碩士 / 東吳大學 / 社會學系 / 102 / This thesis is based on the researcher’s favorable interests towards Japanese pop-music and culture. We tried to find out the reason through our listening experiences to understand what construct the researcher’s Japanese enthusiasm. We gathered the distribution data of modern music locations in Seimonchō and used the Geographic Information System mapping, making text data visualize. We analyzed and explained it in the viewpoint of sociology and quoted “Thirdspace” theory (Edward Soja’s) and “the flâneur” concept (Walter Benjamin), trying to involve ourselves with the fan culture, and to investigate the relation between modern Japanese music fans and the entire Seimonchō area and the last one: how do they demonstrate its unique feature and put it into practice.
Looking back on the history of Taipei city, we found out that from Japanese colonial period to the postwar time, Seimonchō has always been playing an important role in entertainment and music industries. Though after the Sino-Japan War, Japanese songs, movies and any form of audiovisual products were banned, some of them, secretly still kept active. Even now Seimonchō still serves as a wonderland for purchasing Japanese pop culture goods, peripheral products of young idols, and clothing. The way it aims at its potential consumer groups and how it displays the goods basically resemble that the street "Takeshita-dōri" does; however, the interview of the research indicates that Seimonchō is not the reflection of any part of Japan but the combination of past, present and future moments. The richness of its culture that derived from the Japanese colonial period has till now overcome the limitation of the boundaries and transformed itself into so-called “psudo-mix blood space” with the covering of Japanese street appearance.
Those who are fascinated with Japanese music and goods flock in and out Seimonchō, trying to satisfy both their desire for shopping and for making exotic connections. This research related these J-Pop fans to biologically called “the migratory fish” which build relations with Japan through shopping experiences and online browsing (sort of virtual walks). It has successfully eliminated the limitation of linear time from the colonial period to current time and put an end to the first, second, and third space, resulting in a featured undivided heterotopias. Seimonchō has been providing plenty of brick and mortar businesses for J-Pop fans to keep up with the trend of music and entertainment. If incidentally knocking at the door of heterotopias, the fans are associating Seimonchō with Japan; and by the experiences that gain from shopping and wandering indeed enhance the fans’ desire to go back to Japan.
| Identifer | oai:union.ndltd.org:TW/102SCU00208022 |
| Date | January 2014 |
| Creators | Zhou, RU-YU, 周汝育 |
| Contributors | 石計生 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 81 |
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