Suchergebnisse

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

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

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 ...

"In his book A Second History, Beijing-based artist, Zhang Dali, examines the widespread use of photographic manipulation carried out by the Chinese government during the regime of Mao Tse-tung (1949-76). Using a compare and contrast format this artist book presents a chronological sequence of original, unmodified images together with their doctored doppelgängers which were manipulated in party-run, photo labs in the 50s, 60s and 70s for the Chinese propaganda market." -- From www.bywaterbros.com (Viewed 8 November 2012)