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Dissertations / Theses on the topic 'Chinese cinema'
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Zhang, Li-Fen. "After Mao : cinema and Chinese society : a sociological analysis of the Chinese cinema (1978-92)." Thesis, University of Leicester, 1995. http://hdl.handle.net/2381/34617.
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This theses, of primarily a sociological nature, aims to examine the emergence of post-Mao Chinese cinema and its embodied political culture, in responding, or adjusting, to the sweeping and sometimes rather turbulent process of the "open door" reform movement. The transformation of Chinese cinema, as a whole, is an area of relatively minor importance, when compared with other major agenda items on the reform programme (i.e., economic growth, financial and fiscal stability, etc.). Nevertheless, the case of Chinese cinema does provide us with a unique setting and perspective so as to reach a better understanding of the interrelationship of economic development, political evolution and the advent of cultural pluralism in post-Mao China. This study aims, in other words, to show how the economic and political changes are themselves manifested in the changing reality of the Chinese screen. Author has argued throughout this theses that the emergence of post-Mao Chinese cinema could be seen as a unique process of rehabilitating the notion of "every day life" and "civil society", both of which were heavily suppressed under Mao. This theses has paid special attention to the changing relations of film-makers audience and political authorities in China. The examination of how film censorship works has revealed the complexity of China's political and economic situation and dilemma. Market forces have helped the film-making to be able to sever its ties with the party without seeming politically offensive or provocative. The legitimate and politically favourable "market forces" have made the Chinese film-making equally legitimate to rehabilitate and revive the notion and fundamental elements of human life that a market economy could not survive without.
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Zhang, Rui. "Feng Xiaogang and Chinese cinema after 1989." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1128836737.
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Song, Tingting. "Independent cinema in the Chinese film industry." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/43448/1/Tingting_Song_Thesis.pdf.
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Chinese independent cinema has developed for more than twenty years. Two sorts of independent cinema exist in China. One is underground cinema, which is produced without official approvals and cannot be circulated in China, and the other are the films which are legally produced by small private film companies and circulated in the domestic film market. This sort of ‘within-system’ independent cinema has played a significant role in the development of Chinese cinema in terms of culture, economics and ideology. In contrast to the amount of comment on underground filmmaking in China, the significance of ‘within-system’ independent cinema has been underestimated by most scholars.
This thesis is a study of how political management has determined the development of Chinese independent cinema and how Chinese independent cinema has developed during its various historical trajectories. This study takes media economics as the research approach, and its major methods utilise archive analysis and interviews.
The thesis begins with a general review of the definition and business of American independent cinema. Then, after a literature review of Chinese independent cinema, it identifies significant gaps in previous studies and reviews issues of traditional definition and suggests a new definition.
After several case studies on the changes in the most famous Chinese directors’ careers, the thesis shows that state studios and private film companies are two essential domestic backers for filmmaking in China. After that, the body of the thesis provides an examination of the development of ‘within-system’ independent cinema. Specifically, three factors: government intervention, the majors’ performance (state studios and, later, the conglomerates) and the market conduct of independent cinema at various points in their trajectories are studied.
The key findings of the study are as follows:
First, most scholars have overlooked the existence and the significance of within-system Chinese independent cinema. Drawing on an American definition of the independent sector, this thesis proposes a definition of the sector in China: namely, any film that has not been financed, produced, and/or distributed by majors. The thesis also notes important contradictions in applying this definition: i.e. film-making is still dependent on policies that frame industry development. The thesis recognises that major tensions apply to filmmaking in China, which significantly differentiates the Chinese independents from those in the US.
Second, the development of Chinese independent cinema is the result the rise of the private sector and the decline of the state studio system. As state studios encountered difficulties the private sector moved forward; consequently the environment improved for independent cinema.
Third, before 2003, the film industry in China had little commercialisation. The government controlled independent cinema by means of license and censorship. State studios produced main melody films and Hollywood attracted most of the audiences. Many independent filmmakers focused on commercial films, thus contributing to film commercialisation.
Fourth, after 2003, the film industry became increasingly fragmented. The government created distribution and exhibition opportunities for main melody films; conglomerates collaborated with Hong Kong players; Hong Kong co-productions and Hollywood occupied the film market; and small private film companies produced main melody films in order to earn meagre profits.
The original contribution of the thesis is to advance the study of Chinese independent cinema. The study suggests a reasonable and practical definition of Chinese independent cinema. It shows how the Chinese government authorities have implemented economic measures to gain ideological control in the film industry. Finally, this the first study on Chinese independent cinema applying a synthesis of economic, political and historical perspectives.
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Pu, Hong. "l’idéologie, la propagande et le cinéma chinois d’animation entre les années 20-70." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30007.
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Les travaux de thèse développe la longue histoire du cinéma chinois d'animation sur la période allant de 1920 à 1977, du début du 20e siècle jusqu'à la fin de la grande révolution culturelle prolétarienne. Le sujet de la thèse est : l’idéologie, la propagande et le cinéma chinois d’animation entre les années 20-70. La problématique s'oriente vers le cinéma chinois d'animation qui s'intègre dans la propagande, l'idéologie ainsi que la politique du pouvoir dans différentes époques, selon une évolution esthétique et artistique. Depuis les premières générations de cinéastes qui imprègnent la plus haute direction politique dans leurs créations cinématographiques. J'ai donc travaillé sur les différents chef d'oeuvres de chaque genre du cinéma chinois d'animation ainsi que sur les travaux de leurs créateurs.Les travaux de recherche ont été rédigés en trois chapitres selon une démarcation de l'histoire de la Chine, qui correspond aux moments historiques importants et aux situations sociales d'enjeux en Chine : la création embryonnaire du cinéma chinois d'animation entre les années 20 et 40 avec l'objectif de décrire le processus amenant la naissance de cinéma chinois d'animation ainsi que les premières fonctions qui en ont été faites, comme arme de propagande ainsi que servir l'idéologie du parti communiste impliqué dans l'animation chinoise pendant la guerre mondiale et la guerre civil. Durant cette période, il y eut plusieurs couts-métrages en noire et blanc qui furent réalisé et produits, y compris le premier long métrage noir et blanc La princesse à l'éventail de Fer en 1941.Après la seconde guerre mondiale, Le cinéma chinois d'animation a été soumis à la seule idéologie omniprésence en Chine - le maoïsme - durant les années 50 60 et 70. Il atteignit son apogée en accompagnement d'une forte création esthétique et artisanale d'une génération de cinéaste toujours irremplaçable aujourd'hui. Il y eut de nouveaux genres du cinéma chinois d'animation qui parurent : comme la première animation en couleur, le papier découpé, le lavis animé, le premier long métrage en couleur - le roi singe. Toutes les animations sont produites par le studio d'art de ShangHai. Malgré que Le Studio d'art de Shanghai devint alors l'usine de production des Gardes Rouges et que le cinéma d'animation chinois fut forcé d'arrêter en raison de la tempête sociale de la Grande Révolution Culturelle Prolétarienne.Les travaux de thèse se conclut sur la fin de la grande révolution culturelle, et du décès du président Mao, avec pour thème des sujets comme : la rééducation des intellectuelles, la bande des quatre, la propagande, l'idolâtrie et les images paradoxales avec dizaines de animations révolutionnaire reflétant la situation sociale de la Chine.J'ai achevé la dernière partie de la thèse avec les difficultés de travail, le mariage le congé maternité et les travauxThe thesis work develops the long history of Chinese animated cinema over the period from 1920 to 1977, from the beginning of the 20th century until the end of the great proletarian cultural revolution. The subject of the thesis is: ideology, propaganda and animated Chinese cinema between the years 20-70. The problem is oriented towards the Chinese animated cinema which is integrated in the propaganda, the ideology as well as the politics of the power in different times, according to an aesthetic and artistic evolution. Since the first generations of filmmakers who permeate the highest political direction in their cinematographic creations. So I worked on the different masterpieces of each genre of Chinese animation and the work of their creators.The research was written in three parts according to a demarcation of the history of China, which corresponds to the important historical moments and societal stakes in China. : the embryonic creation of Chinese animated cinema between the 20s and the 40s with the aim of describing the process leading to the birth of animated Chinese cinema and the first functions that have been made, as a propaganda weapon as well as serve the ideology of the Communist Party involved in Chinese animation during World War and Civil War. During this period, there were several black-and-white feature films made and produced, including the first feature film, Black and White, The Iron Princess in 1941.After the second world war, the Chinese animated cinema was subjected to the only ideology omnipresence in China - Maoism - during the 50s and 70s. It reached its apogee in accompaniment of a strong aesthetic and artisanal creation of a generation of filmmakers still irreplaceable today. There were new genres of animated Chinese cinema that appeared: as the first color animation, the paper cut, the animated wash, the first full-length feature in color - the monkey king. All animations are produced by the SHANGHAI art studio. Although the Shanghai Art Studio then became the production factory of the Red Guards and the Chinese animation cinema was forced to stop because of the social storm of the Cultural Revolution.The thesis work concludes with the end of the great cultural revolution, and the death of President Mao, with topics such as: the rehabilitation of intellectuals, the gang of four, propaganda, idolatry and paradoxical images with dozens of revolutionary animations reflecting the social situation of China.I completed the last part of the thesis with the difficulties of work, marriage, maternity leave and work
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Courage, Tamara V. "Contemporary Chinese independent cinema : urban spaces, mobility, memory." Thesis, University of Reading, 2017. http://centaur.reading.ac.uk/73253/.
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Since the 1990s, Chinese independent cinema has been at the forefront of documenting contemporary realities for marginalised citizens in Mainland China. This began with the New Chinese Documentary Movement and exploded in the mid-late 1990s with the rise of what is called the ‘Urban Generation’ of filmmakers who mix fiction with documentary to make sense of urban transformations at the street level. Now, with the continued expansion of more affordable and portable digital video production, independent filmmakers have moved beyond their local parameters and urban aesthetic styles to explore, represent and imagine new ways to document reality for the everyday citizen. In recent years, scholarship on Chinese independent cinema has acquired greater significance in film studies, insofar as it has devoted itself to the analysis of the historical significance and lasting influence of the New Chinese Documentary Movement and the ‘Urban Generation’. However, in the past decade, increasingly active digital video practices in China have proliferated on the independent film scene, including an increase in amateur and grassroots filmmaking which has embraced realism in multiple and innovative ways through documentary, fiction and experimental films. In this thesis, I will address the question of realism in contemporary Chinese independent cinema, which I argue, remains under-examined and both requires and warrants closer textual analysis. The cultural politics of China’s subaltern voices provides the common thread of this research which is articulated through the tropes of urban spaces, mobility and memory in this alternative filmmaking practice. These films imagine and represent realities through different and original modes of intervention that include performance, self-portraits, re-enactment and participatory filmmaking. In short, my research focuses on film productions from the past decade that challenge China’s official culture but also engage with it, placing it in relief with the ambiguity inherent in representation in film and history.
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Leung, Yee-man Yvonne, and 梁以文. "Ideology and the performance of gender in Chinese cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953633.
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Leung, Yee-man Yvonne. "Ideology and the performance of gender in Chinese cinema." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262038.
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Wei, Ti. "Global processes, national responses : Chinese film cultures in transition." Thesis, Loughborough University, 2002. https://dspace.lboro.ac.uk/2134/6903.
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Today's processes of cultural globalization involve three major trends: (I)the global expansion of transnational communications conglomerates; (2) the global implementation of market-oriented cultural policies; and (3) the global diffusion of new communication technologies. These processes have set in motion complicated consequencesa nd prompted a range of national responses.B oth China and Taiwan, the two locations which embody the Asian region's largest cultural formation, have experienced major shifis in their internal political and economic organisation and been significantly influenced by these interlinked global processes since the early 1980s. Taking the national film industries in both locations as a case study, this thesis examines the impact of globalisation on the organisation of national cultural production and distribution, and explores the uses of film in representing shifting conceptions of national culture and identity.
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Zha, Yu 1970. "The mythology of Hero : a study of Chinese national cinema." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79987.
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As the twentieth century ended with globalization and commercialization, popular culture begins to challenge the dominance of national culture. The Chinese intellectual community tries to defend national culture against the incoming global culture and local cultures. The conflicts between localism and nationalism, and also between globalism and nationalism, are clearly demonstrated in the Hero phenomenon, which basically concerns the unanimous disparagement on director Zhang Yimou's debut martial arts film Hero within the Chinese critics' circle. Through a discursive analysis of the phenomenon, we can see how the conflicts between modernism and postmodernism, between elitism and commercialism shape the landscape of contemporary Chinese culture. In this article, I first seek to understand how modernism evolved into nationalism in China during the last century and what role the intelligentsia played in the process of such evolvement. I further seek to understand why the intellectual community has distaste for popular culture and commercialism. Other research on this topic has linked nationalism to national culture, and localism and globalism to popular culture.
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朱翹瑋 and Kiu-wai Chu. "Constructing ruins: new urban aesthetics in Chinese art and cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43209609.
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Yang, Jing, and 杨静. "The construction of the Chinese woman in 1990s American cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B43813185.
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Donald, Stephanie Jane. "Chinese cinema and civil society in the post-Maoist era." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320224.
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Miao, Hui. "In-visibility : the sentimental in Chinese cinema since the 1990s." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3256/.
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The greater visibility of Chinese films brought by the wider global access and circulation has not satisfied the culturally specific understanding of Chinese cinema. The subject/object power relations stemming from the legacy of colonial and postcolonial discourse hinders the arrival of a better-balanced cross-cultural reading. The visibility of cinema provides a visual spectacle, it also challenges the audience with a communication of the epistemic side of visibility which feeds the images meaning and imagination and facilitates a more balanced culturally specific understanding. However, the epistemic side of visibility remains invisible under power-engaged cross-cultural reading. This study suggests that the sentimental provides a possibility for a better-balanced cross-cultural understanding through its provision of empathic connection with the culture, history and the psyche. Home-longing/homecoming is claimed to the basis that the Chinese culture is built upon. Defined as the sentimental, this affective mode has been manifested across Chinese cinema abundantly through visual representation. The various articulations of the sentimental in face of the global and transnational homogeneous force further prove the deep-rootedness of the sentimental. The sentimental fashions as an affective link that establishes an empathic engagement in cross-cultural analysis. Through reading eight Chinese films made since the 1990, this study illustrates the relationship between the visual spectacle and the sentimental in Chinese cinema. Although the eight films are all from mainland Chinese directors, this study is carried out with the awareness of the sharing of Chinese culture within the Chinese language cinema where this study locates.
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Yuan, Yilei. "Subtitling Chinese cinema : a case study of Zhang Yimou's films." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7724/.
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In recent years, more and more Chinese films have been exported abroad. This thesis intends to explore the subtitling of Chinese cinema into English, with Zhang Yimou’s films as a case study. Zhang Yimou is arguably the most critically and internationally acclaimed Chinese filmmaker, who has experimented with a variety of genres of films. I argue that in the subtitling of his films, there is an obvious adoption of the domestication translation strategy that reduces or even omits Chinese cultural references. I try to discover what cultural categories or perspectives of China are prone to the domestication of translation and have formulated five categories: humour, politeness, dialect, history and songs and the Peking Opera. My methodology is that I compare the source Chinese dialogue lines with the existing English subtitles by providing literal translations of the source lines, and I will also give my alternative translations that tend to retain the source cultural references better. I also speculate that the domestication strategy is frequently employed by subtitlers possibly because the subtitlers assume the source cultural references are difficult for target language subtitle readers to comprehend, even if they are translated into a target language. However, subtitle readers are very likely to understand more than what the dialogue lines and the target language subtitles express, because films are multimodal entities and verbal information is not the only source of information for subtitle readers. The image and the sound are also significant sources of information for subtitle readers who are constantly involved in a dynamic film-watching experience. They are also expected to grasp visual and acoustic information. The complete omission or domestication of source cultural references might also affect their interpretation of the non-verbal cues. I also contemplate that the translation, which frequently domesticates the source culture carried out by a translator who is also a native speaker of the source language, is ‘submissive translation’.
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Chu, Kiu-wai. "Constructing ruins new urban aesthetics in Chinese art and cinema /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B43209609.
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Yang, Jing. "The construction of the Chinese woman in 1990s American cinema." Click to view the E-thesis via HKUTO, 2010. http://sunzi.lib.hku.hk/hkuto/record/B43813185.
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Pollacchi, Elena. "The evolution of the Chinese film industry and new urban heroes in Chinese cinema (1989-2004)." Thesis, University of Cambridge, 2007. https://www.repository.cam.ac.uk/handle/1810/283833.
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Nie, Jing. "Contemporary Chinese Cinema: Fifth Generation films, urban films, and Sixth Generation films." Ohio : Ohio University, 2003. http://www.ohiolink.edu/etd/view.cgi?ohiou1061419663.
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潘敏聰 and Man-chung Pun. "Remembering the cultural revolution: a study of Chinese cinema since 1978." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B3122779X.
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Yu, Hongmei. "The politics of images : Chinese cinema in the context of globalization /." Thesis, Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/8304.
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Thesis (Ph. D.)--University of Oregon, 2008.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 306-318). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
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Zhu, Ying. "From art to commerce : Chinese cinema in the era of reforms /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Chen, Shaopeng. "The new generation Chinese cinema animation (1995-2015) : industry and aesthetics." Thesis, University of Southampton, 2018. https://eprints.soton.ac.uk/418966/.
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Leperlier, Henry. "Multilinguisme, identité et cinéma du monde sinophone : nationalisme, colonialisme et orientalisme." Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30032/document.
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Le monde chinois ou sinophone ne se limite pas à la Chine continentale, mais il s’étend au-delà de l’État-nation qui est souvent perçu comme étant le phare médiatique de la culture chinoise. La langue chinoise est aussi parlée dans d’autres pays comme Taïwan et Singapour où elle a un statut officiel; elle est aussi langue d’enseignement en Malaisie et à travers la diaspora.Ce monde sinophone n’est pas unilingue et comprend non seulement les langues des minorités officielles définies par la Constitution de la République populaire de Chine, mais aussi les autres langues chinoises, telles le shanghaïen, le cantonais ou le hokkien pour ne citer que les trois langues chinoises jouissant d’un certain prestige. À Taïwan, société multilingue et multiculturelle, à côté des trois langues chinoises, le mandarin, le hokkien, sous sa dénomination locale de taïwanais, et le hakka sont aussi des langues couramment utilisées dans les médias et plus récemment dans le système éducatif ; à leurs côtés se trouvent plusieurs langues aborigènes qui sont encouragées par le gouvernement et jouissent d’une image positive dans la population Han. Cette diversité linguistique est reflétée dans le cinéma différemment en Chine et dans les autres pays sinophones. En Chine, les minorités ethniques ont longtemps été reléguées au statut de sujet anthropologique et présentées au cinéma d’un point de vue paternaliste reflétant une attitude « orientaliste » telle que théorisée par Edward W. Said. Ce n’est que récemment que le cinéma chinois a commencé à produire des films où les minorités ethniques prennent la parole et sont incarnées par des protagonistes prenant en main leur destin. La situation à Taïwan est plus diversifiée : après l’occupation japonaise la majorité des films était en taïwanais mais l’investissement important de la part des autorités dans des productions sophistiquées en couleur a rapidement vu la fin des productions en taïwanais pendant plusieurs décennies. Ce n’est que vers la fin de l’état de siège au milieu des années 1980 que le cinéma taïwanais recommencé à faire usage d’autres langues que le mandarin ; par contraste avec les périodes précédentes, on assiste surtout à des films multilingues reflétant le mélange multiculturel et linguistique de la société taïwanaise du passé aussi bien que du présent.La relative liberté du cinéma sinophone de refléter les pays de langue chinoise dans leur diversité culturelle, d’articuler les contacts entre minorités ethniques en Chine et la majorité Han, comme dans Kekexili ; le souci de réalisme culturel, linguistique, sociétale et historique comme dans Seediq Bale à Taïwan ; le portrait d’une société multilingue à Singapour telle qu’elle est décrite dans Singapore Dreaming sont les signes avant-coureurs que la société sinophone ne se réduit pas à un seul pays et que sur la scène internationale il sera impossible de considérer la Chine comme seule détentrice d’une culture sinophone. Le développement de ce cinéma sinophone dans les festivals étrangers, sur les plateformes de diffusion vidéo ou de salles de cinéma montre qu’il existe un intérêt pour le cinéma sinophone qui est perçu comme une fenêtre sur la culture, la politique et les sociétés de ses composantes. Il sert aussi d’échange entre les différents pays et régions du monde sinophone et pourrait bien être le premier élément d’une culture sinophone transnationale et transculturelle. Dans ce contexte transnational, Taïwan, comme l’avance June Yip à maintes reprises dans Envisioning Taiwan - Fiction, Cinema and the Nation in the Cultural Imaginary, pourrait être le premier pays à avoir abandonné le concept d’État nation et fait preuve d’avant-garde au même titre que le cinéma sinophone transnationalThe Chinese speaking world is not limited to Mainland China. It extends beyond Continental China, a country often perceived as the beacon of Chinese culture. Mandarin and other Chinese languages are spoken in Taiwan and Singapore where the former is an official language. Mandarin is also used as a teaching medium in Malaysia and throughout the diaspora.The sinosphere, as it is increasingly being referred to, is not a unilingual society but also includes not only ethnic minorities languages as defined by the Constitution of the People’s Republic of China, but also other Chinese languages such as Shanghainese, Cantonese or Hokkien (a.k.a. Taiwanese); these three languages being the most prestigious among others. Taiwan is a multicultural and multilingual society and includes three Chinese languages, Mandarin, Taiwanese and Hakka that are widely used in the media and have recently been made part of the school curriculum; in addition to these languages are found aboriginal languages that are encouraged by the government and enjoy a positive image in the majority Han population.China and other sinophone countries differ in their treatment of this linguistic diversity.In China, ethnic minorities have long been viewed and filmed as an anthropological topic and often examined with a paternalistic slant similar to “orientalist” attitudes as proposed by Edward W. Said. Chinese cinema has only recently started to produce films where ethnic minorities speak for themselves and ethnic protagonists take hold of their own future. At the same time Chinese-language films shot in other Chinese languages are still a relatively rare occurrence, probably due to the official policy of promoting Mandarin as the national normative language.Taiwan presents a more diversified situation: after the Japanese occupation, the majority of films was in Taiwanese, but an important investment drive from government authorities resulting in sophisticated colour productions saw the end of Taiwanese-language productions for many years. One would have to wait for the end of martial law near the middle of the 1980’s to see a return of films featuring non-Mandarin languages; in contrast to preceding periods, the majority of these films was multilingual and reflected the real multicultural and linguistic mix of contemporary and past Taiwanese society.In Singapore and Malaysia, an increasing number of films portray characters switching freely from one language to another.The retrocession to Mainland China of the former British colony, Hong Kong, has triggered an examination of its relationship with the People’s Republic and several films feature interaction between mainlanders and Hong Kong inhabitants.The relative freedom that is enjoyed by Chinese-language cinema to reflect sinophone countries and their cultural diversity; to articulate contacts between ethnic minorities and the Han majority, as in Kekexili; the preoccupation with cultural, linguistic, societal and historical realism as in Seediq Bale in Taiwan; the exposé of multilingual Singaporean society as described in Singapore Dreaming demonstrate that sinophone society is not restricted to one country and that, on the international scene, it will be impossible to consider China as the sole representative and owner of sinophone culture. It is also a means of exchange between the different countries and regions of the sinophone world and could well turn out to be the first element in the construction of a transnational and transcultural sinophone culture. In this transnational context, as proposed in many instances by June Yip in Envisioning Taiwan - Fiction, Cinema and the Nation in the Cultural Imaginary, Taiwan could be the first country to have relinquished the concept of a Nation State and proven to be at the forefront of change in a similar vein with transnational sinophone cinema
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Steely, Danielle. "Identity in Chinese film: conflict, transformation, and the virtual." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32509.
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This thesis is an analysis of the notion of the virtual as laid out in works by Brian Massumi, Gilles Deleuze, and Félix Guattari. In it, I explore the virtual across several Chinese films of the last two decades and with respect to different challenges to identity. Through Center Stage, Farewell My Concubine, and Frozen, I investigate the dangers of the virtual in performance and the difficulty in recognizing the line between role and real. I then compare this to the similar yet distinct notion of disguise in House of Flying Daggers and Infernal Affairs in order to demonstrate the different manifestations and effects of the virtual when one's performance is undisclosed to those to whom one plays. Finally, I examine identity and the virtual through cinematic doublings in the films Center Stage and Suzhou River.Cette thèse est une analyse de la notion du virtuel telle que présentée dans les travaux de Brian Massumi, Gilles Deleuze et Félix Guattari. J'explore le virtuel au travers de plusieurs films chinois des deux dernières décennies en ce qui a trait aux différents défis de l'identité. Par des films tels que Center Stage, Farewell My Concubine, et Frozen, j'examine les dangers du virtuel dans la performance et la difficulté de pouvoir reconnaitre la mince ligne entre le rôle et le réel. Je compare, ensuite cela à la notion similaire mais quand même distincte de camouflage dans House of Flying Daggers et Infernal Affairs de manière à démontrer les différentes manifestations et les effets du virtuel lorsque la performance d'un personne est non- dévoilée à quelqu'un avec qui elle joue. Finalement, j'examine l'identité et le virtuel par les doublages cinématiques dans les films Center Stage et Suzhou River.
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Chen, Yurong. "Entre la mondialisation et l'identité nationale : l'évolution du cinéma national chinois à travers la représentation du corps (1984-2012)." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE3031/document.
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À partir de la réforme économique chinoise de 1978, et en liaison avec le changement de la société chinoise, l'échange entre le cinéma chinois et celui de l'étranger est de plus en plus fréquent. Dans ce contexte, les réalisateurs chinois veulent montrer au monde entier leurs films et leur savoir faire, en mettrant en valeur leur propre identité culturelle. Au milieu de la théorie cinématographique chinoise se développe un courant d'idée sur l'identité nationale du film chinois. Les cinéastes chinois doivent-ils s'inspirer plutôt de la mondialisation ou de l'esprit chinois, c'est une question que se posent souvent les cinéastes chinois durant ces trois dernières décennies. Le corps est un thème caractéristique de l'identité nationale qui se situe à la jonction entre le cinéma, l'homme, la culture et la société. A travers la représentation du corps, cette thèse montre que la mondialisation et la volonté de conserver l'identité nationale influencent ensemble le développement du cinéma chinois de ces trente dernières années, surtout dans la création artistique. Grâce à la mondialisation les cinéastes chinois se rendent compte de la singularité nationale et ont la volonté de développer le cinéma chinois tout en représentant l'identité nationale. Même si la mondialisation permet aux Chinois une vision du monde plus large et plus lointaine, les films qui représentent les éléments liés à leur vie ou à leur culture locale attirent toujours les spectateursFrom the dawn of economic reform in 1978, through the transformation of Chinese society, exchanges between foreign cinema and China are becoming more and more frequent. Chinese directors desire to share their films and cultural heritage to the world, while maintaining their own identity. A movement of new ideas about the national identity of Chinese film is developing at the heart of their cinematographic theory. Whether Chinese filmmakers should be inspired by globalization or not, is a question that they have often asked themselves in the past three decades.The body is a special subject which shows national identity. We can witness the evolution of film, humans, culture and society, through research in the body. Through the representation of the body, this thesis shows that globalization and the desire to preserve the national identity have influenced the development of Chinese cinema in the past thirty years, mainly through an artistic aspect. Due to globalization, Chinese filmmakers are aware of the national singularity and have the will to develop Chinese cinema while representing national identity. Even though globalization allows the Chinese to take a broader view of the world, films that represent elements related to their life or local culture always attract spectators
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Cui, Shuqin. "A cross-cultural analysis of gender and representation in Chinese new cinema." online access from Digital Dissertation Consortium access full-text, 1996. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9624592.
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Yuan, Yilei [Verfasser]. "Subtitling Chinese Cinema: A Case Study of Zhang Yimou's Films / Yilei Yuan." München : GRIN Verlag, 2020. http://d-nb.info/1228861579/34.
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Yuan, Yilei [Verfasser]. "Subtitling Chinese Cinema: A Case Study of Zhang Yimou's Films / Yilei Yuan." München : GRIN Verlag, 2021. http://d-nb.info/1224966783/34.
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Chen, Qin. "The Others: Desire, Anxiety, and the Politics of Chinese Horror Cinema (1989-2015)." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469178422.
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Williams, Louise Ann. "Masculinity on the run : history, nation and subjectivity in contemporary mainland Chinese cinema." Thesis, University of Leeds, 2004. http://etheses.whiterose.ac.uk/752/.
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The study investigates representations of masculinities in modern Mainland Chinese cinema from the early reform period to the year 2000. It argues that masculinities from this era are `on the run'; that is, male protagonists' ambiguous relationships with dominant discourses of nation, history and new formulations of subjectivity cause them either to flee from Maoist collective identity categories or more actively to move towards discourses of the sovereignty of the individual brought into China with the `opening up' policies enacted after the Chairman's death. The social and cultural upheavals represented in these films create an atmosphere of uncertainty in which little is solid or settled: for example, although filmmakers may represent their male protagonists rushing from ideas of Maoist manhood, these ambitions and identity figurations, active in the public imagination for so long, still structure male identity, and even male rebellion, acting as reins pulling at the individual agency male filmmakers may try so hard to trace on screen. The result is a recent history of representation in which male characters stand as symbols for their nation's central dilemma, as it wavers between a collective past and an unknown (both exciting and threatening) future. Whereas images of women have been analysed (especially those in the Fifth Generation cinema of the 1980s and 1990s), their male counterparts on the Chinese cinema screen have been largely ignored. This study redresses this imbalance and interprets the representation of men on screen through gender theory, cultural studies, and sources on Chinese society. The main chapters of the study concentrate on versions or expressions of masculinities, reflecting a society that has expressed its revolutionary aims through human models. The introduction to each chapter provides a contextualisation of the manner in which masculinities have been configured in other contemporary representational fields and will explain the relevance of the discussed ideas of masculinity in China's recent past. This study contributes both to conceptions of film and gender in China, and will widen the scope of cross-cultural theorisations of masculinities.
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Maués, Juliana Pinheiro 1987. "Chang Cheh e o cinema da força : estudo estilístico a partir de dez filmes do diretor." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284484.
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Orientador: Fernão Vitor Pessoa de Almeida RamosDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-23T15:38:42Z (GMT). No. of bitstreams: 1 Maues_JulianaPinheiro_M.pdf: 9529207 bytes, checksum: f09dbf4511fe2a248642488c600339ef (MD5) Previous issue date: 2013
Resumo: O presente trabalho é resultado de pesquisa sobre o diretor chinês Chang Cheh, atuante no cinema de artes marciais de Hong Kong dos anos 1960 aos 1990. A proposta é traçar um perfil estilístico da obra deste cineasta, tendo como fio da meada a categoria que Noël Burch denomina "tema", ou seja, a matriz da forma cinematográfica. Para isso, foram selecionados dez filmes, de modo a compreender ao menos um de cada uma das fases da carreira do cineasta, sobre os quais foi realizada extensiva análise estilística, segundo parâmetros estabelecidos por David Bordwell. Desse modo, foi possível a identificação de um tema maior, que confere unidade à obra de Chang e cujos desdobramentos permitiram a sua identificação com o conceito de Força, conforme desenvolvido por Simone Weil. Logo, o cerne deste trabalho está no modo como Chang expressa estilisticamente à problemática da Força, com especial atenção para os seus pontos de contato com aspectos como o heroísmo, a violência e o trágico. Este trabalho pretende, ainda, ser uma apresentação do cinema de Chang, o qual, apesar da sua larga influência no cinema de Hong Kong e no filme de ação de modo geral, é pouco presente nos meios acadêmicos e na cinefilia canônica
Abstract: This work is presented as a result of a research on the Chinese director Chang Cheh, a filmmaker who worked in the martial arts cinema made in Hong Kong from the 1960s until the 1990s. The purpose is to trace a stylistic profile of his work, taking as conduction the category Noël Burch called "theme", in other words, the generator of cinematographic form. With this intention, it was selected ten movies, chosen in a way to content at least one representant of each one of the phases of the director's career. It was made extensive stylistic analyse over these movies, following parameters established by David Bordwell. Thus it was possible to identify a major theme that gives unity to Chang's work and whose deployment allowed its identification with the concept of Force, in the way it was developed by Simone Weil. The core of this work is in perceive the way Chang expresses in a stylistic mode the problematic of Force, with special attention to aspects such as heroism, violence and tragic. This work intends to be also a presentation of Chang's cinema. Although his large influence in the Hong Kong cinema and in the action movie altogether, Chang is still a filmmaker not very present in academic circles and in canonic cinephilia
Mestrado
Multimeios
Mestra em Multimeios
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Jiang, Shen. "Nostalgia in Contemporary Chinese Cinema (1993-2008): A Reflection of China's Socio-Cultural Postmodernity." Thesis, University of Canterbury. Humanities, 2010. http://hdl.handle.net/10092/5142.
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Since Deng Xiaoping's "South Tour Speech" which he delivered during his inspection of special economic region in southern China in 1992, China's reforms and opening-up have entered a period of stable and rapid development. These undoubtedly are driving a comprehensive range of areas of social transition in Chinese society, including state affairs, social activities, mass culture, and globalization. All these factors may have a significant impact on the situation of Chinese film, but in the meantime, local cinema will inevitably present contemporary China and its social culture in a certain way. This thesis chooses a period of time from 1993 to 2008 and examines "nostalgia", a unique area of contemporary Chinese cinema, as its basis for discussion. In the light of Western and postmodern cultural theories, this study aims to explore the current state of nostalgia film and its postmodern elements in China and to extend the discussion to social areas and cultural studies. The conclusion reached by the discussion includes two major aspects. First, through historical reconstruction and superficial pastiche, China's past (or its nostalgia) has inevitably presented certain distortions when facing the global mass cult and Chinese communist leitmotiv ideology. Second, contemporary China has reached the stage of a visually featured, postmodern consumer society.
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Qu, Sheng. "Cinematic History and Multi-Subcultural Analysis: The Representation of Youth Dreams in Chinese Cinema." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405989442.
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Qian, Ying. "Visionary Realities: Documentary Cinema in Socialist China." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11035.
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This dissertation examines documentary cinema in Socialist China as an emerging technology of mass politics, a new medium for creating political imaginaries and writing history, and a global vernacular connecting China to other revolutionary and modernizing cultures. At the center of my investigation is documentary cinema's capacities to work across boundaries between reality and fiction, between physical and metaphysical worlds, and between a historical world bound by its materiality and a revolutionary world mobilized to take leaps into a brighter future. I argue that these capacities made documentary a particularly relevant media for socialism for both epistemological and historiographical reasons. Epistemologically, documentary brought together the empirical and the ideological, both fundamental to a Marxist quest for truth. Historiographically, documentary's deep bond to the present moment and its capacity for temporal re-structuring and mass mobilization allowed it to intervene radically into the making and writing of history, particularly in a society engaged with engineering its own transformation. Using visual archives only recently made available, the dissertation's wide-ranging discussions include how documentary re-enacted the civil war upon the founding of the PRC, documented "tomorrow" during the Great Leap Forward, created mass passions for diplomacy in the 1960s, and enabled a poetics of mourning and testimony in the immediate years after the Cultural Revolution.East Asian Languages and Civilizations
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Jesus, Marco Aurélio de Oliveira. "Postmodernism with Chinese characteristics : media and politics in the cinematic images of the post-New Era." Master's thesis, Universidade de Aveiro, 2005. http://hdl.handle.net/10773/3378.
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Mestrado em Estudos ChinesesA presente dissertação visa expôr a forma como pode ser concebido o conceito de pós-modernismo na China. Através da análise cinematográfica, área fundamental no debate pós-moderno, focada no estudo dos filmes Big Shot’s Funeral, Quitting, e Suzhou River, pretende-se debater a ideia dos textos cinematográficos como produtos culturais pós-modernos, ao mesmo tempo reflectores e produtores de uma realidade pós-moderna na China contemporânea ABSTRACT: The present dissertation attempts to debate the way in which a Chinese postmodernism can be conceived. Through cinematic analysis, a fundamental aspect in the postmodern debate, focused in the study of the films Big Shot’s Funeral, Quitting, and Suzhou River, it will be discussed the cinematic text as a postmodern cultural product, at the same time reflector and constructor of a postmodern reality in present-day China.
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Yen, Betsy. "Formal linguistics in modern Chinese cinema a translation project on Zhang Yimou's The story of Qiu Ju /." Diss., Connect to the thesis, 2007. http://hdl.handle.net/10066/1590.
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Chan, Melissa Meilin. "Analyzing Cultural Reimaginations and Global Chinese Power in CCTV's "The Legend of Bruce Lee"." Thesis, University of California, Santa Barbara, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1545797.
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Bruce Lee is a martial arts action star whose enduring screen image has lasted many decades beyond his death, and this is partially due to the numerous clones that came out after the star's premature death in 1973. These clones and various spin-offs of Lee's life's works resulted in the phenomenon dubbed "Bruceploitation." As time passed, the Bruceploitation phenomenon slowed down, but more recently there has been an interest in Bruce Lee's life with various films and television series that attempt to tell the life story of the actor, especially with his family's involvement. While earlier forms of Bruceploitation films strove to exploit Lee's image for financial profits, these more recent works do not seem to exploit Lee in the same way. In particular, Bruceploitation in more recent works aims to exploit the martial arts star's narrative to associate his persona with specific ideologies. I argue, however, that the more recent television series by China Central Television, The Legend of Bruce Lee, is in fact following in the legacy of Bruceploitation in that this category of texts is not only about making money without the consent of the star, but it is rooted in the act of exploitation, which redefined the image of Bruce Lee in a national Chinese context. Although the CCTV series may not look for financial profits as its main goal through the perpetuation of Lee's narrative, it is exploiting his image for ideological purposes. In particular, the series exploits Lee's image to assert national Chinese power in a global context, which can be seen through the production practices, circulation of the series, and the construction of specific scenes throughout the series.
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Bertozzi, Eddie. "One step forward into reality : transvergent reconfigurations of the Jishizhuyi style in contemporary Chinese cinema." Thesis, SOAS, University of London, 2014. http://eprints.soas.ac.uk/20333/.
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This dissertation examines the stylistic evolution of one specific brand of film realism in contemporary Chinese cinema: the so-called jishizhuyi style ('on-the-spot' realism). In particular, the project focuses on the process of progressive aestheticisation that has affected this style since the turn of the twenty-first century, and the resulting development of a number of transgressive aesthetic features. In the first place, this study rethinks the assumptions of objectivity and spontaneity that conventionally characterise the practice and understanding of jishizhuyi. Hence, through the analysis of relevant case studies, the dissertation discusses the evolution of two main tendencies that show an increasingly subjective approach to the jishizhuyi style: the adoption of hyperrealist and supernatural visual elements - in films such as Suzhou River, Shanghai Panic, Welcome to Destination Shanghai, The World, and Still Life - and the purposeful interplay of fiction and non-fiction - in works such as Disorder, Oxhide, Oxhide II, 24 City, and The Ditch. The dissertation contends that, albeit challenging to conventional understandings of realism, these aesthetics do not invalidate, but rather redefine the meaning and practice of film realism in relation to the specificities of China's contemporary historical framework. To investigate this topic, the project applies the 'cinema of transvergence' paradigm to Chinese film studies for the first time. This is understood as a transformative theoretical model that accounts for the evolution of film styles in a flexible manner. The discussion further combines a variety of interdisciplinary theories, ranging from magical realism to documentary performativity, in order to fulfil a formal and critical analysis of a stylistic phenomenon that has hitherto lacked a comprehensive systematisation in academic scholarship.
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Liu, Di. "A cultural study of the relationship between Music and Image in Chinese Cinema : 1966-1991." Thesis, University of Ulster, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529574.
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Ma, Ran, and 马然. "Chinese independent cinema and international film festival network at the age of global image consumption." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B46676314.
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Hao, Yiren. "The Ever-changing Roles of Chinese Women in Society: A Content Analysis and Semiotic Analysis of some Contemporary Chinese Films." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20481.
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One major question in the area of Feminist Media Studies is to analyze the stereotypical female role portrayals in media. Researchers in this area have examined diverse media including television, radio, films, textbooks, literature and so on. Empirical evidence provided by these studies shows that women in media are often underrepresented or stereotypically portrayed in traditional roles such as housewives or mothers associated with feminine values, such as dependent, submissive, and passive. Using content analysis and semiotic analysis, this study is designed to examine the portrayals of female roles in a sample of contemporary (1949-2010) Chinese films.
Content analysis is employed to examine how women have been portrayed in films, with the primary focus on the frequency of three types of female roles including (1) traditional roles, (2) modern role, and (3) ideal role. Results suggest that during this long period of time, representations and constructions of women in films have shifted from promotion of gender equality, to diminishing and erasing gender difference, and finally regressed to confining them to traditional roles while emphasizing traditional feminine values and expectations.
In using semiotic analysis, this research is able to outline the connotative meanings of the female characters as well as the implicit cultural values and messages of gender that are embedded in films. On this cultural analysis, the findings reveal that female role portrayals in films, which are influenced by political, cultural, and social changes, remained associated with traditional feminine stereotypes, values, and expectations.
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Sweeny, Margaret Isabel. "Stars: The configuration and trajectory of women in Chinese cinema during the first half of the Twentieth Century." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32394.
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Abstract In this thesis I will explore the figure and configuration of women in twentieth century Chinese cinema. I begin my investigation by establishing a more general understanding of how the cinema, as a structure of modernity, functions in relation to the formation of modern subjectivity, sensibility, and everyday life. I then narrow my investigation to the evolution of the cinema in the specific context of twentieth century China. In so doing, I establish how the evolution of the cinema and the figure and configuration of women developed in relation to the forging a new national identity. Through a discussion of the 1920s nüxiapian subgenre, New Woman (1935), and Song of Youth (1959), I trace the development of the figure of women in the cinema through major periods in modern Chinese history, thus, exposing the ideological investment in specific representations. My investigation reveals the political, and not merely sexually political, implications of the representation and circulation of the figure of the woman in modern Chinese culture.Résumé Dans la présente thèse, j'explore le sujet de l'image et de la composition des femmes dans le cinéma chinois du vingtième siècle. J'ai commencé cette étude en expliquant de façon plus générale la manière dont le cinéma fonctionne, en tant que structure de la modernité, relativement à la formation de la subjectivité, de la sensibilité et de la vie quotidienne modernes. J'ai ensuite restreint mon champ d'étude à l'évolution du cinéma dans le contexte particulier de la Chine du vingtième siècle. Ainsi, je montre comment l'évolution du cinéma et de l'image et de la composition des femmes s'est développée par rapport à la formation d'une nouvelle identité nationale. Par l'analyse du sous-genre nüxiapian des années 1920, de New Woman (1935), et de Song of Youth (1959), j'ai pu suivre l'évolution de l'image des femmes au cinéma au cours des périodes importantes de l'histoire moderne de la Chine et, par conséquent, découvrir l'investissement idéologique dans des représentations spécifiques. Mon étude dévoile les implications politiques, et pas seulement politico sexuelles, de la représentation et de la diffusion de l'image de la femme dans la culture chinoise moderne.
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YAU, Lai To Herman. "The progression of political censorship : Hong Kong cinema from colonial rule to Chinese-style socialist hegemony." Digital Commons @ Lingnan University, 2015. https://commons.ln.edu.hk/cs_etd/24.
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Censorship is an important cultural regulatory instrument for the government of a society, or even a state. In certain socio-political settings, it can become a powerful administrative appartus (dispositif) and technique (techne) designed to render society governable. Censorship decisions often embody hegemonic views on social and political issues. No matter how virtuous the original intent maybe, the practice of censorship is inevitably geared to the social tensions surrounding issues of human rights and political dissent. The theory behind film censorship may once have been benign but banning or cutting a movie always involves an unnatural set of procedures and actions. This study examines this problem in the context of socio-political changes in Hong Kong. It is an enquiry into the evolution of political film censoship in its more conventional form to its full-fledged integration into other institutions and policies under today's 'on country, two systems' policy. It also analyses the discourse surrounding the changes in film censorship practices from the days of early cinema to Hong Kong in the 21st century. By contextualizing Hong Kong cinema from a historical and political perspective, the study of the Hong Kong experience aims to shed light on censorship's socio-political meanings for, and effects on, filmmakers and film production.
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Elliott, Fraser. "The circulation of Chinese cinemas in the UK : studies in taste, tastemaking and film cultures." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/the-circulation-of-chinese-cinemas-in-the-uk-studies-in-taste-tastemaking-and-film-cultures(d4745fd7-a5bb-4168-967e-17c2399df962).html.
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This thesis has two interrelated research objectives. First, to understand the circulation of Chinese cinema in Britain through the cultural authorities and gatekeepers responsible for the canonisation of international film. Second, to use Chinese-language films as case studies through which to deconstruct and better understand the mechanisms that make up British film cultures and their tastemaking practices. English-language Chinese film studies has long been preoccupied with the semantic issue of how to define such a loaded and diverse concept as âChinese cinemaâ, with investigations generally focusing on film form and production contexts. This thesis extends these studies to include considerations of the role played by film circulation, to observe how the parameters of these analyses and the films of their focus are defined in the first instance. This thesis traces the lineage of Chinese cinema as it has appeared in Britain's film cultures from 1954 through to 2014 when this project began. Taking emblematic moments of this history as case studies to anchor the investigation, each chapter contextualises the cultures into which Chinese-language films arrived. Using the sociological theories of Pierre Bourdieu and others, these investigations note how, in addition to their negotiation of international trends, domestic skirmishes for cultural authority within Britain have had significant effects on the perceived value of Chinese cinema. This thesis considers the various social, cultural, and class contexts that support Britain's key tastemakers in the circulation of Chinese cinema. It shows not only the ways modes of evaluation and film availability are cultivated through these contexts, but that the activities therein result also from, and curate, assumptions toward Chinese as a cultural, political and ethnic signifier. Those commanding the discourse around Chinese cinema in Britain have done so with conceptions about Chineseness that result from and contribute to domestic conflicts of taste, class and social standing. The inevitable intersections between film tastes and cultural assumptions have worked to curate a parochial definition of Chinese cinema that prioritises certain kinds of films at the expense of others, dependent more on the idiosyncrasies of British film cultures than the activities of Chinese film industries.
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Qin, Liyan. "Trans-media strategies of appropriation, narrativization, and visualization adaptations of literature in a century of Chinese cinema /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p3258676.
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Thesis (Ph. D.)--University of California, San Diego, 2007.Title from first page of PDF file (viewed Jun 4, 2007). Available via ProQuest Digital Dissertations. Vita. Filmography : p. 264-270. Includes bibliographical references (p. 271-284).
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黃曉恩. "華人院商家族與香港戲院業變遷, 1930-1930年代 = Chinese cinema operators and cinema business in Hong Kong, 1930s-1960s." HKBU Institutional Repository, 2012. https://repository.hkbu.edu.hk/etd_ra/1373.
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Chen, Yunxiang. "Warriors as the Feminised Other--The study of male heroes in Chinese action cinema from 2000 to 2009." Thesis, University of Canterbury. School of Languages, Cultures and Linguistics, 2013. http://hdl.handle.net/10092/8176.
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"Flowery boys"(花样少年) - when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts.
It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena.
With Laura Mulvey's theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle. With such reconsideration of the relationship between the film texts and the audiences, this project aims to strip off the negative connotations imposed on the concept of 'feminisation' and to seek to prove the emerging of a feminine discourse popularised by a graphic revolution.
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Huang, Yin. "Being Feminist as a Discourse?Investigating Narrative Cinema with Female Protagonists Directed by Chinese Post-Fifth-Generation Filmmakers." Thesis, University of Canterbury. Cultural Studies, 2013. http://hdl.handle.net/10092/8448.
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Since the naming of the Chinese Fifth Generation in the 1980s, generational study became an important methodology in Chinese film studies. The Chinese directors up to the mid-1980s are categorised into five generations. However, the directors emerging after the Fifth Generation do not so far have a certain generational name. Thus, the identification of this “nameless” group, which is called the post-fifth generation in this thesis, is an interesting issue reflecting the political, economical and cultural discourse in contemporary China.
This thesis focuses on these directors’ films narrated with female protagonists, probes the reason why they chose female-centred narratives, and examines how they portrayed women and women’s stories in their filmic representation. In the light of Foucault’s theories of discourse and power, I examine the films as a kind of representation which is generated within discursive formation, and through which the directors identify themselves. The conclusion reached by the discussion is that both the female and the male directors studied in this thesis present very feminine discourse in their films. While the female directors are emphasising, even advertising their identity as women, their male counterparts are trying very hard to simulate and perform a feminine identification. This finding exactly answers the question in the thesis title. Since femininity is something that can be chosen, simulated, used, and played, the word “feminist” can also become a cultural brand from which the directors can benefit.
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Zhang, Haoyue. "EGGS UNDER THE RED FLAG AND BEYOND: THE CINEMA OF THE FIFTH GENERATION AND ITS REPRESENTATION OF CHILDHOOD." OpenSIUC, 2017. https://opensiuc.lib.siu.edu/dissertations/1420.
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In this dissertation, I considered five representative images of childhood that the Fifth Generation filmmakers created throughout a thirty-five year period of post-Maoist social transition in China since the beginning of the market reform and opening policy in 1978. To look at evolving childhood through their films is to position the construction of childhood under the prism of the most prominent and controversial cinematic transformation. On the one hand, the Fifth Generation’s shift towards incorporated production, theatrical narration, sentimental style, and generally conservative ideology, signals and constitutes their transition into the paradoxes of “market-socialism;” on the other hand, it maps out the fluctuation and signification of three discourses of capitalism, socialism and Confucianism through evolving images of the child and childhood. I expect this original work that bridges Chinese film studies with childhood studies to unfold a thorough and dynamic scroll, through which I can tap into China’s social transition toward authoritarian neoliberalism, and reveal the discursive mechanism where propaganda of communist regime and re-mobilized Confucian values negotiate and compete with global capitalist orders over the construction of childhood. This dissertation claims that the significance of childhood lies in its capability to fight against a homogenized and hostile environment as both a fundamental humanist domain, and a political, critical and imaginative weapon in commercialized Chinese society.
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Lin, Tong (Hilary). "Ji Sor (1997): Self-Realization of Women in Cinema and in History." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1671.
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100 years ago, there was a group of women called Zishunu who stood up against the whole society and swore off marriage for life. Zishu offered an escape for many women in the Pearl River Delta area. As forerunners in female independence and liberation, Zishunu never had the chance to be the spokesman of themselves or the recognition they deserved. Ji Sor (1997), a groundbreaking work in lesbian-themed movies, beautifully depicts this special and unparalleled historical phenomenon in detail. Released a few months after the Handover of Hong Kong in 1997, this critically acclaimed movie by Hong Kong New Wave filmmaker Jacob Cheung embodies the three biggest fears of an extremely conservative society: absence of marriage, challenges to male hegemony, and homosexuality. Although seen as representatives of strong and independent women, Zishunu had to make a lot of compromises to the patriarchal culture to be allowed not to marry. The emancipation of Zishunu, although as a huge advancement in the feminism in China, is not a complete liberation. Women emancipation cannot be achieved by women celibacy. A hundred years later, we are still asking what gender equality really means, what is women’s power, what is independence, what is feminism? Through the analyses of Zishu and Ji Sor both individually and together, this thesis explores the meanings of gender equalities and sexual identities mean in the cinematic world and in the real world. There shouldn’t be a set of standards of how women should act. The right that a woman should have, just like a real women’s movie, is the autonomy to make her own decisions.