音樂錄影帶是流行音樂產業推銷其音樂產品的其中一種重要管道，透過與歌曲同時播送的影像，企求能夠觸及更多閱聽人，吸引其注意力，並獲得更好的銷售成績。
許多音樂錄影帶的內容，是來自歌詞與音樂構成的意境與內容進一步發想、改編而成的故事，並隨著歌曲播放一面開展。這一種參考創作關係而產生的結果，類似於原著小說與依其改編而成的電影或電視劇，可以被視為一種互文性（Intertextuality）的展現。
2010年代末期，開始出現音樂作品之音樂錄影帶，是以不斷循環播放的簡短影像，亦即是循環影像（Video Loop）為基礎素材。相較於過往具有明顯敘事性的音樂錄影帶，以循環影像作為音樂錄影帶，並無法跟隨著音樂意境與歌詞的變化去回應，只能持續播放著相同的內容。
有鑑於此，本論文盼以個人之專輯《都會笑話輯》中，以循環影像性質製作的音樂錄影帶作為對象，藉由分析傳統與循環錄像形式的音樂錄影帶的特性，探討在這樣不具備與音樂一同發展的故事性的音樂錄影帶，是否仍然與歌曲具有互文性之關係，該以何種觀點來認識此一現象。

Music video is one of the most regular components in the marketing procedures of popular music. Expecting to acquire the attention of the audience of the market to lead to the growth of the products selling through the video playing along with the music.
The contents of many music videos are stories developed form the concept and the content of the music and progresses with the music. The result of this kind of production with reference is similar to the movies or TV dramas adopted from the novels, which could be deem an example of the Intertextuality.
In the end of 2010s, music videos that used an infinite replaying video loop as the main ingredient started to emerge on the market. Comparing to the traditional music videos that have obvious narrative, music videos that utilize video loop could not progress with the concept of music and lyrics, which could only keep looping the same content throughout the whole song.
In consideration of this phenomenon, this thesis would like to make music videos from my album “An Album of Urban Jokes” that utilizing video loop as target, to try to analyze whether this kind of music videos that are not provided with the narrative of the music still could be put in the consideration of Intertextuality.

一、中文專書
吳承紘（2017）。厭世代—低薪、貧窮與看不見的未來。新北市：月熊出版。
蔡錚雲（2006）。另類哲學—現代社會的後現代文化。臺北：邊城出版。

二、中文翻譯書籍
布朗（Brown, C. T.）（1994）。搖滾樂的藝術（The Art of Rock and Roll）（林芳如譯）。台北：萬象圖書股份有限公司。（原著出版年：1983）
度梭（Doussot, M.）（2006）。樂玩樂酷就是搖滾：你的第一本搖滾入門書（就是搖滾1）（Pop Rock Story Volume 1）（鄭兆琪譯）。台北：音樂向上股份有限公司。（原著出版年：2006）
度梭（Doussot, M.）（2006）。樂玩樂酷就是搖滾：你的第一本搖滾入門書（就是搖滾2）（Pop Rock Story Volume 2）（鄭兆琪譯）。台北：音樂向上股份有限公司。（原著出版年：2006）
Frith, S., Straw, W., & Street, J.（2005）。劍橋大學搖滾與流行樂讀本（The Cambridge Companion to Pop and Rock）。（蔡佩君、張志宇譯）。臺北：商周出版。（原著出版年：2001）
吉奈堤（Giannetti, L. D.）。（2008）認識電影（Understanding Movies）。（焦雄屏譯）。台北市：遠流出版事業股份有限公司。（原著出版年：2005）
Johnson, A. G. (2003)。見樹又見林：社會學作為一種生活、實踐與承諾（The Forest and the Trees: Sociology as Life, Practice, and Promise）。（成令方、林鶴玲、吳嘉苓譯）。臺北市：群學出版有限公司。（原著出版年：1997）
薩莫瓦約（Samoyau, T.）（2002）。 互文性研究（頁36-58）（L′intertextualité, Mémoire de la Littérature）（卲煒譯）。天津：天津人民出版社。（原著出版年：2001）
Stam, R.（2012）。電影理論解讀（頁275-291）（Film Theory: An Introduction）（陳儒修、郭幼龍譯）。臺北市：遠流。（原著出版年：2000）

三、西文專書
Duffell, D. (2005). Making Music with Samples: Tips, Techniques, and 600+ Ready-to-Use Samples (pp. 14). San Francisco: Backbeat Books.

四、學位論文
王奕舜（2013）。論敘事型音樂錄影帶和歌詞的改編與互文性—以金曲獎音樂錄影帶獎項為例（2010-2012）。國立臺灣藝術大學廣播電視學系應用媒體藝術班碩士論文，新北市。
林家寶（2012）。音樂意象的影像建構 ─ 以反映社會現象的音樂錄影帶創作為例。國立臺灣師範大學圖文傳播學系碩士論文，台北市。

五、電子資料庫
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六、網路資訊
中央社洛杉磯綜合外電報導（2018年12月12日）。波希米亞狂想曲 20世紀全球串流次數最多歌曲[影]。中央通訊社。上網日期：2019年10月2日，取自https://www.cna.com.tw/news/amov/201812110246.aspx?utm_source=cna.facebook&utm_medium=fanpage&utm_campaign=fbpost
吳承紘（2017）。【厭世代】低薪、貧窮與看不見的未來：我們現在在哪裡？。上網日期：2019年8月29日，取自https://www.thenewslens.com/feature/millenial-angst/66952
臺北市交通管制工程處（2014）。本市實施行人專用時相路口已達172處。上網日期：2019年10月17日，取自https://www.bote.gov.taipei/News_Content.aspx?n=512804BC5B3D57B0&sms=72544237BBE4C5F6&s=3965A23664A40CB3
教育部國語推行委員會（2015）。厭世。重編國語辭典修訂本。中華民國教育部。上網日期：2019年8月29日，取自http://dict.revised.moe.edu.tw/cgi-bin/cbdic/gsweb.cgi?ccd=NHu6SO&o=e0&sec=sec1&op=v&view=0-1
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