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Chan, Siu-han. ; Thesis submitted in: July 2004. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. ; Includes bibliographical references (leaves 184-193). ; Abstracts in English and Chinese. ; ABSTRACT --- p.i ; 論文摘要 --- p.ii ; ACKNOWLEDGEMENTS --- p.iii ; CONTENTS --- p.v ; INTRODUCTION ; Chapter 1.1 --- Empirical Puzzles and Theoretical Concern --- p.1 ; Chapter 1.2 --- The Cultural Scene in Hong Kong --- p.5 ; Chapter 1.3 --- Defining the New Wave Cinema --- p.8 ; Chapter 1.4 --- The Objectives of the Thesis --- p.12 ; Chapter Chapter 2 --- In Quest of Theoretical Perspective and Analytical Framework ; Chapter 2.1 --- Existing Studies of the New Wave Cinema --- p.13 ; Chapter 2.2 --- The Study of Popular Culture in Hong Kong --- p.21 ; Chapter 2.3 --- Culture Industry: The Approach of the Frankfurt School --- p.28 ; Chapter 2.4 --- The Elective Affinity of Culture Industry with Hong Kong Society --- p.33 ; Chapter 2.5 --- Analytical Framework --- p.36 ; Chapter Chapter 3 --- The Anxiety of Political Subjectivity ; Chapter 3.1 --- Prelude --- p.45 ; Chapter 3.2 --- The Perturbed Hong Kong People --- p.50 ; Chapter 3.3 --- The Hong Kong Diaspora --- p.57 ; Chapter 3.4 --- The Negative Projection on the Colonizers --- p.60 ; Chapter 3.5 --- The Ambivalence Towards the Motherland´ؤChina --- p.66 ; Chapter 3.6 --- Discourse on Political Modernization: The Anxiety of Political Subjectivity --- p.86 ; Chapter Chapter 4 --- The Contradiction of Societal Modernization ; Chapter 4.1 --- Prelude --- p.89 ; Chapter 4.2 --- Looking back at the Pre-modernized Social Order --- p.91 ; Chapter 4.3 --- Rethinking the Entanglement of the Old and the New --- p.102 ; Chapter 4.4 --- Representing the Modernized New Social Order --- p.110 ; Chapter 4.5 --- Discourse on Societal Modernization: The Contradiction of Societal Modernization --- p.123 ; Chapter Chapter 5 --- The Fragility of Hong Kong Cultural Identity ; Chapter 5.1 --- Prelude --- p.126 ; Chapter 5.2 --- Historical Memories as Cultural Receptacles --- p.128 ...

Public discourse on cultural identity was not possible on the island of Taiwan until martial law was lifted there in 1987. While until then culture had mainly been an arena for the suppressed political discourse, the demise of the one-party reign of the Guomindang (KMT) at the end of the 20th century signified not only the transformation from an autocratic to a democratic system but also the end of the cultural hegemony of the mainlanders on the island. The transformation process paved the way for further cultural innovation, the keywords here being education reform, language debate, establishment of new academic disciplines, historiographic reconstruction etc. It has also led to a widespread discussion of a specifically Taiwanese cultural identity which is reflected in literature, language, art, theatre and film. The international workshop "Transformation! - Innovation? Taiwan in her Cultural Dimensions", held at Ruhr University in Bochum from March 7th-9th 2001, set out to shed new light on these issues and generated an intensive discussion of potential new interdisciplinary approaches to cultural and literary research in the field of Taiwan studies