oai:union.ndltd.org:CHENGCHI/G0101861003 |
| Creators | 何欣鴻, Ho, Hsin Hung |
| Publisher | 國立政治大學 |
| Source Sets | National Chengchi University Libraries |
| Language | 中文 |
| Detected Language | English |
| Type | text |
| Rights | Copyright © nccu library on behalf of the copyright holders |
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