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Dissertations / Theses on the topic 'Film archives – China – Hong Kong'
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1
Barbieri, Maria. "Film censorship in Hong Kong." Thesis, Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B1947118X.
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陸姿恆 and Chi-hang Yvonne Luk. "Hong Kong film centre." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984757.
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Lam, Hei Lawrence, and 林晞. "Hong Kong Film Academy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31982906.
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Lai, Suet-fun Betsy, and 賴雪芬. "Nanbei (south-north) comedies in Hong Kong cinema : transregional film industry and Hong Kong identity." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/208079.
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In this paper, I attempt to use the concept of “transregional imagination” by Zhang Yingjin to depict the Hong Kong film industry in the early 60s and examine how it has transformed the industry practices in Hong Kong cinema and shaped the Hong Kong identity. For decades, Hong Kong cinema has been of regional and transregional importance. The influx of film artists from the north, especially Shanghai, during the post-war period brought a cosmopolitan outlook to the industry. This was coupled with the investment of overseas Chinese from Singapore which helped to expand the distribution network of Hong Kong films within a short time. By tracing the historical development of the industry, I wish to revisit the major events in the region which have contributed to the uniqueness of Hong Kong culture. I would also like to illustrate the characteristics of the transregionalism through the study of a trilogy of nanbei (literally, south and north) comedies released in the early 60s by the MP&GI company. They are The Greatest Civil War on Earth (Nanbei He, 1961); The Greatest Wedding on Earth (Nanbei Yi Jia Qin, 1962) and The Greatest Love Affair on Earth (Nanbei Xi Xian Feng, 1964) which depict the conflicts between the Mandarin-speaking “Northerners” (mainly from Shanghai and neighbouring cities) and Cantonese-speaking “Southerners”. The transregional imagination is manifested in these films which have the benefit of funding from overseas Chinese, casting from Shanghai and local artists, screenwriters from USA, production team mainly from the north, distribution network across regions and audience from international markets. I would further examine the comedy genre as a common language among diversified cultures and a discussion of modernity through an analysis of the company’s business strategies and the scenes which depict western values and urban images of Hong Kong during the 60s. I hope the analysis will be able to rediscover the transregional advantages that Hong Kong film industry has enjoyed and which, I believe, have also paved the way for its positioning in the era of globalization.published_or_final_version
Literary and Cultural Studies
Master
Master of Arts
5
Chen, Fangyu. "The post-2000 Hong Kong film workers." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/751.
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This thesis is an interdisciplinary study that traces the commerce-art-politics nexus of Hong Kong cinema since the new millennium, through investigating the current young generation of film workers who joined the industry as it gradually entered an era marked by the domination of Hong Kong/Mainland co-productions. It reveals the filmmaking ideologies of emerging filmmakers from both within and beyond their film texts, and uncovers the artistic and ideological discrepancies between this young generation and their predecessors - the established generation who contributed to the glory days of Hong Kong cinema during its economic boom. By tracing the studies of national cinema and transnational cinema in the last three decades, I debunk the national/transnational antagonism with the case of the post-2000 Hong Kong cinema. It does not only prove that the binary is far more complicated than one being superseded by the other, or them coexisting with each other, but rather evolving into each other from a historical perspective. In this vein, the current Hong Kong cinema has split into two: a transnational cinema represented by the established generation of filmmakers; and a national cinema that is driven by the emerging generation who struggle for better preservation of Hong Kong local culture and their own cultural identities. Furthermore, this thesis scrutinizes the working and material conditions of these young film practitioners, in which employment and economic opportunity are primarily derived from co-productions and mainland productions. It expands the discussion over the concept of precarity and argues that the Hong Kong case demonstrates two extra dimensions of labour precarity: an excessive reliance on an external market (i.e. mainland market), and the workers' dissenting political attitudes towards a politically sensitive regime, namely mainland China under the ruling of the Communist Party. Lastly, developments in Hong Kong film policy since the handover are examined. As its longstanding managing philosophy of "minimal intervention" has largely remained unchanged in Hong Kong, the government has turned from a "laissez-faire" approach to what Mark Purcell terms an "aidez-faire" approach in the local film industry, yet it still failed to meet the industry's expectations of creating a holistic film policy. Nevertheless, film policy in the post-handover era had an undeniable impact in terms of cultivating young filmmakers. To research the topic, 47 in-depth interviews were conducted. These first-hand interviews, combined with data gathered from multiple resources, as well as a text analysis of the 107 films made by young directors between 2000 and 2018, form the factual basis of this thesis. Employing a Hong Kong/Mainland Film dynamics perspective, this study aims to fill a gap in the academic study of Hong Kong cinema, which has paid scant attention to the material conditions and artistic visions of craft labour in the industry, and especially of the young generation of filmmakers who are facing the decline of a once prosperous but currently diminishing local film industry.
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吳兆康 and Siu-hong Ryan Ng. "Film Complex: resuscitation of film in commercial society." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984770.
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Au-Yeung, Shing, and 歐陽檉. "Hong Kong's Alternative Film and Video movement as an agent for socialchange." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36243693.
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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 practices in movie production in these three areas. Obstacles preventing further cooperation and the significance of the reconstruction and integration of Chinese cinema are discussed.
9
陳振國 and Chun-Kwok Chan. "The silver-screened images of city: film as an alternative tool for planning and development in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31260706.
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Pearson, Fiona Elisabeth. "Learning English through film: a case study of the effect on S4 students' attitudes." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B4517653x.
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So, Mei-fong, and 蘇美芳. "The feasibility of implementing industry self-regulation of film censorship in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36411255.
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Lee, Shuk-man, and 李淑敏. "From cold war politics to moral regulation : film censorship in colonial Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/197504.
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Through the case of film censorship in Hong Kong from the late 1940s to the 1970s, this thesis explores the local impact of the international Cold War. It argues that Cold War politics shaped the nature of local policy. The first chapter investigates the reasons for the rise of film censorship in the late 1940s and the 1950s. It argues that three levels of Cold War tensions led the Hong Kong government to focus on political censorship. Tensions within the British Empire, between the Hong Kong government and foreign governments, and those between local communists and the Hong Kong government led censors to target communist films, foreign governments’ official films, and films echoing local political events. Among these films, those from China remained the primary target. During the period of political censorship, the Hong Kong government ignored the needs of local viewers and focused on reacting to external forces. The second chapter examines how in the 1960s local communists launched two campaigns against the suppression of Chinese films. It argues that the campaigns in 1965 and 1967 showed the influence of the Cold War, as these communists threatened the Hong Kong government that continued suppression of Chinese films would worsen Sino--‐‑British relations. It explains why the 1965 campaign succeeded in forcing the government to adjust its policy towards Chinese films but the one in 1967 did not. Since the late 1960s, Cold War tensions had been easing, particularly between China and Britain. The importance of political censorship and the external aspects of film censorship in Hong Kong started to diminish. Setting the stage for the localisation of film censorship in the 1970s, Chapter Three explores another duty of film censors in the 1960s, to examine sex and violence. By studying the debates about film classification and the censorship of the local film Death Valley (Duanhungu 斷魂⾕谷), this chapter argues that the government did not understand the goals of moral censorship even after examining films for more than twenty years. And it still did not sincerely engage with the Chinese population. The final chapter, on the 1970s, shows how the easing Cold War tensions directed the Hong Kong government to focus on moral censorship of films that was in accordance with the other social policies such as fighting prostitution and violent crime. Localisation of film censorship was followed by comprehensive reforms. The 1970s witnessed the government’s first serious attempt to engage the Chinese public in censoring films.published_or_final_version
History
Master
Master of Philosophy
13
Hess, Nicole A. "Imagining independence the circulation and thematic concerns of independent film from Hong Kong and China /." Thesis, Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36726102.
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Peng, Zhanwen. "Eliminating the Uncertainty of Hong Kong in 1990s: Tsui Hark’s Once Upon a Time in China (1, 2, 3)." Scholar Commons, 2018. http://scholarcommons.usf.edu/etd/7214.
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My argument is that the Wong Fei-hung film series, Once Upon a Time in China (Tsui Hark, Chapters 1, 2, 3), not only affirms the ideas of Confucianism but also criticizes them. Tsui Hark’s film series express Hong Kong’s tension of selecting eastern tradition and western modernity before it returned to mainland China in 1997, which represents the selection of entirely different values between East and West. Though the film series was made from 1991 to 1993, Hark started considering how to eliminate the uncertainty in selecting ideology after Hong Kong’s return. He provides his answer by combining eastern Confucianism and western modernity to lead Hong Kong to build a more inclusive nationalism. This new nationalism not only transforms tense uncertainty into positive potentiality but also avoids the intense conflict between those who select eastern values and those who select western ones.
Tsui Hark's affirmation to Confucianism includes the traditional moral principles which are kindness, righteousness, wisdom, sincerity and “father guides son”. Meanwhile, he affirms the individualism and anti-tradition of modernity. For Hong Kong, Hark's implication is to let them take the Chinese nation as the prerequisite for safeguarding the unification of China and abiding by the leadership of state sovereignty, as well as accepting the traditional Confucian morality. In addition, as a modern city, Hong Kong should continue to carry forward individualism and anti-tradition of modernity to satisfies the individual's reasonable desires and challenge the traditional with creativity. In this thesis, I support this argument by analyzing two aspects of these films: character and genre.
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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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Wong, Wei-him Ivan. "Film Academy in Aberdeen." Thesis, Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25949408.
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Ng, Hoi-shan Crystal, and 吳海珊. "Rewriting Louis Cha's classical characters in filmic representation inresponse to the political and cultural mutation of Hong Kong 90S -Wong Kar Wai and Tsui Hark." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951697.
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楊舒恒. "戲裏戲外 : 香港六十年代國語電影女星的螢幕再現與現實生活 = Inside/outside the movies: Hong Kong Mandarin film actresses of the 1960s : their representations on screen and their real lives." HKBU Institutional Repository, 2008. http://repository.hkbu.edu.hk/etd_ra/926.
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Li, Suk-fong, and 李淑芳. "The use of film subtitles in teaching English to the junior form students." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31945119.
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Baldwin, Jillian. "Room 2046: A Political Reading of Wong Kar-Wai's Chow-Mo Wan Trilogy through Narrative Elements and Mise-en-scene." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5482/.
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As ownership of Hong Kong changed hands from the United Kingdom to the People's Republic of China in 1997, citizens and filmmakers of the city became highly aware of the political environment. Film director Wong Kar-Wai creates visually stimulating films that express the anxieties and frustrations of the citizens of Hong Kong during this period. This study provides a political reading of Days of Being Wild (1991), In the Mood for Love (2000), and 2046 (2004) through analyzing various story elements and details within the mise-en-scene. Story elements include setting, dialogue, character relationships, character identities, thematic motifs, musical references, numerology, and genre manipulation. Wong also uses details within the films' mise-en-scene, such as props and color, to express political frustrations. To provide color interpretations, various traditional aesthetic guidelines, such as those prescribed by Taoism, Cantonese and Beijing opera, and feng shui, are used to read the films' negative comments on the handover process and the governments involved. When studied together the three films illustrate how Wong Kar-Wai creates narrative and visual references to the time and atmosphere in which he works, namely pre-and-post handover Hong Kong.
21
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.
22
"The making of Hong Kong film archive." 1997. http://library.cuhk.edu.hk/record=b5889077.
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Chung Hung Yu Rex."Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1996-97, design report."
Chapter I. --- BACKGROUND
Chapter I.I --- Client
Chapter I.II --- Need
Chapter I.III --- Program/ Brief
Chapter I.IV --- Users
Chapter I.V --- Site selection & context
Chapter I.VI --- Design Objectives
Chapter II. --- DESIGN STRATEGY
Chapter II.I --- Design Philosophy
Chapter II.II --- Concept Development
Chapter II.III --- Site Aspect
Chapter a) --- Site Context
Chapter b) --- Site Zoning Strategy
Chapter c) --- Site Circulation
Chapter II.IV --- Building Design
Chapter a) --- Building Zoning Strategy
Chapter b) --- Building Circulation
Chapter III. --- STRUCTURE
Chapter III.I --- Superstructure
Chapter III.I --- Curtain wall System
Chapter IV. --- AIR-CONDITIONING
Chapter IV.I --- Zoning Strategy
Chapter IV.II --- Detail Design
Chapter V. --- FIRE SERVICE
Chapter V.I --- Means Of Escape
Chapter V.II --- Fire Compartmentation
Chapter VI. --- PLUMBING & DRAINAGE
Chapter VII. --- APPENDIX
Chapter 1. --- Assembly Drawings & Model Photos
Chapter 2. --- Programming Report/ Design Brief
23
"Hong Kong film policy: a critical study." 2007. http://library.cuhk.edu.hk/record=b5893457.
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Chung, Simon.Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (leaves 123-130).
Abstracts in English and Chinese; appendix 2 in Chinese.
Abstract
Chapter Chapter 1 --- Introduction --- p.4
Chapter Chapter 2 --- "Film Policies in France, Canada and Korea" --- p.19
Chapter Chapter 3 --- Hong Kong Film Policy --- p.65
Chapter Chapter 4 --- Conclusion --- p.106
Appendix --- p.114
Bibliography --- p.120
24
"HK Film & Media Arts Center." 1999. http://library.cuhk.edu.hk/record=b5890218.
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Lam Kwok Wing Terence."Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1998-99, design report."
Includes bibliographical references (leaves 50-51).
Chapter 1.00 --- INTRODUCTION
Chapter 1.10 --- Synopsis
Chapter 1.20 --- Definitions
Chapter 1.30 --- Vision
Chapter 1.40 --- Existing Situation
Chapter 1.50 --- Hypothesis
Chapter 2.00 --- BACKGROUND
Chapter 2.10 --- Process of Design
Chapter 2.20 --- Schedule of Work
Chapter 2.30 --- Client Profile
Chapter 2.40 --- Site
Chapter 2.50 --- Site Selection
Chapter 2.60 --- The Proposal
Chapter 3.00 --- PROJECT BRIEF
Chapter 3.10 --- Problems and Opportunities
Chapter 3.20 --- Constraints
Chapter 3.30 --- Space Diagram
Chapter 3.40 --- Design Guidelines
Chapter 4.00 --- DESIGN
Chapter 4.10 --- Development of Design
Chapter 4.20 --- Final Drawing
Chapter 4.30 --- Details
Chapter 4.40 --- Code Compliance
Chapter 5.00 --- BIBLIOGRAPHY
Chapter 6.00 --- APPENDICES
Chapter 6.10 --- Case Study
Chapter 6.20 --- Interviews
Chapter 6.30 --- Schedule of Accommodations
Chapter 6.40 --- Cost Estimation
25
"Hong Kong film music from the 1990s to the present." 2005. http://library.cuhk.edu.hk/record=b5896398.
Full textAbstract:
Cheng Ling Yan.Thesis submitted in: June 2004.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.
Includes bibliographical references (leaves 86-90).
Abstracts in English and Chinese.
Abstract --- p.i
Abstract (Chinese) --- p.ii
Acknowledgement --- p.iii
Table of Contents --- p.iv
List of Figures --- p.vi
Romanization and Translation --- p.vii
Introduction --- p.1
Chapter Chapter One --- Original Scoring 原創音樂： Compositional Practice in the Present-Day Hong Kong Film Music Industry --- p.6
"How Original is “Original Scoring"" ？" --- p.8
Originality in Previous Practice? --- p.9
~Film Music from the 1960s to the 1990s --- p.9
~“Chinese´ح Music in the Huang Mei Diao Film --- p.9
~Canned Music in the 1960s and 1970s --- p.11
~The Composer in 1970s Film Music --- p.12
Film Music of the 2000s --- p.12
Time Limitations --- p.13
Budget --- p.15
Technology in Use --- p.18
"Close Relationships between the Director, Composer, and Mixer" --- p.21
Chapter Chapter Two --- Film Music Functions and Formulaic Uses of Instruments --- p.24
Function of Film Music --- p.25
Formulaic Uses of Instruments --- p.26
Re-Occurrence of Music in a Film --- p.30
Chapter Chapter Three --- Imagined Scoring of Chinese Music --- p.33
Chinese Instruments --- p.34
Authenticity In Scene and Out of Scene --- p.35
Imagined Scoring -- Creative Listening Experience --- p.36
Cultural Correctness --- p.38
Listening Experiences Formed in Daily Life --- p.39
Music for the Elders in Hong Kong --- p.41
Conclusion --- p.41
Chapter Chapter Four --- Crossover of Pop Singers Into Films --- p.43
Hong Kong Pop Singers as Film Actor/Actress or Vice Versa --- p.44
Diegetic and Non-Diegetic Music --- p.50
Popular Song In Film and Film Theme Song --- p.53
The Crossover of Popular Music Composers Into Film Music --- p.54
Pop Songs and Listening Experience --- p.56
Change in the Practice - Problems of Overlapping Identities --- p.59
Chapter Chapter Five --- Conclusion: Musically Illiterate in Pop but Fluent in Chinese? --- p.62
The Hong Konger is Musically Not Chinese --- p.63
The Hong Konger is Musically Fluent in Pop --- p.64
Questions for Further Study --- p.64
Appendix 1 (Wong Fook Ling ) --- p.66
Appendix 2 ( Frankie Chan ) --- p.71
"Appendix 3 (List of United States, Taiwan and Hong Kong Film Music Awards)" --- p.80
Appendix 4 ( Film Titles ) --- p.81
"Appendix 5 (Directors, Composers, Lyricists, Actors/Actresses and Singers )" --- p.84
References Cited --- p.86
Glossary --- p.92
26
"The Hong Kong crime film: genre and film noir from the 1940s to the present." Thesis, 2011. http://library.cuhk.edu.hk/record=b6075179.
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The crime film has been one of the most important genres in Hong Kong cinema for the last thirty years. This dissertation examines the development of the crime film genre in Hong Kong from the late 1940s to the present. By taking a genre approach to Hong Kong's cinematic history, it supplements recent auteur- and studio-centered scholarship, and sheds light on the rarely explored pre-1980s history of the crime film. This historical approach in tum contributes to a better understanding of more recent films. Genre here has been understood not as a clearly delimited structure with fixed narrative and visual conventions, but as a loose framework with an inherent drive towards innovation and variation.The goal of this dissertation is threefold. First, it aims to complement the dominant, "identity" -driven research of Hong Kong cinema and demonstrate the advantages of a historical genre approach. Second, it strives to strengthen the film studies argument that film noir is neither a genre in the usual sense of the word, nor an exclusively American phenomenon. Finally, it sets out to explore the relationship between film and society, in order to qualify overly reflectionist readings of Hong Kong films.
While this study gives a historical overview of the Hong Kong crime film, it pays particular attention to the presence of local films noirs. Arguing that noirish Hong Kong films were made since the late 1940s, recent claims that noir is a new phenomenon in Hong Kong are questioned. At the same time, it is suggested that a distinctly local noir sentiment has grown central to the crime film in the past fifteen years. The dissertation traces back this recent development to the origins of the "modem" Hong Kong crime film in the late 1960s and early 1970s, and in particular to its roots in the martial arts genre. Director Johnnie To and his Milkyway Image company are considered to have spearheaded the current predominance of bleak sentiments in Hong Kong crime films, so their work serves as a case study in the final chapter.
Van den Troost, Kristof.
"December 2010."
Adviser: Ann Huss.
Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: .
Thesis (Ph.D.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 304-321).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract also in Chinese.
27
"The Cantonese "youth film" and music of the 1960s in Hong Kong." 2011. http://library.cuhk.edu.hk/record=b5894701.
Full textAbstract:
Chan, Pui Shan.Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 113-118).
Abstracts in English and Chinese; appendixes includes Chinese.
Acknowledgements --- p.ii
Abstract --- p.iii
Chapter Chapter 1: --- The Political and Social Influence on the Development of Hong Kong Film Industry and the Cantonese Cinema in the 1950s and the 1960s --- p.1
Chapter Chapter 2: --- Defining the Genre: Three Characteristics of Hong Kong Cantonese Youth Film --- p.24
Chapter Chapter 3: --- The Functions and Characteristics of Song in Cantonese Youth Film --- p.53
Chapter Chapter 4: --- The Modernity of Cantonese Cinema and the City (Hong Kong) --- p.87
Chapter Conclusion: --- Hong Kong Cantonese Youth Film and the Construction of Identity --- p.104
Appendix 1 --- p.107
Appendix 2 --- p.109
Appendix 3 --- p.111
Bibliography --- p.112
28
Wu, Bo-Si, and 吳柏羲. "The Hong Kong Cinema under the closer integration with Mainland China Market: Industry, text and film culture." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/71002590548446770572.
Full textAbstract:
碩士國立交通大學
傳播研究所
100
After China and Hong Kong signing of CEPA in 2006, The Chinese Government approach to open markets for Hong Kong film industry by the "Hong Kong-China co-production".Hong Kong films under the closer integration with Mainland China Market, the increase in production for a time with the benefit of Chinese box office, it seems that relieve the decay in the industry since 1993, and even play the role of regeneration. However, the "success" in "Hong Kong-China co-production" is questioned by many people, especially the Hong Kong film version of "Hong Kong style" is to go away. In this regard, this study take the path of political economy as a study by Bordwell (2000) who summarized with the characteristics in the text and industry for the Hong Kong film as a starting point to organize data, literature and served to clarify the dynamic analysis of the film industry and the text. By this, the Study try to explore whether the core principles in industry and text of the Hong Kong film is changed, or not, and thus respond to the question "Hong Kong style have faded away". Also, accordingly to the results the Study also reflection to the Taiwan film industry may have closer integration with Mainland China Market in the ECFA. The study found that after closer integration with the Mainland China Market , even though the text of the Hong Kong film still retains the rendered text attributes such as the past: Cantonese culture, urban landscape and in the manner familiar to the actors and other elements, but the content of elements presents hollow, and "pan-Chinese" culture filled. The industry-oriented, although still maintaining a past industry response to the crisis all the elastic characteristics, but not as in the past to the crisis's adjustment, as back to the industry itself will benefit the development. The results shows that by compression Hong Kong's local and other towns' market of Hollywood, the Hong Kong film industry was forced into the Chinese market. Although,the adjustment of the industrial strategy in response to market and reduce the characteristics of the text which have made success of the past in other towns' market, but only dependent on the Chinese market and no more recovery of the industry itself.
29
"Hollywood of the East: the rise and fall of the Hong Kong film industry since the 1970s." 2011. http://library.cuhk.edu.hk/record=b5896691.
Full textAbstract:
Shin, Kei-Wah Victor."November 2010."
Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 177-198).
Abstracts in English and Chinese.
Abstract --- p.i
Acknowledgments --- p.iv
Table of Contents --- p.vi
List of Tables --- p.ix
List of Figures --- p.xii
Chapter Chapter 1: --- Framing the Puzzles --- p.1
"INTRODUCING: ""The Curious Case of... a Fallen 'Asian Hollywood'""" --- p.3
METHOD AND DATA --- p.6
STRUCTURE OF THE THESIS --- p.12
Chapter Chapter 2: --- "“The Blind Side"" of Existing Explanations" --- p.15
CONVENTIONAL EXPLANATIONS --- p.17
Triad Intrusion and Piracy --- p.17
Hasty and Unpolished Productions --- p.19
EXPLANATIONS DERIVED FROM THEORETICAL PERSPECTIVES --- p.21
The Cultural Imperialism approach --- p.22
The Cultural-flows/ Network approach --- p.27
Suppositions related to the Cultural-flows/ Network approach --- p.32
The Reception approach --- p.36
The Cultural Policy and Strategies approach --- p.41
What about the Receiving Countries? --- p.46
THE POLITICAL-CULTURAL APPROACH --- p.48
Chapter Chapter 3: --- The “Bloom´ح in the 1970s and the 1980s --- p.53
"THE ""BLOOM""" --- p.53
BRINGING IN THE POLITICAL-CULTURAL APPROACH --- p.57
THE INDUSTRIAL SETTING OF THE HONG KONG FILM MARKET VIS-A-VIS HOLLYWOOD --- p.59
THE SOCIAL STRUCTURE OF THE HONG KONG FILM MARKET --- p.62
From Studio System to Independent Production System since the 1970s --- p.63
The Revenue-sharing Structure --- p.68
"""CONCEPTIONS OF CONTROL"" IN THE HONG KONG FILM MARKET (1970s - 1980s)" --- p.70
Distributor-driven Exhibition --- p.72
Distributor-driven Production --- p.75
HONG KONG FILM INDUSTRY AT ITS PEAK IN THE LATE 1980s --- p.81
SUMMARY --- p.88
Chapter Chapter 4: --- "The ""Twilight"" since the mid-1990s" --- p.91
WHAT HAPPENED DURING THE 1990s? --- p.91
The Plot in Brief --- p.92
THE KEY TO SUCCESS TURNS INTO A SOURCE OF STRESS --- p.97
"Conventional Practices inscribed in the ""Conceptions of Control""" --- p.99
The Entwined Financial Practice --- p.99
The Exclusive Exhibition Practice --- p.101
What caused a Turn in the late 1980s? --- p.102
"The ""Meteor Shower"" of Taiwan Capital" --- p.102
China's Cinematic Reform --- p.104
"The Resultant Cross-Strait “Industrial Complex""" --- p.106
The Exogenous Shock Induced --- p.108
Reduction of Theatres in each Theatre Chain and its Impact --- p.110
The Consequence of Exclusive Exhibition Practice --- p.113
The Consequence of Entwined Financial Practice --- p.114
A REVERSAL OF FORTUNE IN 1993 --- p.117
"The Short-lived ""Newcomers""" --- p.119
The Rising Land Price --- p.122
The Ebb Tide of the Taiwan Capital Flood --- p.128
The Last Samurai and the Finale of the Distributor-led Production System --- p.134
Summary --- p.138
TRANSFORMATION IN THE HONG KONG FILM MARKET --- p.139
The Return of the Challengers: Distributors of Foreign Movies --- p.143
"The Emergence of New ""Conceptions of Control""" --- p.147
The Impact on Film Companies producing Local Movies --- p.151
Chapter Chapter 5: --- "A ""Revolutionary Road"" to the Peak and Drop" --- p.156
A BRIEF REPRISE --- p.156
"The ""Bloom"" in Retrospect" --- p.158
"The ""Twilight"" in Retrospect" --- p.161
IMPLICATIONS OF THIS STUDY FOR EXISTING APPROACHES --- p.168
Implications for the Cultural Imperialism approach --- p.168
Implications for the Cultural-flows/ Network approach --- p.169
Implications for the Reception approach --- p.172
AN INTEGRATIVE APPROACH TO CURRENT THEORIES --- p.174
LIMITATIONS OF THE RESEARCH AND SUGGESTIONS FOR FUTURE DIRECTIONS --- p.175
REFERENCES --- p.177
30
"An interdisciplinary study of film and religion: exploring evangelistic films and audience interpretation in Hong Kong via the case study of a local evangelistic film the Miracle box." 2005. http://library.cuhk.edu.hk/record=b5892568.
Full textAbstract:
Ho Wing Ki.Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.
Includes bibliographical references (leaves 128-135).
Abstracts in English and Chinese.
Chapter CHAPTER 1 --- INTRODUCTION --- p.1
Chapter CHAPTER 2 --- LITERATURE REVIEW
Convergence of Religion and Media --- p.4
Three Conventional Approaches to the Media of Popular Piety
Current Trend of Religion --- p.7
Characteristics of Film --- p.9
Rich Resources --- p.10
Liminoid Consciousness --- p.11
Transcendence --- p.12
Engaging the World Through Images --- p.13
An Interdisciplinary Endeavor --- p.15
Understanding Audiences --- p.20
Applying Generic Film Analysis --- p.22
Chapter CHAPTER 3 --- OBJECTIVE OF STUDY
Objective of Study --- p.23
Background
Local Christian Visual Media Before
Evangelistic Films --- p.24
Evangelistic Feature Films --- p.25
Research Methods --- p.32
Outline of The Miracle Box --- p.36
Chapter CHAPTER 4 --- "THE G.P.A. OF EVANGELSITIC FILMS: THE GOAL, THE PERCEPTIONS, AND THE ADVANCE"
Establishing the Goal of Evangelistic Films --- p.44
Conventional Perception about Evangelistic Films --- p.47
Advance: Narrowing the Gap --- p.48
Watching for Leisure --- p.53
Chapter CHAPTER 5 --- THREE DEVICES FOR RELIGIOUS MEANING GENERATION
Device 1: Genre --- p.55
Chapter (1) --- Genre Label and Sensitization --- p.58
Chapter (2) --- Docudrama and Testification --- p.62
Chapter (3) --- Melodrama and Toning --- p.65
Summary --- p.69
Device 2: Symbols --- p.70
The Box and Hand Over --- p.71
Suggested Meaning --- p.73
Compatible Meaning --- p.75
Ignorance or Opposite Meaning --- p.79
Nature and God With Us --- p.81
Summary --- p.84
Device 3: Critical Moments --- p.86
Christian Viewers --- p.90
Non-Christian Viewers --- p.94
Projection from a Distance --- p.98
Summary --- p.99
Chapter CHAPTER 6 --- CONCLUSION
Conclusion --- p.106
Limitations and Further Research --- p.112
APPENDIX I Informants Profile --- p.115
"APPENDIX II Excerpts Where ""The Box"" is Featured in The Miracle Box" --- p.116
"APPENDIX III Excerpts Where ""Nature"" is Featured in The Miracle Box" --- p.125
BIBLIOGRAPHY --- p.128
31
"西西一九六零年代影話寫作研究." 2013. http://library.cuhk.edu.hk/record=b5884245.
Full textAbstract:
趙曉彤."2013年8月".
"2013 nian 8 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 171-178).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Zhao Xiaotong.