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Dissertations / Theses on the topic 'Gangster films - China - Hong Kong'
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Liu, Ka-wang Angus, and 廖家泓. "Popular culture in Hong Kong: discourse of law and order in the gangster movies of the 1990s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952756.
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Liu, Ka-wang Angus. "Popular culture in Hong Kong : discourse of law and order in the gangster movies of the 1990s /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22198969.
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Wong, Wai-kit, and 黃蔚潔. "Macau in Hong Kong films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952872.
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Wong, Wai-kit. "Macau in Hong Kong films." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22199974.
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Yung, Wai-kei, and 戎偉基. "Pictorial representations of "Hong Kong": a study of 1980s and 90s Hong Kong films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951788.
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Yung, Wai-kei. "Pictorial representations of "Hong Kong" : a study of 1980s and 90s Hong Kong films /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20059760.
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Lee, Sin-man, and 李善雯. "Adaptation of Hong Kong films in 1990's." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952689.
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Luk, Siu-leng, and 陸小玲. "The dialogics of representation: Shanghai in contemporary Hong Kong films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38628752.
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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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Robertson, Robert Philip. "Ghostwriting Hong Kong : post-colonial documentary and the western tradition /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20007450.
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Leung, Nim-ming, and 梁念明. "A study of marginality in Ann Hui's films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952719.
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Lim, Song Hwee. "Male homosexuality in films from China, Taiwan and Hong Kong of the 1990s." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444729.
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Castillo, Gilbert Gerard. "Gender, Identity, and Influence: Hong Kong Martial Arts Films." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3354/.
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This project is an examination of the Hong Kong film industry, focusing on the years leading up to the handover of Hong Kong to communist China. The influence of classical Chinese culture on gender representation in martial arts films is examined in order to formulate an understanding of how these films use gender issues to negotiate a sense of cultural identity in the face of unprecedented political change. In particular, the films of Hong Kong action stars Michelle Yeoh and Brigitte Lin are studied within a feminist and cultural studies framework for indications of identity formation through the highlighting of gender issues.
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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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Wong, Yee-ling, and 黃綺玲. "Cyborgs, capitalism, hope: a study of Hong Kong and Hollywood science fiction films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50900146.
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Posthuman representations in selected Hollywood and Hong Kong science fiction films show new interconnections in “techno-globalization.” They also exhibit a waning relationship between the “center” and the “margin” of technoculture. This study discusses the relation of technology, humanity, affect, and aesthetics in selective science fiction films produced from 1984 to 2010. The science fiction features were made in the United States and in Hong Kong. They include: The Terminator (1984), Terminator2 (1991), Terminator Salvation (2009), A.I. Artificial Intelligence (2002), I Love Maria (1988), Kung Fu Cyborg (2009) and Future X-Cops (2010). In particular, Kung Fu Cyborg merges the popular genre conventions of martial arts and technoculture, and manifests a different imagination at work wherein Hong Kong’s martial arts cinema stands in the place of a scientific-based Western technoculture absent in Hong Kong science fiction films. This study presents several key critical frames elaborated by scholars of science fiction who have assessed the recurrent themes and figures of science fiction films. The discussion of films identifies the resemblances, the differences, and the competitive dynamic between American science fiction films and Hong Kong action features. The absence of utopian or dystopian figures in posthuman filmic representations in Hong Kong cinema is considered an important difference from Western science fiction films. This thesis examines the figure of the cyborg and argues for the important place of emotions and the power to emote and hope as having a complex relationship to technology, humans and humanness. The compassionate cyborg has temporal and moral dimensions relating to belief and religion in this important genre. Thus, this thesis examines the backdrop for science fiction affect, which is one of oppression and crisis that speaks to the conditions of capitalism and modernity. The affective cyborgs make an important figure in the science fiction films that concern the crisis conditions, the appeal of technology, and the conventions of science fiction genre in commercial cinema.<br>published_or_final_version<br>Comparative Literature<br>Master<br>Master of Philosophy
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潘文慧 and Man-wai Poon. "Cultural globalization?: the contemporary influence of Japanese animation on Hong Kong teenagers." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31226620.
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Tan, Jeffery. "The Shaw Brothers' exploitation of sex in Hong Kong films of the early 1970s." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609580.
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Lam, Shue-fung, and 林澍峰. "(Un)making Chineseness: gender and cultural politics in Clara Law's films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37754191.
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Lam, Nga Li. "The poetics and sexual politics of the Shaws' huangmeidiao films." HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/699.
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Yau, Suk-ying Shirley, and 邱淑瑩. "Where has all the horror gone?: a study of horror in contemporary cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B42575175.
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李雅詩 and Nga-sze Sabrina Li. "Postmodernism and globalization in Wong Kar Wai's films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B42576349.
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Walters, Mark. "Hong Kong New Wave wuxia pian films and their contribution to Hong Kong's national agency during the 1980s and early 1990s." Auburn, Ala., 2007. http://repo.lib.auburn.edu/07M%20Theses/WALTERS_MARK_59.pdf.
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Kwok, Lai-yung, and 郭麗容. "The politics of memory: in search of imaginary homes in films by Clara Law and Ann Hui." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31227454.
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Law, Yuk-wa, and 羅玉華. "On time and festivity: a study of Chinese newyear films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38301155.
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Meachem, Dhugal. "Virtual worlds, non humans and power beams : a neoformalist analysis of the digital animation aesthetic in Hong Kong's mythical martial arts films." HKBU Institutional Repository, 2003. http://repository.hkbu.edu.hk/etd_ra/513.
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Ho, Ka-hang Jason, and 何家珩. "Reinterpreting a queer experience: a study ofStanley Kwan's films and their reception." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B34877642.
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Ip, Wing Cheung. "Shaw in blue, women in nude : Li Han-Hsiang's fengyue films in 1970s." HKBU Institutional Repository, 2007. http://repository.hkbu.edu.hk/etd_ra/872.
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Lau, Wai-sim, and 劉慧嬋. "Chinese martial arts stardom in participatory cyberculture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50533824.
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The participatory cyberspace, epitomized by the concept of Web 2.0, has become a key venue of Chinese stardom in the post-cinema era.Web 2.0 invites its users to contribute to the content through an architecture of participation. Fans can search, poach, edit, and post filmic and publicity materials about stars, formulating seamless, collaborative reworkings of the star image and generating a new star-fan dynamic. At the crossroads of participatory cyberspace and cinema, transnational Chinese movie stars call our attention to the critical concern of Chineseness. In recent years, a number of Chinese movie stars have attained prominent presence in the global cinematic arena. These acting talents, who are either identified as martial arts performers or known for their performances in martial arts films, won global acclaim as a result of the worldwide reception and esteem for Hong Kong action films and Fifth Generation directors’ films from mainland China. As these stars begin to engineer personae stretching beyond their ethnic identities for the global setting, their stardom engenders discourses of ethnicity and cosmopolitanism.What does it mean to call these stars “Chinese” in the global cyber setting? How do their fans interact to reshape their star personae on the Web? How can one approach and understand “Chineseness” within cyber fan discourse? All these questions point to a central problem of how to conceptualize Chineseness in participatory cyberspace.
My agenda in this study is to investigate Chinese movie stardom as a web-based phenomenon by establishing a new theoretical framework for considering Chineseness in participatory cyberspace. I have created a set of four analytical matrixes, each examining a particular Chinese star through a specific fan-based practice on a specific participatory site: vidding Donnie Yen and critiquing Zhang Ziyi on YouTube; photo-sharing about Jackie Chan on Flickr; “friending” Jet Li on Facebook; and discussing Takeshi Kaneshiro on fan forums. Through close investigation of these five Chinese stars, I demonstrate that the cyber setting enables collaborative fan reworkings of star texts and multiple directionality of approaching Chineseness. Cyber fans produce intertextual, multi-faceted star personae, different from traditional film personae whose meanings are anchored in a rigid established representational framework. Through the relentless scrutiny, quotation, manipulation self-affiliation by fans enabled by cyber technology, Chineseness becomes an utterly illusive and indefinable entity, a new form of signification whose meaning is always changing. This unstable, hybrid Chineseness challenges the notion of a star’s given ethnicity, redefining the archetypal martial arts body in unpredictable, manifold and provocative terms for the cyber era.
With the aim of advancing the critical theorization of Chineseness, this study unfolds and analyzes the dynamics of the vital relationship between Chinese stardom, web technologies, and fan discourse. It also serves as a timely response to the challenges posed by cyber culture for the disciplines of cinema and cultural studies, in light of the proliferating yet inadequate current efforts in this field.<br>published_or_final_version<br>Comparative Literature<br>Doctoral<br>Doctor of Philosophy
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陳家樂. "光影中的政治 : 香港電影的政治表述 = Politics on the silver screen : political representation in Hong Kong films". HKBU Institutional Repository, 2005. http://repository.hkbu.edu.hk/etd_ra/625.
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Ng, Stephanie Yuet Wah. "Modes of production in post-war cantonese cinema : bricolage and sing-song comedy." HKBU Institutional Repository, 2013. http://repository.hkbu.edu.hk/etd_ra/1532.
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Lam, Suk-yin, and 林淑燕. "The construct of masculinity and femininity in John Woo and Stanley Kwan's films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31951144.
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廖志強. "<<中聯>>電影解讀 : 在啓蒙, 批判, 包容之間的意識形態 = Interpretation of 'Zhong Luen' (Union Motion Picture)'s films : the ideology of englightenment, criticism and toleration". HKBU Institutional Repository, 2000. http://repository.hkbu.edu.hk/etd_ra/212.
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"The representation of space in contemporary Hong Kong nostalgia films." 1998. http://library.cuhk.edu.hk/record=b5896266.
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by Chu Wing Ki.<br>Thesis submitted in: July 1997.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 1998.<br>Filmography: leaves 216-219.<br>Includes bibliographical references (leaves 204-215).<br>Chapter Chapter 1. --- Introduction: Contemporary Nostalgia Films Understood in the Colonial Context of Hong Kong<br>Chapter I. --- opular Culture as an Arena ofublicarticipation --- p.2<br>Chapter II. --- opular Culture and Colonialism --- p.14<br>The Ambivalence of Colonialism --- p.14<br>"""Status-quo Imaginary"" as the Manifestation of Colonial Ambivalence" --- p.17<br>Chapter i. --- Hong Kong in the late 60s --- p.21<br>Chapter ii. --- Hong Kong in the 70s --- p.24<br>Chapter iii. --- Hong Kong in the 80s and 90s --- p.30<br>Popular Culture Understood in the Colonial Context of Hong Kong --- p.35<br>Chapter III --- The Contemporary Mode of Nostalgia as Mediation of Colonialrocess --- p.38<br>Nostalgia Films Understood inost-Colonial Context -- The Ambivalence of History --- p.38<br>Chapter i. --- Nostalgia Films not Targetted towards the Rediscovery of History --- p.40<br>"The Appropriation of History as a ""Laughable"" Other" --- p.43<br>"The Substitution of History by ""Style""" --- p.47<br>Chapter ii. --- Nostalgia Films' Evocation of a Free-Floating Signifier of Hong Kong Historical Identity --- p.50<br>Nostalgia Films as a Context-Specific Articulation --- p.56<br>Nostalgia Films as a Form of Disavowal --- p.59<br>Outline of the Coming Chapters --- p.61<br>Chapter Chapter2. --- Nostalgia and History --- p.66<br>Chapter I. --- Rouge --- p.66<br>The Construction of Nostalgic Effects --- p.67<br>"“Sense of Loss"" as Identity Formation" --- p.72<br>"Theast as a ""Split Object"" of Identification" --- p.75<br>Pessimism as a Collective Empowerment --- p.84<br>Chapter II. --- Center Stage --- p.88<br>Interrogation of History --- p.89<br>Pessimism as Empowerment -- Reification of History --- p.93<br>The Ambivalence of History --- p.100<br>Chapter III. --- Days of Being Wild --- p.103<br>Interrogation of History:History and Subject Formation --- p.103<br>"""Internal Colonization"" and Fatalism" --- p.113<br>"The Image of “Innocence""" --- p.116<br>Conclusion --- p.121<br>Chapter Chapter 3. --- Nostalgia and Urban Space --- p.124<br>Chapter I. --- Nostalgia as a Critique of Urban Space --- p.124<br>Chapter II --- Chungking Express --- p.131<br>"Old Chinese Apartment as Site of “Re-enchantment""" --- p.133<br>"The “Urban Spectacle"" -- Old Chinese Apartment as Reified Spatial Construct" --- p.140<br>Chapter i. --- "The Traversed Space of ""Contemporariness"" and ""Pastness""" --- p.140<br>Chapter ii. --- "The ""Openness"" of Old Chinese Apartment" --- p.147<br>Old Chinese Apartment -- An Expression of Nostalgia? --- p.155<br>Chapter III. --- "He ´ةs a Woman and She ´ةs a Man, C'est La Vie Mon Cheri，He and She" --- p.158<br>"The “ Urban Spectacle""" --- p.158<br>Chapter i. --- ositive Human Qualities --- p.158<br>Chapter ii. --- A Historical Sense oflace --- p.163<br>Chapter iii. --- Interior Design -- The Assertion of Urban Spirit of Change --- p.165<br>Chapter iv. --- "Socially and Culturally ""Marginal"" Characters" --- p.167<br>Urban Status-quo Imaginary and Cultural Identificationin Hong Kong --- p.170<br>Old Chinese Apartment as Reified Spatial Construct --- p.174<br>Chapter i. --- Thearadox of Attraction and Anxiety A Discourse ofrogress --- p.174<br>Chapter ii. --- The Inscription of the Imperative of Advancement intohysical Surrounding --- p.179<br>Chapter iii. --- "The “Urban Spectacle"" of Social Differences ""Cloaked"" Gestures of ´ب´بSubversion""" --- p.181<br>Conclusion --- p.191<br>Chapter Chapter 4. --- Conclusion: Nostalgia -- The Ambivalence of History --- p.194<br>Chapter I. --- Optimism andessimism as Identity Formation --- p.194<br>Chapter II --- The Commercialization of Nostalgia --- p.197<br>Bibliography --- p.208<br>Filmography --- p.220<br>Appendix I-IX
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Ding, Yajuan. "Hong Kong's cultural identity reflected in Jackie Chan's films /." 2009. http://digital.library.louisville.edu/cgi-bin/showfile.exe?CISOROOT=/etd&CISOPTR=829&filename=830.pdf.
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"Mainlanders in Hong Kong films of the eighties: a study on their changing depiction." Chinese University of Hong Kong, 1991. http://library.cuhk.edu.hk/record=b5886959.
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Dominic Yuk-Yu Yung.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 1991.<br>Bibliography: leaves 105-6.<br>Chapter 1. --- Focus of The Study --- p.3<br>Chapter 2. --- Theoretical Perspectives --- p.16<br>Chapter 2.1 --- On Cultural Studies --- p.18<br>Chapter 2.2 --- On Culture Indicators --- p.21<br>Chapter 2.3 --- On Synbolic Interactionism --- p.22<br>Chapter 2.4 --- Realism/Formalism in Film Studies --- p.24<br>Chapter 3. --- Hypotheses --- p.30<br>Chapter 4. --- Research Method And Its Operationization --- p.35<br>Chapter 4.1 --- Target Films and Data-sheet --- p.38<br>Chapter 4.2 --- Interviews --- p.43<br>Chapter 5. --- Findings --- p.47<br>Chapter 5.1 --- Describing Background and Storyline Data --- p.48<br>Chapter 5.2 --- Testing Hypothesis --- p.55<br>Chapter 5.21 --- Testing Hypothesis H[1] --- p.55<br>Chapter 5.22 --- Testing Hypothesis H[2] --- p.57<br>Chapter 5.3 --- Adaptation/Acceptance by Sex --- p.60<br>Chapter 6. --- Discussions And Observations --- p.64<br>Chapter 6.1 --- """From Rivalry to Accomodation"" - A Necessary Passage to Integration" --- p.65<br>Chapter 6.2 --- Adaptation and Acceptance of Female Samples --- p.69<br>Chapter 6.3 --- Overall Remarks For Each Character --- p.72<br>Chapter 7. --- Conclusion --- p.75<br>Chapter Appendix I --- Research Papers & Studies on New Immigrants in HK since1982 --- p.80<br>Chapter Appendix II --- 53 Target Films on Mainlanders Between1980-1990 --- p.82<br>Chapter Appendix III --- Data-Sheet --- p.85<br>Chapter Appendix IV --- Coding Sheet (Answers to Data-Sheet) --- p.92<br>Chapter Appendix V --- 40 Target Films as Sample Films for the Study --- p.95<br>Chapter Appendix VI --- 32 Sample Films --- p.98<br>Chapter Appendix VII --- Box-Office Records Comparison: Sample Films & Top5 --- p.100<br>Bibliography --- p.105<br>Acknowledgement --- p.107
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"Spectatorship in the Hong Kong cinema: cop films and female police officers." 2007. http://library.cuhk.edu.hk/record=b5896542.
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Cheung, Hoi Yan.<br>Thesis submitted in: December 2006.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.<br>Filmography: leaves 111-112.<br>Includes bibliographical references (leaves 106-111).<br>Abstracts in English and Chinese.<br>Chapter 1. --- Introduction --- p.1<br>Chapter 2. --- Spectatorship Theories --- p.26<br>Chapter 3. --- "Spectatorship, Local Cop Films and Hong Kong Police Force" --- p.39<br>Chapter 3.1 --- "Jackie Chan and his ""Police Story"" series" --- p.39<br>Chapter 3.2 --- New Police Story (2004) --- p.43<br>Chapter 3.3 --- PTU(2003) --- p.57<br>Chapter 3.4 --- Crazy n'the City (2005) --- p.69<br>Chapter 4. --- Conclusion --- p.85<br>Appendix ´ؤ Interview Questions --- p.102<br>Bibliography --- p.106
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"The cultural construction of child images: a study on films in Hong Kong from the 60s to the 90s." 2003. http://library.cuhk.edu.hk/record=b5896102.
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Tsang, Chung-yan.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2003.<br>Filmography: p. 182-183.<br>Includes bibliographical references (leaves 184-189).<br>Abstracts in English and Chinese ; appendix also in Chinese.<br>ABSTRACT --- p.2<br>論文摘要 --- p.3<br>ACKNOWLEDGEMENTS --- p.4<br>CONTENTS --- p.6<br>Chapter Chapter 1 --- Introduction<br>Chapter 1.1 --- Empirical Puzzles and Theoretical Concerns --- p.10<br>Chapter 1.2 --- Overview of The Thesis --- p.17<br>Chapter 1.3 --- Literature Review --- p.17<br>Chapter 1.3.1 --- Understanding the Image Construction of the Minorities through Films<br>Chapter 1.3.2 --- How the Images of the Blacks Get Represented - Blacks' Imagesin Films<br>Chapter 1.3.3 --- How Women Get Represented under the Male Gaze 一 Gender Representations in Films<br>Chapter 1.3.4 --- Childhood ´ؤ A Socially Constructed Concept<br>Chapter 1.3.5 --- How the Child Images are Constructed? - Literature Related to the Construction of Child Images<br>Chapter 1.4 --- Theoretical Framework - Foucauldian Concepts in Understanding Child Images --- p.33<br>Chapter 1.4.1 --- Double Marginalization - Children as Victims<br>Chapter 1.4.2 --- Disciplinary Power over Children - Children as Moral Agents<br>Chapter 1.4.3 --- The Multiple Network of Power - Children as Anonymous Objects<br>Chapter 1.4.4 --- Care of the Children - Children as Protagonists<br>Chapter CHAPTER 2 --- Methodological Design and An Overview of the Hong Kong Film Industry<br>Chapter 2.1 --- Casing the Films ´ؤ Introduction to Methodological Design --- p.44<br>Chapter 2.1.1 --- Content Analysis<br>Chapter 2.1.2 --- Ideological Approach<br>Chapter 2.2 --- The Development of the Hong Kong Film Industry and Its Relatedness with the Changes of the Child Images --- p.51<br>Chapter 2.2.1 --- Formative and Developing 50s Film Industry - Time for Exploration<br>Chapter 2.2.2 --- The Golden Year of the 60s Film Industry - Time for Early Harvest<br>Chapter 2.2.3 --- Discontinuity of the Prosperity of the Film Industry in the 70s - Time for Reconstruction<br>Chapter 2.2.4 --- Golden Years in Both 80s to 90s - Time For Innovation and Globalization<br>Chapter CHAPTER 3 --- Double Marginalization - Children as Victims<br>Chapter 3.1 --- Subordinating to the Adults ´ؤ Child Images as Sufferers in the Social Margin --- p.59<br>Chapter 3.1.1 --- Great Devotion (1961) - Children in Extreme Poverty<br>Chapter 3.1.2 --- Father is Back (1962) -Two Siblings Struggled for Survival without Parental Care<br>Chapter 3.1.3 --- A Lily in the Storm (1962) ´ؤ A Boy Who was Mistreated by His Stepmother<br>Chapter 3.2 --- Acceptance for Children as a Separate Entity? ´ؤ An analysis of the Child Images in the Subordinating Context in Films --- p.66<br>Chapter 3.3 --- Absence of Child Images in the 70s - A Turn of the Child Images --- p.74<br>Chapter 3.4 --- Concluding Remarks --- p.78<br>Chapter CHAPTER 4 --- Disciplinary Power over Children - Children as Moral Agents<br>Chapter 4.1 --- Sacrifice and Respect - The Typical Child Images in the1960s Melodramas --- p.81<br>Chapter 4.1.1 --- Filial Piety (1960) - Children Sacrificing Themselves for the Family<br>Chapter 4.1.2 --- Filial Piety that Moves Heaven (1960) 一 Children Saved Their Parents through Adventurous Experience<br>Chapter 4.1.3 --- The Seven Kids (1961) - Appropriate Training for the Children to Become Independent<br>Chapter 4.1.4 --- Little Artists (1962) - Showing Respect and Gratitude to the Teacher<br>Chapter 4.2 --- Child Images as Moral Agents under the Influence of the Disciplinary Power --- p.87<br>Chapter 4.3 --- "The Recurrence in the 1980s and Unapparent ""Moral Occult"" in the 90´ةs" --- p.94<br>Chapter 4.3.1 --- Daughter and Father (1981) - Repaying the Indebtedness to the Adoptive Father<br>Chapter 4.4 --- Social Context for the Rise of the Child Image as Moral Agents --- p.98<br>Chapter CHAPTER 5 --- Victimization and Objectification - Children as Anonymous Objects<br>Chapter 5.1 --- "Defining Objectification - Children were Objects Portrayed as ""Something""" --- p.101<br>Chapter 5.1.1 --- Goodbye Mammie (1986) - How Orphans Led Their Life in the Orphanage<br>Chapter 5.1.2 --- All about Ah Long (1989) - An Dilemma for Children who were Placed between Parents<br>Chapter 5.1.3 --- The Story of my Son (1990) 一 To Show the Extreme Suffering of the Children<br>Chapter 5.1.4 --- The Son on the Run (1991) - A Child was Born without Father or Mother<br>Chapter 5.2 --- Objectification of Child Images 一 Hidden Power over the Fate of Children --- p.114<br>Chapter 5.3 --- Concluding Remarks --- p.122<br>Chapter CHAPTER 6 --- Weapons of the Weak - Children as Protagonists<br>Chapter 6.1 --- Introduction to the Films Selected --- p.124<br>Chapter 6.1.1 --- Siu Chong Yuen (1961 - The Child who Judged the Critical Moment<br>Chapter 6.1.2 --- "Little Detective (1963) - Adult Mind, Child Body"<br>Chapter 6.1.3 --- "Daddy, Father, Papa (1991) - The Hong Kong Version of Home Alone"<br>Chapter 6.2 --- How Children Empower Themselves? --- p.135<br>Chapter 6.2.1 --- Sporadic Show Time for Children<br>Chapter 6.3 --- "Room for Having Dialogue, Resistance and Subversion ´ؤ How Children were Portrayed as Protagonists" --- p.140<br>Chapter 6.3.1 --- A Protagonist - Direct Dialogue and Resistance to Redefine the Boundary<br>Chapter 6.4 --- Concluding Remarks - Complex Relational Network of Power --- p.144<br>Chapter CHAPTER 7 --- Conclusion<br>Chapter 7.1 --- Four Categories - How Children were Getting Represented in the Hong Kong Films --- p.147<br>Chapter 7.1.1 --- Children as Victims<br>Chapter 7.1.2 --- Children as Moral Agents<br>Chapter 7.1.3 --- Children as Anonymous Objects<br>Chapter 7.1.4 --- Children as Protagonists<br>Chapter 7.2 --- What is More? --- p.151<br>Chapter 7.2.1 --- A Possible Supplement for the Foucauldian Framework<br>Chapter 7.2.2 --- Theorizing the Construction of Child Images ´ؤ A Reconsideration of the Hong Kong Cultural Studies for Adding in the Age Dimension<br>Chapter 7.2.3 --- A Call for Reconsideration - The Predicament of the Current Hong Kong Cultural Studies<br>Chapter 7.2.4 --- The Need for Inserting the Age Dimension in Cultural Studies<br>APPENDICE --- p.162<br>FILMOGRAPHY --- p.181<br>REFERENCES --- p.183
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"Globalizing Chinese martial arts cinema: a case study of Crouching tiger, hidden dragon." 2002. http://library.cuhk.edu.hk/record=b5891252.
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Wu Huaiting.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2002.<br>Includes bibliographical references (leaves 122-130).<br>Abstracts in English and Chinese.<br>Chapter Chapter 1 --- Introduction and Analytical Framework --- p.1<br>Chapter Chapter 2 --- Local Agents and Global Alliance --- p.28<br>Chapter Chapter 3 --- Particularization and Universalization --- p.51<br>Chapter Chapter 4 --- "Distribution, Marketing and Exhibition" --- p.75<br>Chapter Chapter 5 --- The Globalization of a Local Culture --- p.94<br>"Appendix 1 Awards for Crouching Tiger, Hidden Dragon" --- p.104<br>"Appendix 2 Credits for Crouching Tiger, Hidden Dragon" --- p.106<br>Appendix 3 Ang Lee's Features --- p.108<br>Appendix 4 Source List for Database --- p.110<br>"Appendix 5 The Story of Crouching Tiger, Hidden Dragon" --- p.113<br>"Appendix 6 Release dates for Crouching Tiger, Hidden Dragon" --- p.119<br>Bibliography --- p.122
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"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.<br>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.<br>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.<br>Van den Troost, Kristof.<br>"December 2010."<br>Adviser: Ann Huss.<br>Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: .<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 2011.<br>Includes bibliographical references (leaves 304-321).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstract also in Chinese.
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"The Cantonese "youth film" and music of the 1960s in Hong Kong." 2011. http://library.cuhk.edu.hk/record=b5894701.
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Chan, Pui Shan.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.<br>Includes bibliographical references (leaves 113-118).<br>Abstracts in English and Chinese; appendixes includes Chinese.<br>Acknowledgements --- p.ii<br>Abstract --- p.iii<br>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<br>Chapter Chapter 2: --- Defining the Genre: Three Characteristics of Hong Kong Cantonese Youth Film --- p.24<br>Chapter Chapter 3: --- The Functions and Characteristics of Song in Cantonese Youth Film --- p.53<br>Chapter Chapter 4: --- The Modernity of Cantonese Cinema and the City (Hong Kong) --- p.87<br>Chapter Conclusion: --- Hong Kong Cantonese Youth Film and the Construction of Identity --- p.104<br>Appendix 1 --- p.107<br>Appendix 2 --- p.109<br>Appendix 3 --- p.111<br>Bibliography --- p.112
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"李翰祥之《金瓶梅》風月片系列研究". 2010. http://library.cuhk.edu.hk/record=b5896627.
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何思穎.<br>Thesis submitted in: November 2009.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2010.<br>Includes bibliographical references (leaves 132-138).<br>Abstracts in Chinese and English.<br>He Siying.<br>Chapter 第一章 --- 绪论 --- p.1<br>Chapter 一. --- 文献回顾 --- p.2<br>Chapter 二. --- 研究问题 --- p.6<br>Chapter 三. --- 研究文本与研究方法 --- p.8<br>Chapter 四. --- 理论框架 --- p.10<br>Chapter 五. --- 论文结构 --- p.14<br>Chapter 第二章 --- 李翰祥风月片产生的背景及原因 --- p.17<br>Chapter 第一节. --- 一代南来影人的传奇电影生涯 --- p.18<br>Chapter 第二节. --- 1970年代李氏风月片产生的背景 --- p.24<br>Chapter 第三节. --- 李翰祥的古典风趣 --- p.33<br>小结 --- p.38<br>Chapter 第三章 --- 再现中国古典文学风月传统 --- p.40<br>Chapter 第一节. --- 从小说到电影：李翰祥的选择与创造 --- p.41<br>Chapter 第二节. --- 风月如画：李翰祥的古典色情镜像 --- p.49<br>Chapter 第三节. --- 万种风情脚下来：李翰祥的“金莲´ح情结 --- p.57<br>小结 --- p.66<br>Chapter 第四章 --- 建构女性情欲的自主空间 --- p.68<br>Chapter 第一节. --- 李翰祥镜头下的潘金莲 --- p.68<br>Chapter 第二节. --- 权力与欲望的流动 --- p.79<br>Chapter 第三节. --- 危险的愉悦：死亡、虐恋与性 --- p.90<br>小结 --- p.100<br>Chapter 第五章 --- 结论 --- p.101<br>Chapter 第一节. --- 李翰祥风月片在其个人创作脉络中的重要性 --- p.101<br>Chapter 第二节. --- 李翰祥风月片在香港色情电影发展史上的地位 --- p.107<br>Chapter 第三节. --- 大师之后：香港色情电影发展的展望 --- p.112<br>附录：<br>表一李翰祥五部《金瓶梅》改编风月片票房纪录 --- p.116<br>表二 李翰祥风月片的详细资料 --- p.117<br>表三1975 ´ؤ1978年于《大特写》评介的上映外国色情电影 --- p.119<br>插图简介：港台地区改编自《金瓶梅》的主要电影作品： --- p.121<br>参考资料：<br>Chapter 一. --- 参考书目： --- p.132<br>Chapter 二. --- 网站资源： --- p.138
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"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.
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Ho Wing Ki.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.<br>Includes bibliographical references (leaves 128-135).<br>Abstracts in English and Chinese.<br>Chapter CHAPTER 1 --- INTRODUCTION --- p.1<br>Chapter CHAPTER 2 --- LITERATURE REVIEW<br>Convergence of Religion and Media --- p.4<br>Three Conventional Approaches to the Media of Popular Piety<br>Current Trend of Religion --- p.7<br>Characteristics of Film --- p.9<br>Rich Resources --- p.10<br>Liminoid Consciousness --- p.11<br>Transcendence --- p.12<br>Engaging the World Through Images --- p.13<br>An Interdisciplinary Endeavor --- p.15<br>Understanding Audiences --- p.20<br>Applying Generic Film Analysis --- p.22<br>Chapter CHAPTER 3 --- OBJECTIVE OF STUDY<br>Objective of Study --- p.23<br>Background<br>Local Christian Visual Media Before<br>Evangelistic Films --- p.24<br>Evangelistic Feature Films --- p.25<br>Research Methods --- p.32<br>Outline of The Miracle Box --- p.36<br>Chapter CHAPTER 4 --- "THE G.P.A. OF EVANGELSITIC FILMS: THE GOAL, THE PERCEPTIONS, AND THE ADVANCE"<br>Establishing the Goal of Evangelistic Films --- p.44<br>Conventional Perception about Evangelistic Films --- p.47<br>Advance: Narrowing the Gap --- p.48<br>Watching for Leisure --- p.53<br>Chapter CHAPTER 5 --- THREE DEVICES FOR RELIGIOUS MEANING GENERATION<br>Device 1: Genre --- p.55<br>Chapter (1) --- Genre Label and Sensitization --- p.58<br>Chapter (2) --- Docudrama and Testification --- p.62<br>Chapter (3) --- Melodrama and Toning --- p.65<br>Summary --- p.69<br>Device 2: Symbols --- p.70<br>The Box and Hand Over --- p.71<br>Suggested Meaning --- p.73<br>Compatible Meaning --- p.75<br>Ignorance or Opposite Meaning --- p.79<br>Nature and God With Us --- p.81<br>Summary --- p.84<br>Device 3: Critical Moments --- p.86<br>Christian Viewers --- p.90<br>Non-Christian Viewers --- p.94<br>Projection from a Distance --- p.98<br>Summary --- p.99<br>Chapter CHAPTER 6 --- CONCLUSION<br>Conclusion --- p.106<br>Limitations and Further Research --- p.112<br>APPENDIX I Informants Profile --- p.115<br>"APPENDIX II Excerpts Where ""The Box"" is Featured in The Miracle Box" --- p.116<br>"APPENDIX III Excerpts Where ""Nature"" is Featured in The Miracle Box" --- p.125<br>BIBLIOGRAPHY --- p.128
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""我/我/我/我/我/我--"閱讀兩種文本: 從《卵子體慾》到性/別運動". 2005. http://library.cuhk.edu.hk/record=b5896415.
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黃彩鳳.<br>"2005年7月".<br>論文(哲學碩士)--香港中文大學, 2005.<br>參考文獻(leaves x-xvii).<br>附光碟規格: VCD.<br>"2005 nian 7 yue".<br>Abstracts in Chinese and English.<br>Huang Caifeng.<br>Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2005.<br>Can kao wen xian (leaves x-xvii).<br>Fu guang die gui ge: VCD.<br>撮要 --- p.ii<br>鳴謝 --- p.iii<br>目錄 --- p.iv&v<br>附表：<br>附表一： ̐ơج 卵子體慾̐ơخ放映紀錄2003-05 --- p.vi<br>Chapter 第一章 --- 導言 --- p.1-13<br>Chapter 1.1 --- 《卵子體慾》簡介<br>Chapter 1.2 --- 題目定義<br>Chapter 1.3 --- 硏究方向<br>Chapter 1.4 --- 研究過程中的矛盾<br>Chapter 1.5 --- 論文章節簡介<br>Chapter 第二章 --- 尋找理論：“我…´ح的錄像/學術/性/別運動？ --- p.14-43<br>Chapter 2.1 --- 性/別運動？<br>Chapter 2.1.1 --- 性/別運動的定義<br>Chapter 2-1.2 --- 性/別運動與《卵子體慾》<br>Chapter 2.2 --- “錄像´ح的性/別運動？<br>Chapter 2.2.1 --- 電影理論<br>Chapter 2.2.1.1 --- 男性凝視理論<br>Chapter 2.2.1.2 --- 多元觀影/閱讀角度<br>Chapter 2.2.1.3 --- 女性觀影理論<br>Chapter 2.2.2 --- 陰性書寫<br>Chapter 2.2.3 --- 性/別錄像運動與《卵子體慾》<br>Chapter 2.3 --- 學術的性/別運動？<br>Chapter 第三章 --- 混亂的開始：拍攝者的´ح我´ح /被拍攝者的´ح我´ح --- p.44-53<br>Chapter 第四章 --- 經驗放映：放映者的´ح我´ح /觀影者的´ح我´ح --- p.54-89<br>Chapter 4.1 --- 第一次放映的掙扎<br>Chapter 4.2 --- 不同的放映形式與性/別討論平台的關係<br>Chapter 4.3 --- 放映過程中情緒不斷的反覆<br>Chapter 4.4 --- 經過多次放映之後……<br>Chapter 4.4.1 --- 媒介與身體經驗的關係<br>Chapter 4.4.2 --- 女人不同性慾/母體抉擇/社會環境之間的關係<br>Chapter 4.4.3 --- 想要生孩子的慾望<br>Chapter 4.4.4 --- 反思男性角色與懷孕的關係<br>Chapter 4.4.5 --- 反思多元關係和不同的性愛模式的可能性<br>Chapter 4.4.6 --- 對錄像自我書寫的反思<br>Chapter 4.4.7 --- 關於觀影者背景的性/別反思<br>Chapter 第五章 --- 徘迴在性/別運動與不同理論之間：性/別運動者的´ح我´ح /性/別硏究者的´ح我´ح --- p.90-99<br>Chapter 5.1 --- “我/我/我/我/我/我…´ح的性/別運動？<br>Chapter 5.2 --- “我´ح的錄像(學術)性/別運動？<br>附件：<br>附件一 ：錄像´ؤ´ؤ《卵子體慾》片長：32分鐘<br>附件二 ：東亞區錄像及攝影計劃：女性身體故事 --- p.vii-viii<br>附件三：派發給觀眾的網上討論資料和聯絡方法 --- p.viiii<br>參考書目 --- p.x-xvii
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"Resistance through language style: a case study of university BBS youth culture in China." 2002. http://library.cuhk.edu.hk/record=b5891249.
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Dong Dong.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2002.<br>Includes bibliographical references (leaves 127-136).<br>Abstracts in English and Chinese.<br>Chapter I. --- Introduction --- p.5<br>Chapter II. --- Youth Culture Practiced in Virtual Community --- p.10<br>Chapter III. --- "Background, Research Questions and Research Design" --- p.36<br>Chapter IV. --- Style of Chinese University BBS Youth Culture --- p.45<br>Chapter V. --- Youth Cultural Community as Identified by Style --- p.68<br>Chapter VI. --- Resistance within Contexts --- p.84<br>Chapter VII. --- Conclusion --- p.108<br>Appendix 1 Captions of Postings & Discussion Threads --- p.111<br>Appendix 2 Style of BBS Discussion Threads --- p.114<br>Appendix 3 BBS Member's Composition --- p.118<br>Appendix 4 Personal Reflections on the Film --- p.120<br>Appendix 5 --- p.123<br>Collective Discussions in Chinese University BBSs --- p.123<br>Bibliography --- p.127
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"「我(不)是電影作者」: 論許鞍華的女性電影作者倫理主體". 2012. http://library.cuhk.edu.hk/record=b5549385.
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作為本論文的研究對象，許鞍華在電影界成就無容置疑。惟有關她的學術研究和著作，在數量上寥可所涉攝範圍亦未見全面；後現代語境對主體的抗拒下，許鞍華的電影作者(auteur)往在研究中遭忽略或迴避，抺殺她作為女性電影者的可能 。這反映出女性導演在主流電影建制和論述中長期被邊緣化的現象。本論文目標，是冀在填補「許鞍華研究」上的空白， 並推進女性電影作者之討論。<br>本論文借用晚期傅柯的倫理主體概念和生存美學作為思考工具，嘗試走出傳統電影作者論和女性電影作者論對主體乃座落於電影作品或觀影者中的的觀點， 運用新主體工具帶動思考的轉向， 在建立女性電影作品中，對女性主體規範、性道德及國族身份的真理遊戲予以問題化，進行反思、批判挑戰以至顛覆自我技術 （technologes of the self ）力圖塑造出一個歷史的、在地流動和停存活於構成狀態中倫理主體。在這個脈絡下，許鞍華電影作品中的延續性和差異，成為了她這倫理電影作者當下的、在地歷史和文化結構中， 於電影實踐這場域所進行修工夫，在宏大的權力和知識網絡中，轉化自我與我的主體關係，邁向傅柯式的自我實踐生存美學。<br>Being one of the most renowned and established film directors in Hong Kong, film critics and researchers often show ambivalence in recognizing Ann Hui as an Auteur, which is usually based on the lack a consistent body of themes, techniques and genres observed in Ann Hui’s work. To further complicate the recognition of Ann Hui as an Auteur, more specifically a female auteur, are the tensions between anti-essentialism and naïve humanism on one hand, and the advent of postmodernism’s critique against the Subject on the other. This study sets out to address the marginalization of Ann Hui as a female director in both the film industry and film studies, and seeks to provide theoretical tools for the constitution of agency of a female auteur from the perspective of the Foucauldian thoughts on ethical subjectivity and aesthetics of existence.<br>With a view of achieving a historical rather than ahistorical, a multiple rather than unified, and both as a constituted as well as constituting subject in light of Foucault’s ethical subjectivity, this study challenges the beliefs held by contemporary Auteur theory and feminist auteur theories that film authorship is only located within the repertoire of a film director as signature, or as the reading strategy of the audience. By drawing on the idea of ascesis (askēsis) - a work on oneself which aims at intensifying and transforming one’s relation to oneself - discussions are highlighted in how Ann Hui makes use of film productions as self-practices to reconstitute her own relation with film authorship. This study argues that Ann Hui problematizes the game of truth (jeux de verité) of the hegemonic Auteur that she has been subjugated to, and actively makes herself the subject of an alternative female authorship, with an emphasis on her own personal visions. Through analyzing how this evasive stance further drives Ann Hui's problematization in rethinking, criticizing, challenging or even subverting other games of truth, especially in her ongoing interrogations of the female subject, sexual subject and national identity through the technologies of the self, this study establishes the ways Ann Hui seeks to progress towards the “art of existence by transforming her relations with these rules of conduct, and making her life as a work of art that carries specific aesthetic values and meets distinctive stylistic criteria.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>林婉雯.<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.<br>Includes bibliographical references (leaves 358-385).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstracts in Chinese and English.<br>Lin Wanwen.<br>Chapter 第一章 --- 緒論<br>Chapter 第一節 --- 研究動機：為什麼在乎女性電影作者？為什麼是許鞍華 --- p.1<br>Chapter 第二節 --- 研究背景：電影作者主體的問題化用及思考客體成形 --- p.11<br>Chapter 第三節 --- 研究方法及論文架構 --- p.36<br>Chapter 第二章 --- 晚期傅柯 「倫理主體 」的啟示<br>Chapter 第一節 --- 傅柯的主體觀：不是回歸，從來就是主體 --- p.47<br>Chapter 第二節 --- 主體和真理遊戲 ：「知識」、 「治理 」和「主體化過程」 --- p.54<br>Chapter 第三節 --- 自我技術和自我關懷：主體與生存美學 --- p.63<br>Chapter 第四節 --- 小結 --- p.77<br>Chapter 第三章 --- 許鞍華的女性電影作者倫理主體（一）：「我（不）是電影作者」 --- p.84<br>Chapter 第一節 --- 重拾遺落的碎片：電影作者論在香港構成條件 --- p.85<br>Chapter 第二節 --- 「電影作者 」的真理 遊戲 ：許鞍華電影作者身份論述 --- p.118<br>Chapter 第三節 --- 集體創作中的自主創造： 《得閒炒飯》的實地觀察 --- p.140<br>Chapter 第四節 --- 小結 --- p.166<br>Chapter 第四章 --- 許鞍華的女性電影作者倫理主體（二）：電影實踐作為自我技術的工夫場域 --- p.170<br>Chapter 第一節 --- 「我她是誰？」：女性主體的真理遊戲 --- p.175<br>Chapter 第二節 --- 馴服與抵抗：性道德規範的真理遊戲 --- p.250<br>Chapter 第三節 --- 何處是吾家：民族和家國的真理遊戲 --- p.281<br>Chapter 第四節 --- 小結 --- p.328<br>Chapter 第五章 --- 結論<br>Chapter 第一節 --- 「屈從」下的不服從：許鞍華女性作者倫理主體 --- p.335<br>Chapter 第二節 --- 研究特色與貢獻 --- p.340<br>Chapter 第三節 --- 前瞻：未完成的方案和可持續發展 --- p.349<br>附錄 --- p.351<br>參考文獻 --- p.358
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"五十年代香港粤語歌唱片類型研究". 2008. http://library.cuhk.edu.hk/record=b5893511.
Full textAbstract:
張琬琪.<br>"2008年2月".<br>"2008 nian 2 yue".<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.<br>Includes bibliographical references (leaves 119-121).<br>Abstract also in English.<br>Zhang Wanqi.<br>Chapter 第一章 --- 導論 --- p.1-11<br>Chapter 1. --- 粤語歌唱片的硏究價値 --- p.2-3<br>Chapter 2. --- 本土粤語歌唱片硏究槪說 --- p.3-8<br>Chapter 3. --- 歌唱片類型硏究的意義 --- p.8-11<br>Chapter 第二章 --- 類型來源與構成 --- p.12-38<br>Chapter 1. --- 香港電影史與「歌唱片」的起源 --- p.13-15<br>Chapter 2. --- 解構「全部歌唱片」 --- p.15-25<br>Chapter 3. --- 歌唱片戰後復興的外緣因素 --- p.25-30<br>Chapter 4. --- 類型混合：「全部歌唱片」及其後之「歌唱喜劇」 --- p.30-37<br>Chapter 5. --- 總結 --- p.37-38<br>Chapter 第三章 --- 音樂風格與歌曲敘事 --- p.39-68<br>Chapter 1. --- 粤曲：從舞台到電影 --- p.41-44<br>Chapter 2. --- 全部歌唱：粤曲代替對白 --- p.44-49<br>Chapter 3. --- 撰曲人在歌唱片中所扮演的角色 --- p.49-55<br>Chapter 4. --- 電影與粤劇：從分裂到整合 --- p.55-58<br>Chapter 5. --- 粤劇音樂的電影化 --- p.58-66<br>Chapter 6. --- 總結 --- p.66-68<br>Chapter 第四章 --- 角色典型化與演員形象 --- p.69-96<br>Chapter 1. --- 演員、角色與類型電影 --- p.71-73<br>Chapter 2. --- 粤劇對歌唱片角色塑造的影響 --- p.73-74<br>Chapter 3. --- 芳艷芬：「賢妻良母」形象的一致性 --- p.75-80<br>Chapter 4. --- 任劍輝：「女扮男裝」的戲迷情人 --- p.80-88<br>Chapter 5. --- 演員形象的社會作用 --- p.88-95<br>Chapter 6. --- 總結 --- p.95-96<br>Chapter 第五章 --- 結論 --- p.97-109<br>Chapter 1. --- 粤語歌唱片與粤劇文化 --- p.98-100<br>Chapter 2. --- 歌唱片由盛轉衰的原因 --- p.100-102<br>Chapter 3. --- 歌唱片對日後電影的影響 --- p.102-109<br>附錄：電影廣告 --- p.110-118<br>參考書目 --- p.119-121