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by Cheung Hiu Wan. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 1999. ; Includes bibliographical references (leaves [135-140]). ; Abstracts in English and Chinese. ; Acknowledgement ; Abstract ; List of figures ; Chapter Chapter 1. --- Introduction ; Chapter 1.1 --- Scope of Study --- p.1 ; Chapter 1.2 --- Literature Review --- p.3 ; Chapter 1.3 --- Methodology --- p.13 ; Chapter 1.4 --- Structure of the Thesis --- p.17 ; Chapter Chapter 2. --- Historical Development of Comics in China ; Chapter 2.1 --- Comics History before1949 --- p.24 ; Chapter 2 . 2 --- Comics under the Reign of Chinese Communist Party --- p.29 ; Chapter 2.3 --- Beijing Cartoon after the Open Door Policy --- p.31 ; Chapter 2.4 --- Concluding Remarks --- p.39 ; Chapter Chapter 3 . --- Interaction with the Leaders of Beijing Publishing House ; Chapter 3.1 --- Leaders´ةExpectation for Beijing Cartoon --- p.41 ; Chapter 3.2 --- The Discrepancy between the Senior and Junior Editors --- p.51 ; Chapter 3.3 --- Editors' Comments on Interaction with the Leaders of the Beijing Publishing House --- p.54 ; Chapter Chapter 4. --- Interaction with the Senior Artists ; Chapter 4.1 --- Cartoon Art Festival98 --- p.57 ; Chapter 4.2 --- The Invasion of Japanese Comics --- p.59 ; Chapter 4.3 --- The Essence of Comics with Chinese Features --- p.63 ; Chapter 4.4 --- The Expected Role of the Chinese Government --- p.67 ; Chapter 4.5 --- The Editors´ة Comments on Cartoon Art Festival98 --- p.68 ; Chapter 4 . --- 6 Concluding Remarks --- p.70 ; Chapter Chapter 5. --- Interaction with the Junior Artists ; Chapter 5.1 --- Social Status of the Junior Artists --- p.12 ; Chapter 5.2 --- Cooperation with Beijing Cartoon --- p.11 ; Chapter 5.3 --- Why do they Join the Comics Business --- p.79 ; Chapter 5.4 --- Agreement and Terms of Payment --- p.87 ; Chapter 5.5 --- Summer Camping: Market Mechanism and Autonomy in Artists' Creation --- p.88 ; Chapter 5.6 --- The Editors' Expectation on the Roles of The Artists --- p.96 ; Chapter 5.7 --- Artists' Comments on the ...

Yeung, Hiu Yan Dorcas. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. ; Includes bibliographical references (leaves 166-173). ; Abstracts in English and Chinese. ; Abstract --- p.i ; Acknowledgements --- p.iv ; Table of Contents --- p.v ; Tables and Figures --- p.vii ; Chapter Chapter 1. --- Introduction ; Chapter 1.1. --- Background --- p.1 ; Chapter 1.2. --- Objectives and research questions --- p.8 ; Chapter 1.3. --- Significance --- p.11 ; Chapter 1.4. --- Chapters overview --- p.12 ; Chapter Chapter 2. --- The Scene of Classical Music and Cultural Policy in Hong Kong ; Chapter 2.1. --- Defining classical music and beyond --- p.16 ; Chapter 2.2. --- Development of orchestras and classical music in Hong Kong --- p.17 ; Chapter 2.3. --- Models of cultural policy and policy in Hong Kong --- p.21 ; Chapter 2.4. --- Supporting arts groups --- p.29 ; Chapter 2.5. --- Current funding policy --- p.31 ; Chapter Chapter 3. --- Literature Review ; Chapter 3.1. --- Introduction --- p.38 ; Chapter 3.2. --- Theorizing state and arts - the field of cultural production --- p.38 ; Chapter 3.3. --- Arts administration --- p.47 ; Chapter 3.4. --- Amateur --- p.51 ; Chapter 3.5. --- "Chapter summary: Amateur arts group, administration and the field" --- p.58 ; Chapter Chapter 4. --- Methodology ; Chapter 4.1. --- In-depth interviews --- p.60 ; Chapter 4.2. --- Documentation --- p.63 ; Chapter 4.3. --- Limitations --- p.63 ; Chapter Chapter 5. --- Being (and Surviving as) an Amateur: Case Studies of Music Groups ; Chapter 5.1. --- Introduction --- p.65 ; Chapter 5.2. --- Estimating number of amateur music groups --- p.65 ; Chapter 5.3. --- The spectrum from professional to hobbyist --- p.67 ; Chapter 5.4. --- The need for resources --- p.76 ; Chapter 5.5. --- From beliefs to action --- p.89 ; Chapter 5.6. --- Models of operation --- p.96 ; Chapter 5.7. --- Chapter summary --- p.105 ; Chapter Chapter 6. --- Between What We Want and How They Do: Matching with the Administrative Habitus ; Chapter 6.1. --- Introduction ...

本文主要考察社会主义中国的文化政策经历了怎样的发展变化,并试图回答自1949年以来中国共产党是如何介入与领导当代中国的文化,其文化治理的理论与实践又是如何发展与转变,对文化领域又产生了怎样的影响。 ; 与只对政策文件进行解读的传统政策研究不同,本研究采用文化的政治经济学和文化社会学取经,结合宏观与微观、观念与实践两个层面,对上述问题进行考察与分析,从而梳理出中国文化政策发展变化的历史脉络。除了对中共制订的政策文件及主要思想理论进行梳理与分析外,本文选取了代表中国社会主义国家特色的上海市工人文化宮及其话剧生产为个案研究对象,通过文献研究、实地考察、深度访谈、历史比较分析等方法,具体深入地考察文化主体与文化政策之间的关系,尤其是在后毛泽东时代的发展变化,以此勾勒出社会主义中国文化政策从思维到实践的运动轨迹。 ; 本文希望通过这一研究可以在以下三个方面有所贡献:(1)梳理出一种社会主义中国的文化政策的历史脉络;(2)试图通过个体深访和个体口述史,来考察社会主义中国文化政策与个体的关系,从而在微观上提供关于社会主义中国文化政策的重要实证数据。并且,(3)在中观和宏观的层面上建议一种关于社会主义中国文化政策研究的理论框架,作为今后这一研究课题发展的一个基础;(4)通过比较中国与西方发达资本主义国家之间文化政策发展与运动趋势的异同,反思中国文化政策的转型,从而为推进中国文化政策的发展与进步建言。最后,希望本论文可以对社会主义国家或发展中国家的文化政策研究提供中国经验的参考与启发。需要强调的是,本文并非急于给社会主义中国文化政策的历史变迁下定论,限于历史资料收集的有限性和文化政策历时研究的复杂性,本文主要是通过现有的史料和相关数据,来做一项关于社会主义中国文化政策领域的开拓性的基础研究,也是为日后中国文化政策研究的发展做一种铺垫。 ; The thesis project attempts to answer the questions about how the Chinese Communist Party governs the cultural domain in Contemporary China, and how the cultural governance develops and influences cultural production in China since 1949. ; This research tries systematically explores the development of the cultural policy of Socialist China by focusing on Shanghai Municipal Workers Palace of Culture and its cultural production, which is an understudied topic in Chinese Studies. Through investigating the CCP's theories, thoughts and policies in cultural sphere, the ways and rules of producing literature and art, it will systematically analyze the relationship of the Chinese party-state and culture in different historical periods, and illustrate the development of the CCP's cultural policy from theory to practice. ; The study mainly adopts Cultural Political Economy and Sociology of Culture approaches. Different from traditional cultural policy studies, it is a historical and comparative empirical inquiry with an integrated macro and micro perspective. The study introduces qualitative methods including archive analysis, field study, in-depth interview, oral history, participant observation, and historical comparative analysis and etc, to answer the ...

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 ...

Preliminary Material -- Chapter One Introduction: Cultural Governance and Chinese TV Drama Series -- Chapter Two The State and Its Officials in TV Dramas -- Chapter Three Securing the State: Law Enforcement and Military Action -- Chapter Four Justifying the State: Political Legitimacy and Accountability -- Chapter Five Creating the Political Discourses of TV Dramas -- Chapter Six The Chinese Television Drama Audience -- Chapter Seven Government Regulations and Censorship Mechanisms -- Chapter Eight Chinese Perceptions of Television's Function and Influence -- Chapter Nine Conclusion: Chinese TV Discourses and the Factors of Their Production -- Glossary of Technical Terms -- Bibliography -- Appendix -- Index.

Preliminary Material -- Chapter One Introduction: Cultural Governance and Chinese TV Drama Series -- Chapter Two The State and Its Officials in TV Dramas -- Chapter Three Securing the State: Law Enforcement and Military Action -- Chapter Four Justifying the State: Political Legitimacy and Accountability -- Chapter Five Creating the Political Discourses of TV Dramas -- Chapter Six The Chinese Television Drama Audience -- Chapter Seven Government Regulations and Censorship Mechanisms -- Chapter Eight Chinese Perceptions of Television's Function and Influence -- Chapter Nine Conclusion: Chinese TV Discourses and the Factors of Their Production -- Glossary of Technical Terms -- Bibliography -- Appendix -- Index.

Reciting the Words as Doing the Rite: Language Ideology and Its Social Consequences in the Hmong's Qhuab Kev (Showing the Way) / Huang Shu-li -- Chief, God, or National Hero? Representing Nong Zhigao in Chinese Ethnic Minority Society / Kao Ya-ning -- The Venerable Flying Mountain: Patron Deity on the Border of Hunan and Guizhou / Zhang Yingqiang -- Surviving Conquest in Dali: Chiefs, Deities, and Ancestors / Lian Ruizhi -- From Woman's Fertility to Masculine Authority: The Story of the White Emperor Heavenly Kings in Western Hunan / Xie Xiaohui -- The Past Tells It Differently: The Myth of Native Subjugation in the Creation of Lineage Society in South China / He Xi -- The Tusi That Never Was: Find an Ancestor, Connect to the State / David Faure -- The Wancheng Native Officialdom: Social Production and Social Reproduction / James Wilkerson -- Gendering Ritual Community across the Chinese Southwest Borderland / Ho Ts'ui-p'ing.

Agriculture, Rural village and Peasants (ARP) represent the production structure, social structure and cultural structure (3S) of rural China for thousands of years in its trinity. To find the long roots of Chinese civilization and to feel the creativity, splendour, diversity and regionality of Chinese traditional culture, it must be in the countryside relating to the ARP. However, China's rural areas have been constantly challenged by political, economic, technological changes and other cultures interruption. Especially after decades of modernization and urbanization, the three structural relationships of rural traditional harmony are gradually being resolved. The originality of the rural tradition and the cultural accumulation it bears are facing extinction. For a nation whose culture has been passed down for thousands of years, this will be an irreparable and huge loss. Fortunately, in 2005 the central government put forward the slogan of "Beautiful Villages", emphasizing the need to build beautiful and livable villages for farmers. The government's authorities have issued a series of support policies for this purpose. The national standard for "Beautiful Villages" was introduced in 2015. It supports the village protection and development plans for the newly established list of traditional Chinese villages and supports the pilots of rescue protection in various places. It requires traditional villages to rely on historical and cultural resources reasonably to carry out various development models such as cultural creativity, popular science education and leisure tourism. From the macro-level of management, it is proposed that government-led, government-invested, unified planning, development, management, management and management rights should be unified. At the same time as the promotion of cultural relics protection and basic implementation, attention is paid to protecting the interests of the people and social benefits. Over the past years, all sectors of society, including some enterprises and institutions, have responded positively, forming various forms of practice in rural villages protection and development. For example "characteristic vernacular villages", "characteristic folk villages", "modern new villages", "historical ancient villages", etc. They mainly make some useful attempts to solve various problems faced by the countryside through the combination of rural tourism, leisure agriculture and ecological agriculture. However, most of these practices are based on direct input from external funds and management. Many of them fail to reach out to the current issues of the ARP, and unable to face the problems of a poor 3S relationship. Therefore, how to combine the protection of the "post-cultural heritage" of the countryside with the exploration of the new form of the ARP and reconstruction of the 3S relationship under the new historical conditions and opportunities has become the theoretical and practical issues of rural protection and development. To realize the goal of "Beautiful Villages", it is very necessary to take action at both levels of strategic thinking and practical approach. It is necessary to make forward-looking explorations and practices in accordance with the actual conditions of rural areas in different regions.

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 ...