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Dissertations / Theses on the topic 'Chinese Film'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 January 2023

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1

Li, Yan 1959. "The Chinese Film Industry After 1976." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc500539/.

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After the "Cultural Revolution" in 1976, the Chinese film industry returned to normal. Between 1976 and 1979, most filmmakers returned to their film studios and began to reorganize the production system. After 1980, the Chinese film industry began to develop multi-dimensionally. The highlight of this development was the rising of a large number of young directors and their works, which became hits and attracted attention both at home and abroad. More and more Chinese films were seen at international film festivals, often winning the awards. This study focuses on the important period between 19

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2

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 signific

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3

Dolby, F. J. "Docu-realism in contemporary Chinese film." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598587.

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This dissertation concerns a group of young Chinese filmmakers, some of whom are referred to as the “Sixth Generation”, who have made films outside the state-run filmmaking system since the 1990s. Their strikingly innovative works have increasingly attracted attention both inside and outside China. In fact, this film practice, arising from new film aesthetics, has formed a new film genre: docu-realism, a term I coin to refer to the new genre in contemporary Chinese fiction film. This is a type of fiction film that for the most part employs documentary mechanisms and adopts documentary aestheti

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4

Chen, Yeong-Rury. "A fantasy China an investigation of the Huangmei Opera Film genre through the documentary film medium /." Australasian Digital Thesis Program, 2006. http://adt.lib.swin.edu.au/public/adt-VSWT20061009.132620/index.html.

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Thesis (DDes) - National Institute of Design Research, Swinburne University of Technology, 2006.<br>A doctoral research project presented to the National Institute of Design Research, Swinburne University of Technology in partial fulfilment of the requirements for the degree of Doctor of Design, 2006. Typescript. Bibliography: p. 109-120.

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5

Xu, Shuo. "The Curious case of Chinese film Censorship: An analysis of the film administration regulations." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23166.

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The commercialization and global transformation of the Chinese film industry demonstrates that this industry has been experiencing drastic changes within the new social and economic environment of China in which film has become a commodity generating high revenues. However, the Chinese government still exerts control over the industry which is perceived as an ideological tool. They believe that the films display and contain beliefs and values of certain social groups as well as external constraints of politics, economy, culture, and ideology. And, ironically, the films censored in China often

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6

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 g

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7

Tei, Chiew Siah. "Chinese texts, Western analysis : from film to novel." Thesis, University of Glasgow, 2007. http://theses.gla.ac.uk/3992/.

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This study explores perceptions of Chinese texts by Western audiences while looking into the interrelation between film and literature. This is done by two means: firstly, through a detailed discussion of film adaptations with the focus on Chinese cinema, and secondly, through a practical demonstration of a filmic style in prose fiction in the form of an original book-length piece of fiction. Using Bakhtin’s ‘dialogism’ as the point of departure, the research on adaptations adopts an intertextual approach of adaptation theory as developed by Robert Stam, looking into the intertextual relations

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8

Zhao, Zhi Long. "Chinese Passenger :an experimental short film focusing on Chinese inland immigrants' living experience." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953729.

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9

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 disgui

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10

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

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11

Zhao, Haifeng. "Le cinéma muet chinois. Etude sur le langage cinématographique." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030028/document.

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Les premiers films chinois sont des documentaires de l’opéras traditionnels. Le langage cinématographique dans le cinéma chinois est née avec Tragédie de l’opium de 1916. L’industrie du cinéma a été fondée dans les années vingt avec la naissance de nombreux studios et avec une production débordante de long-métrage qui est très proche des films hollywoodiens. Le cinéma muet chinois est toujours présent dans les années trente. La mise en scène manifeste une conception cinématographique moderne en gardant la continuité de l’espace-temps. Dans l’utilisation du mouvement de caméra, SUN Yu garde une

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12

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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13

Zhang, Huiping. "An analysis of the Chinese Fifth Generation film makers based on the theory of film movements." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0011/MQ52495.pdf.

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14

Xu, Wei Wei. "Career management : a study of the Chinese film production industry." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/23025/.

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This thesis presents the results of a multi-method investigation into how individuals in the film production industry manage their careers using China as a case study. Three rich hypotheses were tested against 14 in-depth interviews with inner-core decision makers and a survey questionnaire to which 119 actors and crew responded. The qualitative analysis confirmed that: (i) social networks provide vital functions for finding jobs in the film industry; (ii) personal reputation is vital for a long-term career in the film industry; and (iii) professional talent is socially determined. The finding

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15

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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16

Noble, Jonathan Scott. "Cultural Performance in China: beyond resistance in the 1990s." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1047438964.

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Thesis (Ph. D.)--Ohio State University, 2003.<br>Title from first page of PDF file. Document formatted into pages; contains x, 253 p. Includes bibliographical references (p. 235-253). Available online via OhioLINK's ETD Center

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au, M. Stein@murdoch edu, and Michael Stein. "The Chinese Combat Film Since 1949: Variants of 'Regulation', 'Reform' and 'Renewal'." Murdoch University, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20061123.141154.

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This thesis examines variations of the Chinese combat film, from its origins within cinema in 1949, through to the contemporary period. My argument transposes the critical approach of genre, as a popular style within conventional film criticism, to a specific Chinese form. In particular, this study investigates the combat film as a prevailing mode in Chinese cinema, with a particular history, form of progression and set of aesthetics. The argument initially applies the war film and combat genre categorisations to Chinese forms. Consequently three major variants emerge, manifest i

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18

LIU, Jingya. "Chronotope and regional Chinese independent films." Digital Commons @ Lingnan University, 2010. https://commons.ln.edu.hk/cs_etd/2.

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This thesis aims to re-categorize Chinese independent films from a region-based perspective as a critical response to existing literature on Chinese independent films. This thesis analyzes three independent films made in three different regions of China in order to investigate regional Chinese independent cinema as a recently rising phenomenon: respectively, Jia Zhangke’s Xiaowu (1997) made in Shanxi Province, Ying Liang’s Taking Father Home (Bei yazi de nanhai, 2006) in Sichuan Province, and Robin Weng’s Fujian Blue (Jinbi huihuang, 2007) in Fujian Province. By using Bakhtin’s concept of chro

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19

Dong, Jichen. "Project Shanghai: An Experimental Short Film Commenting on Income Inequality in Shanghai." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2137.

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Project Shanghai is an experimental short film that addresses the problem of wealth inequality in Shanghai and draws attention to the lives of the lower class. Since the economic reform launched in the last century that brought China unprecedented growth, Shanghai has developed into the financial hub of East Asia and the gateway to mainland China. However, it has also become a city where one can see the extremes of income inequality. Influenced by the Six-Generation Chinese directors and their persistent attention to the marginalized city dwellers, Project Shanghai attempts to advocate the bas

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20

Chen, Xihe. "The major developments and their ideological implications of Chinese film and film education since the cultural revolution." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1272373224.

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21

Chen, Xihe. "The major developments and their ideological implications of Chinese film and film education since the Cultural Revolution /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487848891513024.

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22

Mi, Jia-Yan. "The spectacle of Xiangtu : home, landscape and national representation in modern Chinese literature, film and art /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.

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23

Ho, Wing Shan. "How Far Can We Go: Popular Film and TV Drama in Post-1989 China." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/17937.

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295 pages<br>My dissertation addresses two major issues in Chinese contemporary film and TV studies: the first is the proliferations of new forms of subjectivities and the state’s attempt to regulate them via the construction of an ideal citizenship on the film and TV screen; the second is to develop an approach to understand the political economy of screen culture (yingshi wenhua), as well as freedom and control in post-1989 China. My project investigates key contemporary state-sponsored (zhuxuanlü) and state-criticized/banned screen products as a way to explore socialist values advance

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24

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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25

Metzger, Sean Aaron. "The Chinese fetish : fashioning Asian/American bodies in theatre and film /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2005. http://uclibs.org/PID/11984.

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26

Lin, Zhichun. "Out into the world: Chinese film music after the cultural revolution." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1399898543.

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27

Yu, Gwo-chauo. "China, Hong Kong, and Taiwan: The Convergence and Interaction of Chinese Film." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501002/.

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This study focuses on the evolution of the movie industries in Taiwan, Hong Kong, and China in the late 1980s and early 1990s, with an emphasis on the interaction and cooperation in movie production among these three areas. The study consists of three sections: a general description of the development of Chinese cinema before 1949; an overview of the movie industries in Taiwan, Hong Kong, and China after the civil war; and an intensive study of the recent changes, interactions, and connections among these industries. In the third section, three models are proposed to explain the changing pract

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28

Bao, Ying. "In Search Of Laughter In Maoist China: Chinese Comedy Film 1949-1966." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1218342529.

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29

Becher, Angela. "The monumental imaginary : post-socialist architecture in contemporary Chinese art and film." Thesis, SOAS, University of London, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.710901.

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30

Stein, Michael. "The Chinese combat film since 1949: variants of 'regulation', 'reform' and 'renewal'." Thesis, Stein, Michael (2005) The Chinese combat film since 1949: variants of 'regulation', 'reform' and 'renewal'. PhD thesis, Murdoch University, 2005. https://researchrepository.murdoch.edu.au/id/eprint/325/.

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This thesis examines variations of the Chinese 'combat film', from its origins within cinema in 1949, through to the contemporary period. My argument transposes the critical approach of 'genre', as a popular style within conventional film criticism, to a specific Chinese form. In particular, this study investigates the 'combat film' as a prevailing mode in Chinese cinema, with a particular history, form of progression and set of aesthetics. The argument initially applies the 'war film' and 'combat genre' categorisations to Chinese forms. Consequently three major variants emerge, manifest

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31

Stein, Michael. "The Chinese combat film since 1949: variants of 'regulation', 'reform' and 'renewal'." Stein, Michael (2005) The Chinese combat film since 1949: variants of 'regulation', 'reform' and 'renewal'. PhD thesis, Murdoch University, 2005. http://researchrepository.murdoch.edu.au/325/.

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This thesis examines variations of the Chinese 'combat film', from its origins within cinema in 1949, through to the contemporary period. My argument transposes the critical approach of 'genre', as a popular style within conventional film criticism, to a specific Chinese form. In particular, this study investigates the 'combat film' as a prevailing mode in Chinese cinema, with a particular history, form of progression and set of aesthetics. The argument initially applies the 'war film' and 'combat genre' categorisations to Chinese forms. Consequently three major variants emerge, manifest

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32

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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34

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

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35

Lin, Zhichun. "Hearing Their Stories Through Polyphonic Soundtracks: Women and Music in Contemporary Chinese Film." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1374231964.

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36

Jin, Z. "A comparative analysis of film subtitle translation from English to Chinese : a case study of 15 popular animation films." Thesis, University of Salford, 2017. http://usir.salford.ac.uk/43726/.

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As film-making has evolved, subtitling has become “a translation practice that consists of presenting a written text, generally on the lower part of the screen”, which seeks to deliver “the original dialogue of the speakers” (Diaz-Cintas and Remael 2007: 8). Subtitle translation in the field of Audiovisual Translation has attracted increasing interest from scholars, who believe that the quality of subtitling is an important criterion when evaluating the quality of a film. Inspired by Even-Zohar’s (1978) polysystem theory and Gottlieb’s (1992) typology, this comparative study focuses on the sub

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37

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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38

Wu, Jing. "Imagining Chinese modernity narrative film, television drama, and representations of the Cultural Revolution /." online access from Digital Dissertation Consortium access full-text, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3058452.

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Gabereau, Eve Jeanne. "Identity, architecture, and film, mapping the impact of modernization on contemporary Chinese culture." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0021/MQ37532.pdf.

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Chen, Amber Marie. "Developing and Studying the Effectiveness of EFR Annotations for Chinese Language Learners." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/2299.

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This project is intended to take the film To Live, directed by Zhang Yimou, and apply the Electronic Film Review (EFR) approach to it in a Chinese as a Foreign Language (CFL) setting. The Electronic Film Review project, developed by Alan K. Melby, is aimed at providing a superior language learning experience for Americans learning Chinese. Using feature films as a teaching tool has been found to stimulate and motivate students to achieve higher language levels, but in order for optimal learning to occur the material must be challenging yet accessible to the student. Most feature films, by them

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Rodekohr, Andrew Justin. "Conjuring the Masses: The Figure of the Crowd in Modern Chinese Literature and Visual Culture." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10574.

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This dissertation argues that the figure of the crowd in literature and visual culture constitutes a crucial component in the emergence and construction of the cultural, political, and historical values of modern China. From Lu Xun’s momentous recollection of the lantern slide that compelled him use literature as a means to heal the souls of the Chinese people to Zhang Yimou’s spectacular staging of the crowd at the 2008 Beijing Olympic Games, the numerous ways the crowd has been written and pictured not only demonstrates its utility as a motif, but also asserts a mode of literary and visual i

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TSE, Pak Shing. "香港文學的現代主義 : 六、七〇年代歐洲電影與香港文學的關係". Digital Commons @ Lingnan University, 2011. https://commons.ln.edu.hk/chi_etd/8.

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大量的史實證明，香港五、六○年代銳意介紹西方現代主義的文藝雜誌與副刊跨越了不同的藝術媒介，為香港現代文學奠下了重要的基礎；而這個基礎有兩個重要的特質：一它是一個連續的累積過程，二它具有跨越媒介的特色。由《文藝新潮》（1956－1959）以降，到《新思潮》(1959)、《好望角》(1963) 等提倡現代文藝的雜誌，它們所累積的現代主義文化根基及對不同藝術媒介的包容吸收，到了六○年代的《中國學生周報》仍然秉承這份精神。本文把西方傳入的現代主義思潮看成是一個在香港連續發展的整體。現代主義雖然是西方思潮，但在香港的特殊背景之中，反而把其消化成香港獨特的文學風格，令香港文學更加本土化；而對於六○年代在香港成長的作者，歐洲電影更是一個吸收現代主義思潮的重要途徑。本文以現代主義及歐洲電影兩條線索在香港交匯的事實構成一個視角，一方面考察香港本土意識的形成，另一方面探討電影與文學在美學及文化上的互動關係。在這個視角下，六○年代《中國學生周報‧電影版》所討論的歐洲電影成為本文重要的文獻，而本文會抽取當中較有代表性的電影作品，並以之為章節，看其對香港文學的影響。討論的作品以長篇作品《剪紙》（1977）及《我城》（1979）為主，旁及《養龍人師門》（2002）、《象是笨蛋》（1969）以至也斯及西西的影評，以及他們回應某些歐洲電影的文學作品。與過往的評論不同，本文把這兩部作品放在歐洲電影

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Wang, Li. "Cultural Representations of the One-child Policy in Chinese Literature and Film since 1978." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20558.

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This dissertation focuses on the cultural representations of the one-child policy ever since 1978. The artistic discourses about the one-child policy provide a fantastic space to explore China’s post-socialist society and contending ideologies. It also sheds light on the intricate relation between aesthetics and politics and these among the state, family and individual. Moreover, as discourses, artistic narratives and images also participate in the redefining of reproduction/one-child policy. Therefore, inquiries into the interaction between aesthetics and politics enrich our understanding of

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Li, Jian. "Film Dialogue Translation And The Intonation Unit : Towards Equivalent Effect In English And Chinese." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1480.

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This thesis proposes a new approach to film dialogue translation (FDT) with special reference to the translation process and quality of English-to-Chinese dubbing. In response to the persistent translation failures that led to widespread criticism of dubbed films and TV plays in China for their artificial 'translation talk', this study provides a pragmatic methodology derived from the integration of the theories and analytical systems of information flow in the tradition of the functionalist approach to speech and writing with the relevant theoretical and empirical findings from TS and other r

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Chasse, Hilary Marie. "Youth in China: An Analysis of Critical Issues Through Documentary Film." Thesis, Boston College, 2012. http://hdl.handle.net/2345/2969.

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Thesis advisor: Christina Klein<br>The cultural face of modern China is constantly changing, whether through economic reforms, political campaigns, or social values. The ultimate inheritors and current carriers of this society in flux is the current post socialist, post 1989 youth generation. This paper examines the cultural changes that are occurring in China through six documentary films made in the 21st century that focus on youth and young adults as the representatives of the issues that the directors explore. In two films, the issue of the Single Child Policy will be examined in terms of

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Landzberg, Judah B. "The many meanings of a missing character| Multiple discourses of Chineseness and Chinese identity in Wayne Wang's films." Thesis, University of Hawai'i at Manoa, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=1596276.

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<p> This thesis highlights a method of representation that is critical of both images of Chinese powerlessness and images of Chinese power. In <i> Chan is Missing</i> and <i>The Princess of Nebraska</i>, two films by Chinese American director Wayne Wang, representations of Chineseness and Chinese identity are always determined through the discursive context in which they are enunciated. The films each employ the device of a missing subject, in order to show that its meaning does not refer to the subject itself but rather is determined through the context in which it is talked about. This creat

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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.<br>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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Li, Wei. "'Dancing with handcuffs and shackles' : how product placement is adopted by the Chinese film industry." Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/59612/.

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This PhD researches the role of product placement in modern Chinese cinema, exploring the shifting discourses and textually-specific practices that are unique to the practice of product placement within the Chinese film industry. Existing studies have focused almost exclusively on the Hollywood film industry, and have analysed product placement in terms of its effectiveness with audiences, and as a potential influence on consumer behaviour, often from a psychological or marketing viewpoint. This study approaches product placement from industrial and textual perspectives, more interested in the

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Xu, Apple Yaping. "The oral testimony and the embodied witness: orality, intersubjectivity, and Chinese oral history documentary film." HKBU Institutional Repository, 2013. https://repository.hkbu.edu.hk/etd_oa/24.

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In order to explore the embodiment of oral history in documentary film this study sets out its analysis in two sections. The first section concentrates on understanding the issue of intersubjectivity in Walter Ong’s idea of ‘orality’, namely, orality as characterized by an interactive relation between speaker and listener, based on the sensual-perceptual experience of sound phenomenon and the expressive act of the spoken word. Additionally, in this first section, intersubjectivity in cinematic experience is also investigated in relation to early German film theorists’ romantic conceptions of f

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Skov, Adam Vincent. "China's Influence on Hollywood." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460984628.

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