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 ...
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
中國大陸的電影審查是在意識形態領域對文化工業所施加的國家控制,以確保後者能夠服務於整體性的國家目的。20 世紀 80 年代中期,原本主要承擔宣傳和教育功能的電影工業開始了國家主導的改革,並在新世紀被定位為"文化產業"後,其主體迅速向資本化、商業化和娛樂化發展。本文的目的就是研究在這一過程中,審查制度及其實踐的變遷與延續,特別是要追問它在制度上沿襲了毛澤東時代基本框架和不放棄意識形態控制的同時,為什麼可以容納文化產業化電影工業的發展。為此,我選擇了生產研究(production study)路徑,從"結構-行動者"(structure-agent)的分析框架出發,以對電影人和審查者的訪談材料為基礎,綜合多種途徑搜集到的一手和二手資料,聚焦於這些行動者審查與自我審查的日常實踐,以及支撐他們實踐活動的信條(belief)和話語(discourse)體系。我認為問題關鍵在於改革過程中國家自身的分化。首先,國家控制電影工業的出發點從單一的政治目的,多元化為經濟、政治和文化三重目的。其次,隨著國家目的多元化,主要考慮政治問題的審查權力機構和兼顧經濟與文化發展的審查執行機構在利益和立場上的分化進一步加深。這些使國家控制本身出現了一定的彈性(flexibility),給電影工業有限的發展空間。這種彈性主要表現在兩個方面:一是審查標準上"去政治化的政治"原則;二是審查制度設計及其實踐上的"結構的不確定性"。前者代表了國家意識形態控制的原則,後者是具體的控制手段。因此,本研究同時也處理了中國國家在後社會主義轉型過程中,國家控制的性質及其運作機制的問題。 ; In China, censorship system of the film industry is ideological control of the state, for ensuring later can serve the object of the former. From the mid 1980s, the film industry begun to reform by the state, and it became one of the "cultural industries" in the beginning of the new millennium from the tool for propaganda and education, as well as is being capitalized and commercialized quickly. ; The purpose of this thesis is to study the change and continuity of this censorship system and its practice during this period, as well as to answer the question why this censorship system can allow such kind of development, while this system still follows the basic framework of the one in Mao's era and does not give up the goal of ideological control. ; So, methodologically, I chose the production study approach and structure-agent analytical framework. Basing on the interviews of filmmakers and reviewers, as well as other first-hand and secondary materials, this thesis focus on the agents' practice of censorship and self-censorship, as well as the belief and discourse system behind these practice. And I think the answer of that question above is the diversification of the state during the reform. Firstly, it is the diversification of the object of the state, it becomes politics, economy and culture from politics only. Secondly, with the ...
本文是關於泰國導演阿比查邦·魏拉希沙可在2000 年至2010 年間作品的整體性研究,包括電影、短片和錄影裝置等不同形式。我們將討論阿比查邦的現代主義電影風格如何回應當下泰國的社會政治現實和歷史處境,並產生其文化政治效應。同時,我們也試圖借此重申和強調電影的美學研究在把握作品形式與外在歷史社會條件上的融貫性和理論重要性,尤其是在以時間為現代思想和經驗的內在線索這點上。 ; 首先我們將阿比查邦置於世界電影史和泰國電影史交匯的座標之下,然後從個三方面考察他如何將泰國的"非同步"、複調節奏的社會現實納入對"非順時性時間"探索(與戰後現代主義電影的譜系一致)的美學風格中。第一個方面,是他在早期作品中關於"講故事"形式的實驗,據此他發展出一種新的敘事性,打破傳統敘事中統一的"敘述時間",而替代以一種"居中性"的"時差"效應;同時發展出對分離的聲畫關係的各種新嘗試。第二個方面,是他中期作品中對感性經驗的重塑,包括引入異質化多元的時延、非個人知覺和情感模式。第三個方面,是貫穿電影長片和錄影裝置作品的"分叉"結構(或二分結構)。通過這一結構,他引入對時間性三維(過去現在未來)的靜態綜合和重新分配,即,將編年歷史的順時時間內攝於各種元素差異與重複建立起的超歷史(或非歷史)的時間分化;無論是過去還是當下的事件,都被體驗為一種對先在的純粹的事件如同儀式一般的召喚。這正是阿比查邦式的非歷史性的時間觀念和神話式敘述機制。同時,每一個方面都包含了阿比查邦在相應的作品中處理回應的泰國社會現實問題,將在論文中詳細展開。 ; This dissertation has three ambitions. The first is to provide an interpretation of the works by Apichatpong Weerasethakul in the 2000s as an auteur study, including feature films, experimental shorts, and video installations, which requires a new vision for film criticism for the compelling mode of filmmaking practice. The second is to discuss the social-political function of the modernist cinema in a contemporary society with specific historical trajectory of modernity, by investigating how Apichatpong's works relate/respond to Thai historical-social-politic circumstance. The third is to make an argument for the theoretical importance of aesthetics study of cinema in the light of the concern for time that is intrinsic to both thought and being and underlies modern experience. ; By locating Apichatpong in the junction of global and local cinema with historical contextualization, this study will unfold around how Apichatpong registers the polyrhythm of the "non-synchronicity" of contemporary Thai reality on his artistic innovative of the non-chronological temporality in three main parts. The first is the "storytelling device" which creates a new narrativity by transforming the "diegetic time" into a pure "time-lag" or "in-between" with an experiment of the disparity of sound and image. The second is a reconfiguration of the sensible, which consists of heterogeneity of ...
田漢(1898-1968)是中國現代文學的重要劇作家之一。他亦以電影劇本作家、戲曲作家、詩人、小說家、散文家、翻譯家、歌詞作家、文學評論家和社會活動家知名於世。田漢雖在文學史上有著舉足輕重的地位,其研究卻長期受到政治因素制約。新時期以來,田漢研究轉趨活躍,但論者多從比較文學的角度分析其作品。本論文希望從田漢在日本大正時期留學的經歷,考察其早期藝術生命之形成。 ; 大正時期,日本在經濟、文化、社會價值觀各方面都有著激烈變動,「兩性解放」為其時代精神,「新女性」的話題非常盛行。論者雖然大多留意到女性角色和婚戀議題在田漢早期作品的重要,但甚少提及田漢留日時期的經歷與其作品的關係。田漢是中國留日學生,早在日本時期即已開展話劇創作。除對外國文學的接受外,田漢實際上亦受到日本化的西方思想、運動和生活方式,例如女性解放理論、劇場運動和咖啡店文化所影響,而這些影響更以不同方式滲透到其早期作品中。本論文旨在闡述這些因素在田漢早期創作生命中所起的作用,尤其是他對女性和婚戀議題的思考和取態。本論文的研究範圍涵括田漢在二十世紀二十年代的整個創作歷程。 ; 本論文共分五章,內容如下:第一章為導論,簡介田漢研究的情況、本論文的研究範圍、目的和方法。第二章至第四章討論大正時期不同的社會文化因素與田漢早期作品的關係。第二章考察田漢早期作品對日本大正時期女性解放理論的接受和轉化,以及田漢對當時社會戀愛事件的評價。第三章闡述藝術座的新劇運動,以及其創立人島村抱月和松井須磨子的戀愛事跡對田漢早期創作生命的影響。第四章從大正時代的咖啡店文化出發,分析田漢一系列不同文類、以咖啡店女侍為主角的早期作品。第五章為總結。 ; Tian Han (1898-1968) is one of the most prominent dramatists of modern Chinese literature. He is also renowned as a film scriptwriter, xiqu (traditional Chinese drama) writer, poet, novelist, proser, translator, lyricist, literary critic and social activist. Nevertheless, the study of Tian had long been at a standstill due to political reasons. Since the 1980s, most of the researches have been conducted from the approach of comparative literature. This thesis, however, traces the development of Tian's literary life by examining his experiences in Japan during the Taisho Period. ; During the Taisho Period, Japan experienced tremendous changes in economy, culture and social values, with "sex liberation considered as the zeitgeist and "new women as a popular issue. Many scholars have discussed the significance of female characters and the theme of "love and marriage in Tian's early works, but they seldom mentioned the influences by Tian's experiences in Japan. Tian, as a returned Chinese student, had started his playwright career in Japan. Apart from the reception of western literature, Tian was also influenced by the "Japanized western thoughts, movements and lifestyle, such as feminist theories, theatre movements and café culture, which had penetrated his early works in different ways. With the focus on Tian's literary works ...
当今,越来越多的用倾向于使用论坛、博客、脸书等在线工具来表达关于商品、电影和政治等话题的观点。这些观点不仅可以帮助用进行决策,同时也为各个商业和社会领域提供了具有重要价值的反馈信息。因此,面向观点应用成为了当前最活跃的研究领域之一,其中包括观点检索,观点摘要,观点问答。面向观点应用与面向事实应用的根本区别是信息需求的不同,分别是传统的客观信息和主观信息。所谓主观信息是指对于某个特定目标的观点或评论。为了表示主观信息,应该综合考虑观点性、主题相关性,以及观点与主题之间的关联。现有的基于词袋的表示方法将词作为描述客观信息的基本语义单元,它可以有效的表示主题相关性以满足客观信息的需求。而主观信息需要同时考虑观点性和主题相关性,由于单独一个词不能同时表示观点性和相关性,因此词不再是最小的语义单位。此外,基于词袋的表示方法忽略了词序和词义,这使得观点性和相关性两类信息通常混在一起,难以区分。因此,基于词袋方法不能够准确的表示主观信息,并严重的影响了面向观点应用的性能。 ; 本文回答了以下几个由主观信息表示不当所引发的研究问题: 1. 对于主观信息而言单个词将不再是基本语义单元,是否存在一种有效的表示方法对其进行描述? 2. 由于主观信息是观点信息和相关性信息的结合,如何利用新的表示方法来描述这二者之间的关联信息?3. 如何对主观信息进行量化,以便对文档进行检索和分析? 4. 如何在面向观点应用中实现全新的主观信息表示方法? ; 由于观点检索的结果会直接影响到其它面向观点应用的性能,因此本文从观点检索这一问题入手。首先,我们提出了一种基于句子的方法来分析词袋表示方法的局限性。以此为据,定义了一种具有丰富语义的表达方式来表示主观信息,即词对,它是由出现在同一句子中的情感词和与之关联的目标词共同组成的。然后,我们提出了一系列方法来描述和获取两类语境信息:1)观点内信息:我们给出了三种提取词对的方法以获取观点与主题的关联信息;2)观点间信息:我们提出了一种权重计算方法来度量词对间的相关程度,从而获取词对与词对之间的关系。最后,我们集成了观点内信息和观点间信息并提出了潜在情感关联模型来解决观点检索这一问题。在标准数据集上的实验结果表明,基于词对的表示方法可以有效地描述主观信息,同时潜在情感关联模型能够获取词与词之间的关联信息,从而实现了利用语境信息提高观点检索的效果。 ; 此外,我们将词对应用于观点摘要和观点问答中,标准数据集上的评测结果显示基于词对的主观信息表示方法对于其它面向观点应用也同样有效。 ; There is a growing interest for users to express their opinions about products, films, politics, by using on-line tools such as forums, blogs, facebooks, etc. These opinions cannot only help users make decisions, e.g., whether to buy a product, but also to ob-tain valuable feedback for business and social events. Today, research on opin-ion-oriented applications (OOAs) including opinion retrieval, opinion summarization and opinion question and answering is attracting much attention. The difference be-tween fact-based and opinion-oriented applications lies in users' information need. The former requires objective information and the latter subjective, which comprises of opinions or comments expressed on a specific target. To meet the need of subjective information, both opinionatedness and relevance together with the association between them should be taken into account. Existing systems represent documents in bag-of-word. However, this representation fails to distinguish ...
