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Chung, Simon. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. ; Includes bibliographical references (leaves 123-130). ; Abstracts in English and Chinese; appendix 2 in Chinese. ; Abstract ; Chapter Chapter 1 --- Introduction --- p.4 ; Chapter Chapter 2 --- "Film Policies in France, Canada and Korea" --- p.19 ; Chapter Chapter 3 --- Hong Kong Film Policy --- p.65 ; Chapter Chapter 4 --- Conclusion --- p.106 ; Appendix --- p.114 ; Bibliography --- p.120

Gao Yang. ; Thesis submitted in: June 2005. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. ; Includes bibliographical references (leaves 123-133). ; Abstracts in English and Chinese. ; GENDER AND NATIONALISM IN CHINESE FILMS BETWEEN 1949 AND 1989 --- p.I ; 摘要 --- p.III ; ABBREVIATIONS --- p.VIII ; Chapter CHAPTER 1 --- INTRODUCTION --- p.1 ; Chapter 1.1 --- Literature Review --- p.2 ; Chapter 1.1.1 --- "Nation, State and Nationalism" --- p.2 ; Chapter 1.1.2 --- Gender and Nation in Chinese Cinematic Narration --- p.6 ; Chapter 1.2 --- Methodology --- p.10 ; Chapter 1.2.1 --- Typology --- p.10 ; Chapter 1.2.2 --- Film Analysis as Method --- p.11 ; Chapter 1.2.3 --- Case Selection --- p.16 ; Chapter CHAPTER 2 --- SOCIAL BACKGROUND OF CHINA: 1949-1989 --- p.22 ; Chapter 2.1 --- Background of the First Period:1949-1978 --- p.22 ; Chapter 2.1.1 --- "New China, New Women" --- p.22 ; Chapter 2.1.2 --- The Cooperative Movement and the Communization Movement:1952- --- p.24 ; Chapter 2.1.3 --- The Great Leap Forward and the Suppression of Individualism:1958-1960 --- p.26 ; Chapter 2.1.4 --- The Magnification of Class Struggle and the Cultural Revolution --- p.28 ; Chapter 2.1.5 --- The Unchanged Philosophy behind the Changing Policies: the Strategic Opening Up of Public Domain for Women --- p.30 ; Chapter 2.2 --- Economic and Political Landscape after the Cultural Revolution: 1979-1989 --- p.31 ; Chapter 2.2.1 --- Economic Reform and the Concomitant Social Problems --- p.31 ; Chapter 2.2.2 --- Political Liberalization and the Backlashes --- p.32 ; Chapter 2.2.3 --- "The ""Cultural Fever"" and the ""Fifth Generation"" Filmmakers" --- p.33 ; Chapter 2.2.3.1 --- Collective Frustration: The Social Sentiment after the National Trauma --- p.33 ; Chapter 2.2.3.1.1 --- Traumatic Experiences during the Cultural Revolution --- p.33 ; Chapter 2.2.3.1.2 --- The Lost Past --- p.36 ; Chapter 2.2.3.1.3 --- The Meaningless Present --- p.36 ; Chapter 2.2.3.2 --- The Specter of Westernization --- p.37 ; Chapter 2.2.3.2.1 --- ...

Chan, Pui Shan. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. ; Includes bibliographical references (leaves 113-118). ; Abstracts in English and Chinese; appendixes includes Chinese. ; Acknowledgements --- p.ii ; Abstract --- p.iii ; Chapter Chapter 1: --- The Political and Social Influence on the Development of Hong Kong Film Industry and the Cantonese Cinema in the 1950s and the 1960s --- p.1 ; Chapter Chapter 2: --- Defining the Genre: Three Characteristics of Hong Kong Cantonese Youth Film --- p.24 ; Chapter Chapter 3: --- The Functions and Characteristics of Song in Cantonese Youth Film --- p.53 ; Chapter Chapter 4: --- The Modernity of Cantonese Cinema and the City (Hong Kong) --- p.87 ; Chapter Conclusion: --- Hong Kong Cantonese Youth Film and the Construction of Identity --- p.104 ; Appendix 1 --- p.107 ; Appendix 2 --- p.109 ; Appendix 3 --- p.111 ; Bibliography --- p.112

He, Mali. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. ; Includes bibliographical references (leaves 104-112). ; Abstracts in English and Chinese. ; Abstract (English version) --- p.i ; Abstract (Chinese version) --- p.iii ; Acknowledgement --- p.v ; Table of Contents --- p.vii ; List of Tables --- p.ix ; List of Figures --- p.x ; Chapter Chapter 1. --- Local Media Industry in the Global Context --- p.1 ; Chapter 1.1 --- Introduction --- p.1 ; Chapter 1.2 --- The Issues of Globalization --- p.5 ; Chapter 1.3 --- Cultural Industries: Political Economy in Practice --- p.12 ; Chapter 1.4 --- Hollywood Reacquainted --- p.14 ; Chapter Chapter 2. --- Industrial Reforms and the Current Development of the Chinese Film Industry --- p.18 ; Chapter 2.1 --- Trajectory of the Chinese Film Industrial Reforms --- p.18 ; Chapter 2.11 --- The Internal Industrial Reform --- p.20 ; Chapter 2.12 --- The Reforms on External Policy --- p.22 ; Chapter 2.13 --- Closer Economic Partnership Agreement (CEPA) --- p.26 ; Chapter 2.14 --- Consequences of and Implications for the Chinese Film Industrial Reforms --- p.29 ; Chapter 2.2 --- A Glance at the Current Development and Dilemma in the Chinese Film Industry --- p.31 ; Chapter Chapter 3. --- Research Questions and Methodology --- p.39 ; Chapter 3.1 --- Analytical Framework --- p.39 ; Chapter 3.2 --- Research Questions --- p.42 ; Chapter 3.3 --- Methodology --- p.43 ; Chapter Chapter 4. --- The Analysis of Localization of the Foreign Media Capital in Crazy Stone --- p.48 ; Chapter 4.1 --- Trajectory of Warner Bros. Entering Mainland China Market --- p.49 ; Chapter 4.2 --- Investment Mode of Crazy Stone --- p.53 ; Chapter 4.3 --- Successful Strategies Contributing to the Success of Crazy Stone --- p.60 ; Chapter 4.3.1 --- Localization of the Creative --- p.60 ; Chapter 4.3.2 --- Localization of the Content --- p.65 ; Chapter 4.33 --- Localization of the Economic --- p.74 ; Chapter 4.34 --- Localization of Marketing Strategies --- p.80 ; Chapter 4.35 --- Success of Crazy Stone ...

Shin, Kei-Wah Victor. ; "November 2010." ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. ; Includes bibliographical references (leaves 177-198). ; Abstracts in English and Chinese. ; Abstract --- p.i ; Acknowledgments --- p.iv ; Table of Contents --- p.vi ; List of Tables --- p.ix ; List of Figures --- p.xii ; Chapter Chapter 1: --- Framing the Puzzles --- p.1 ; "INTRODUCING: ""The Curious Case of. a Fallen 'Asian Hollywood'""" --- p.3 ; METHOD AND DATA --- p.6 ; STRUCTURE OF THE THESIS --- p.12 ; Chapter Chapter 2: --- ""The Blind Side"" of Existing Explanations" --- p.15 ; CONVENTIONAL EXPLANATIONS --- p.17 ; Triad Intrusion and Piracy --- p.17 ; Hasty and Unpolished Productions --- p.19 ; EXPLANATIONS DERIVED FROM THEORETICAL PERSPECTIVES --- p.21 ; The Cultural Imperialism approach --- p.22 ; The Cultural-flows/ Network approach --- p.27 ; Suppositions related to the Cultural-flows/ Network approach --- p.32 ; The Reception approach --- p.36 ; The Cultural Policy and Strategies approach --- p.41 ; What about the Receiving Countries? --- p.46 ; THE POLITICAL-CULTURAL APPROACH --- p.48 ; Chapter Chapter 3: --- The "Bloom´ح in the 1970s and the 1980s --- p.53 ; "THE ""BLOOM""" --- p.53 ; BRINGING IN THE POLITICAL-CULTURAL APPROACH --- p.57 ; THE INDUSTRIAL SETTING OF THE HONG KONG FILM MARKET VIS-A-VIS HOLLYWOOD --- p.59 ; THE SOCIAL STRUCTURE OF THE HONG KONG FILM MARKET --- p.62 ; From Studio System to Independent Production System since the 1970s --- p.63 ; The Revenue-sharing Structure --- p.68 ; """CONCEPTIONS OF CONTROL"" IN THE HONG KONG FILM MARKET (1970s - 1980s)" --- p.70 ; Distributor-driven Exhibition --- p.72 ; Distributor-driven Production --- p.75 ; HONG KONG FILM INDUSTRY AT ITS PEAK IN THE LATE 1980s --- p.81 ; SUMMARY --- p.88 ; Chapter Chapter 4: --- "The ""Twilight"" since the mid-1990s" --- p.91 ; WHAT HAPPENED DURING THE 1990s? --- p.91 ; The Plot in Brief --- p.92 ; THE KEY TO SUCCESS TURNS INTO A SOURCE OF STRESS --- p.97 ; "Conventional Practices inscribed in the ...

自1989 年以来,中国独立电影在国家电影体制的管控之下,已经发展二十余年。随着数字摄影、非线性编辑、互联网应用等技术的不断提升,今天的独立电影与以往相比,拍摄成本更低、制作方式更便捷、影像质量更高、传播手段多样化;但其创作力和艺术水准并没有大幅提升,反而呈现停滞,甚至下降趋势。究其原因,当然包括官方压制、国内电影市场冲击、海外影展关注度降低等多方面外界因素的影响,但中国独立电影内部环境和中国独立电影人自身所存在的问题则往往被人们忽略掉了。本研究正是通过对中国独立电影二十余年历史的梳理,力图描述其内部生态环境的变化,提出中国独立电影在原有国家电影体制之外建构了一个新的体制--"亚体制",并分析"亚体制"对于当前独立电影创作和独立电影评论的影响。 ; 国家电影体制对中国独立电影的管控由来已久,尤其表现在对其传播、发行、放映的控制上。在此情况下,"前DV 时代(1989-2000 年)的独立电影人经历了从体制中逃离、与体制合作、回归体制的路线。而同时,一些民间电影放映社团逐渐搭建起了自己的独立电影放映管道,并培养了一批帮助独立作者进行影片推广的"中间人"。在"后DV 时代"(2000 至今),各地放映社团发展壮大,开始举办独立电影节,"中间人"也由此获得了更多的权力和威信,变为具有较强话语权的"关键人。就这样,以民间放映社团为单位,独立电影节为支柱,"关键人"为核心,独立电影基金、学校、资料馆、公司为分支的独立电影"亚体制"框架基本形成。本研究主要通过人物采访、田野考察、影像文本分析等方法,结合布迪厄(Pierre Bourdieu)"场域"的相关理论分析这一"亚体制"的结构关系、经济链条和体制化表象。 ; 经过论证,本研究认为在独立电影"亚体制"的场域中,"关键人"通过积累文化资本、经济资本和社会资本的方式来获得权力,并在此基础之上建立其评价体系,形成"非主流"中的主流标准。如果这种状况得不到改善,"阶级"、"霸权"、"垄断"等问题将会愈演愈烈,独立电影界也会重蹈原有体制的覆辙,其内部会逐渐丧失"独立性",最终导致抑制独立电影多元化发展的结果。 ; Since 1989, the independent film in China, under the control of national cinema institution, has already had a history of more than 20-year development. With the continuous improvement of technology in the fields of photography, editing and internet application, today's Chinese independent film has lower producing cost, quicker production methods, higher image quality, and more diversified transmission methods. However, instead of a substantial improvement, the creativity and theartistic criteria of the films tend to stagnate and even have a tendency to decline, for which the main reasons might be government control, the impact of the domestic film market, the reduced attention of abroad film festivals and other external factors, but we cannot ignore the internal problems in the ecosystems of the independent film and the filmmaker themselves. This study, through sorting the over-20-year development history of independent films in China, strives to describe the changes of the internal ecological environment and put forward institutionalization of the independent film outside the national institution. ; The national cinema institution has a ...

張詠思. ; "2012年1月". ; "2012 nian 1 yue". ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. ; Includes bibliographical references (leaves 144-152). ; Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. ; Abstract in Chinese and English. ; Zhang Yongsi.

本文探討在1970年代及1980年代之交,香港電影文化中介在傳播中國大陸電影的重要角色及他們如何評論大陸電影。在這段期間,除了香港左派系統在院線發行大陸電影,電影文化組織舉辦的影展與特別放映活動也十分熾熱,甚至引起更大的文化迴響。本文先追溯香港電影文化人的舞台──電影會(如香港電影文化中心)和電影雜誌(如《大特寫》和《電影雙周刊》)的發展,闡述香港電影文化人的電影觀、電影雜誌的編輯方針及香港電影文化與政治的關係等範疇。本文然後探討香港左派的院線和電影組織放映的電影,包括票房、觀眾、宣傳、片源、各類影展等,及放映對於電影接受的影響。這些語境將會帶出論文最重要的部份:分析香港影評人如何研究和評論1949年後的中國大陸電影製作及早期中國電影,並特別提出我們要考慮涉及的美學與非美學語境。最後,本文會評估在七、八十年代之交,香港電影文化人對中國電影的放映與評論,在華語電影的傳播與研究上有何意義。 ; This thesis analyzes the important role played by film critics in the circulation and reception of mainland Chinese films in Hong Kong at the turn of the 1980s. During this period, besides distributed by Hong Kong leftist camp in movie theatres, mainland Chinese films were also screened in different kinds of film festivals organized by film critics and organizations, which brought greater cultural influence. This thesis first traces the development of Hong Kong film culture, analyzing the roles played by critics, film clubs (e.g. Hong Kong Film Culture Centre) and film magazines (e.g. Close Up and Film Biweekly). Different aspects, such as Hong Kong critics' ideas on cinema, film magazines' objectives and principles of editing, and the relationship between Hong Kong film culture and politics would be elaborated. Then, this thesis would examine the circulation of mainland Chinese films by Hong Kong leftist camp and film organizations, including topics on box office, audience, promotion, sources of films, various film festivals and the influence on film criticism. With these essential contexts mentioned above, the most important objective of this study is to analyze how Hong Kong critics researched on and criticized the mainland Chinese films produced under People's Republic of China as well as the early Chinese cinema. Both aesthetic and non-aesthetic factors are taken into account. Finally, this thesis evaluates how Hong Kong critics at the turn of 1980s contributed to the promotion and studies of Chinese cinemas. ; 李惠銘. ; Thesis M.Phil. Chinese University of Hong Kong 2016. ; Includes bibliographical references ...

台灣自2002年的電影《藍色大門》後,兼以青春成長和同性戀為主題的商業電影相繼出現。從相關電影文本分析可見,這類電影脫離以往媒體再現同性戀者的刻板印象,明朗清新的電影基調亦有別歷年華語同志電影的悲情和政治色彩,對華語同志電影類型作出了翻新。本論文採取導演深入訪談的研究方法,從電影工業及創作角度切入,指出台灣當時已然崩潰的電影工業環境、輔導金制度、同性戀題材不構成籌資困難,以及青春成長電影類型低成本的特性,均是這類華語同志電影特例出現的原因。由於電影強調同性戀和異性戀者的共同性,對同志的再現反而有所局限,本文認為,更恰當的同性戀再現應包含正面肯定性差異的態度。台灣青春同志電影的個案,讓我們了解作者在商業電影創作中注入個性遇到的各種困難,亦提供了認識「後新電影」重尋生存策略的視角,檢示和整理台灣走出新電影運動後長達二十年的低谷的經驗。 ; Blue Gate Crossing (2002) marked the beginning of a series of coming-of-age films that dealt with homosexual subject matter in commercial Taiwanese cinema. Using the method of textual analysis, it is found that the basic tone of these films is light and refreshing, in contrast to the sad and political tone in previous generations of homosexual films. These coming-of-age films formed a new genre of Chinese-language homosexual cinema and a divergence from previous media representation of homosexual stereotypes. By conducting in-depth interviews with directors of these films and dissecting the creative process of production, it is found that the reasons for the appearance of this new genre include the collapse of Taiwanese cinema, the policy of government subsidies, the ease of securing funding and the low cost of producing coming-of-age films. It is also found that by emphasizing the similarities between homosexual and heterosexual relationships, these films created limitations for the representation of homosexuality. A more appropriate representation of homosexuality should include affirmation of sexuality differences.This special case of a coming-of-age homosexual genre reveals the difficulties faced by directors when they tried to add creative elements to commercial cinema, and provides insights into strategies for Post-New Cinema to survive. This study thus stands as an overview of how New Taiwan Cinema rebounded after its 20-year-long trough. ; Detailed summary in vernacular field only. ; 鍾嘉瑩. ; Thesis (M.Phil.) Chinese University of Hong Kong, 2015. ; Includes bibliographical references (leaves 110-116). ; Abstracts in English and Chinese. ...

Chan, Pui Lun. ; "December 2010." ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. ; Includes bibliographical references (leaves 133-147). ; Abstracts in English and Chinese. ; Abstract of thesis entitled: --- p.i ; Abstract (Chinese) --- p.iii ; Acknowledgements --- p.iv ; Table of Contents --- p.v ; List of Figures and Tables --- p.viii ; Romanization and Translation --- p.ix ; Chapter Chapter One - --- Introduction --- p.1 ; Chapter 1.1 --- "Motivations, Arguements and Methodology" --- p.2 ; Chapter 1.2 --- Ethnomusicological Studies on Chinese Operas --- p.3 ; Chapter 1.3 --- Studying Peking opera in Hong Kong --- p.5 ; Biographies of Mainland Peking Opera Performers --- p.5 ; Newspapers Reports and Columns --- p.6 ; Interview Transcripts of Peking Opera Artists in Hong Kong --- p.7 ; Government Documents and Archival Data --- p.8 ; Fieldwork --- p.8 ; Challenges and Limitations --- p.9 ; Chapter 1.4 --- Thesis Outline --- p.10 ; Chapter Chapter Two - --- The History of Peking Opera in Hong Kong --- p.14 ; Chapter 2.1 --- The Dual Forces of Cultural Policies --- p.15 ; Tour Performances as Diplomacy --- p.15 ; The First Encounter: Mei Lan-fang's Tour in 1922 --- p.17 ; Cultural Competition between the Two Chinese Regimes --- p.21 ; Cultural Policy of the Colonial Government before 1980 --- p.24 ; Chapter 2.2 --- Early Peking Opera Activities in Hong Kong --- p.26 ; Peking Opera in Recordings and Radio Broadcasting --- p.26 ; Peking Opera Films in the 1940s and 50s --- p.33 ; Integrating Peking Opera with Local Martial Arts Films in the 1960s and 70s --- p.35 ; Local Peking Opera Academies --- p.38 ; Amateur Peking Opera Groups --- p.42 ; Hybridization Between Peking Opera and Cantonese Opera --- p.43 ; Chapter 2.3 --- An Entertainment for Mainland Emigrants --- p.48 ; Chapter 2.4 --- Summary --- p.51 ; Chapter Chapter Three - --- Contemporary Peking Opera Activities --- p.54 ; Chapter 3.1 --- The Continuing Political Influence --- p.55 ; The Shifting Dynamics of Political Influences in the ...

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

Liang, Yue. ; "November 2011." ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. ; Includes bibliographical references. ; Abstracts in English and Chinese. ; ACKNOWLEDGMENTS --- p.i ; INTRODUCTION --- p.1 ; Chapter Chapter One: --- "The Appearance of the ""Robust Beauty Girl"" in the late 1920s" --- p.9 ; "The Infatuation with the ""Western Beauty""" --- p.10 ; "The Western ""Robust Beauty Girl:"" Hollywood Film Stars" --- p.13 ; "The Chinese ""Robust Beauty Girl:"" Female Students" --- p.19 ; Chapter Chapter Two: --- "The Reconstruction of the western ""Robust Beauty"" in the 1930s-40s" --- p.27 ; "The Suspicion on the Western ""Robust Beauty""" --- p.29 ; "The Reconstruction of the western ""Robust Beauty"": critique on the ""Modern Girl""" --- p.37 ; "The Kuomintang's Response to the western ""Robust Beauty""" --- p.52 ; Chapter Chapter Three: --- The Construction of the Chinese Womanhood in the War Period --- p.70 ; The Communist Womanhood in the Jiangxi Period --- p.72 ; The Women's Steering Committee and the Wartime Womanhood --- p.80 ; The New Outlook of the Communist Womanhood in the Yan'an Period --- p.91 ; Chapter Chapter Four: --- "The National Communist Womanhood: the ""Iron Maiden"" in the 1960s-70s" --- p.107 ; "National Model: Two Categories of the ""Iron Maiden""" --- p.109 ; From Person to the Nation: Organization Form and Political Consciousness --- p.114 ; CONCLUSION --- p.126 ; APPENDIX --- p.132 ; BIBLIOGRAPHY --- p.139