Dissertations / Theses on the topic 'Polish Motion pictures'

This thesis aims to re-examine the industrial and cultural landscape of Scottish cinema since the advent of public funding institutions for the support of indigenous filmmaking. This period in Scottish cinema has been described by historians as one in which subsidy bodies have created the conditions necessary for the unprecedented flourishing of internationally high-profile national cinema production throughout the last twenty-five years. By taking a 'bottom up' approach to the period and closely analysing six films in relation to their production and reception contexts, the thesis seeks to break from the survey formats which have dominated Scottish cinema historiography and to more thoroughly explore the relationships that have existed between key films from this period, the funding bodies that have supported them and the audiences that have consumed them. In so doing it attempts at various points to supplement, qualify and critique a number of assumptions and arguments that have dominated the field of Scottish cinema studies, all while providing detailed critical and historical treatments of a number of important and sometimes overlooked films from the period.

This thesis examines cultural policy for film in Scotland, from 1997 to 2010. It explores the extent to which the industry is shaped by film policy strategies and through the agency of public funding bodies. It reflects on how Scottish Screen, Scotland’s former screen agency, articulated its role as a national institution concerned with both commercial and cultural remits, with the conflicting interests of different industry groups. The study examines how the agency developed funding schemes to fulfil policy directives during a tumultuous period in Scottish cultural policy history, following the establishment of the Scottish Parliament with the Scotland Act 1998 and preceding the Independence Referendum Act 2013. In order to investigate how policy has shaped the development of a national film industry, a further two case studies are explored. These are Tartan Shorts, Scotland’s former flagship short film scheme, and the Audience Development Fund, Scotland’s first project based film exhibition scheme. The first study explores the planning, implementation and evaluation of the scheme as part of the agency’s talent development strategy. The outcomes of this study show the potential impact of funding methods aimed at developing and retaining Scottish filmmaking talent. Thereafter, the Scottish exhibition sector is discussed; a formerly unexplored field within film policy discussions and academic debate. It outlines Scottish Screen’s legacy to current film exhibition funding practices and the practical mechanisms the agency utilised to foster Scottish audiences. By mapping the historical and political terrain, the research analyses the specificity of Scotland within the UK context and explores areas in which short-term, context-driven policies become problematic. The work concludes by presenting the advantages and issues caused by film funding practices, advocating what is needed for the film industry in Scotland today with suggestions for long-term and cohesive policy development.

This thesis examines creative industries policy in film and television in Scotland. It explores the impact that different approaches to creative industries policy have on creative practice in two media industries, BBC Scotland and Scottish Screen, and reflects on how each of these bodies articulates its role as a „national‟ institution. BBC Scotland is the Scottish branch of the UK‟s largest public service broadcaster, while Scottish Screen exists on a far smaller scale, to serve the screen industries in Scotland. The thesis examines the role of BBC Scotland in sustaining the creative economy and contributing to the cultural life of Scotland. The study of Scottish Screen examines a key early aim of the agency, that of establishing a national film studio. The work investigates the connections between UK and Scottish levels of creative industries policy in light of the debates over the future of public service broadcasting and the Scottish Executive‟s cultural policy framework. The study outlines how ideas of cultural creativity and its economic significance have developed, charts how these ideas have affected policy debate, and explores the extent to which devolution has affected film and television policy. By mapping the historical, sociological and political terrain, the research analyses the specificity of Scotland within the UK context and explores areas in which ideas of „the national‟ become problematic. In order to investigate how policy has impacted on the production of creative goods, a further three case studies are explored. These are the feature film Red Road (Arnold, 2006), an independent production company called The Comedy Unit, and a BBC Scotland television series, River City (BBC, 2002-date). The work concludes with an examination of the impact of contemporary policy developments, including the establishment of Creative Scotland and the Scottish Broadcasting Commission.

This comparative study is an investigation into the changing concerns of feature film policy in Canada and Australia from 1968 to 1998. Its purpose is to determine how similar policy initiatives have produced divergent results in two economically, culturally and socially similar nations. The inquiry's aim is to establish what financial, political and geographic variables affect the application of feature film policy. While resemblances between these nations justify the contrasting of comparable feature film policy initiatives, differences in outcomes suggest that these nations are not entirely alike. Therefore, rather than following the leads of comparable national agencies, film policy makers in Canada and Australia need to concentrate on conditions specific to their own particular situation.

This comparative study is an investigation into the changing concerns of feature film policy in Canada and Australia from 1968 to 1998. Its purpose is to determine how similar policy initiatives have produced divergent results in two economically, culturally and socially similar nations. The inquiry's aim is to establish what financial, political and geographic variables affect the application of feature film policy. While resemblances between these nations justify the contrasting of comparable feature film policy initiatives, differences in outcomes suggest that these nations are not entirely alike. Therefore, rather than following the leads of comparable national agencies, film policy makers in Canada and Australia need to concentrate on conditions specific to their own particular situation.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>School of Arts, Media and Culture<br>Full Text

This thesis explores how a series of Hollywood films allegorised the contradictions of American foreign policy between 1999 and 2009. These contradictions are underlined in pictures that use military intervention as a subtext. My argument considers the role of allegory in an array of genres, including war pictures, Westerns, and comic book adaptations. The case studies I analyse allegorise a bipartisan consensus surrounding military intervention. I postulate that this consensus was crystallised in the Kosovo War of 1999 and later became apotheosised in the 2003 Iraq War. I contend that, in pictures as diverse as There Will be Blood (2007) and The Dark Knight (2008), political allegory critiques the bipartisan allure of both neoconservatism and liberal interventionism’s promises of exporting American democracy. Moreover, these narratives examine the ideas of International Relations theorists as diverse as Walter Mead, Walter McDougall, and Joseph Nye. The theories propounded by these authors become embodied in different characterisations, leading to storylines that connote ideological friction and philosophical inconsistency. Consequently, Hollywood cinema during this period highlights a contradiction in American foreign policy, a theme that is further encoded in narrative elements that focus on the strained politics of coalition building and winning hearts and minds.

During this period the state's interest in the film industry took several different forms. The area of films policy explored in this thesis is the economic protection of the commercial film industry against the high percentage of American films screened in Britain and the Empire. I begin in 1925 because it was not until then that active steps were taken by the government, in response to agitation from producers and those who saw film as a bond of Empire and advertisement for British goods and 'way of life', leading to the Cinematograph Films Act, 1927. This proposed, for political, cultural, moral and economic reasons, that renters and exhibitors should acquire and show a percentage of British films. There was no subsidy for producers or a heavy duty levied on American film imports. The origins, impact and character of official film policy are explored in the thesis with particular attention to financial and political aspects. An attempt is made to explain why policy was limited to film quotas together with an assessment of their impact on the industry's economic development. Details are also given on how the film industry's affairs became caught up in wider debates on tariff policy in the 1920s and in Anglo-American relations ten years later. The first three chapters deal with the evolution, promulgation and initial impact of the Cinematograph Films Act, 1927. Chapter 4 examines the deliberations of the Moyne Committee, established in 1936 to review the film industry's progress. The last three chapters analyse the three major influences on policy during the making of the 1938 Films Act: the campaigns of British film trade interests; the state of Anglo-American relations and film finance. In the final assessment the major influences that shaped policy are outlined together with conclusions on the industry's position and problems on the eve of the Second World War.

Various forms of popular culture serve to educate and socialize as well as influence human behavior. In a discipline such as criminal justice, little is known by the general public about the individuals involved with the system: the law enforcer, the victim, and the offender. Therefore, the construction of reality for most is likely to come from media representation. A content analysis was used as a method to systematically evaluate crime films over a period of 20 years to investigate what gender messages were apparent in the genre. A sample of 42 crime films was drawn beginning in 1972 through 1992. The main and supporting characters were analyzed to determine if gender differences existed in regard to occupational representation, victimization, and offending. Focus was on occupational representation. The data was compared to the official data to ascertain whether the gender representations in the films reflected the official data. Trends over the 20 year period were analyzed to determine if the portrayal of women and men over the years reflected the changes experienced in the criminal justice system. The research provided an understanding of the content of this form of popular culture. Males were more likely included in the films than females. This is consistent with the reality of male domination in the field of criminal justice and with past research which indicated that women were often excluded from films. Computed Chi-square tests indicated that significant relationships existed between sex and evidence of the police personality; sex and character appearance in casual, uniform, and seductive attire; sex and use of all types of force; sex and use of expert and coercive power; and sex and aggression as a style of conflict resolution. T Tests revealed that there were sex differences in character appearance in uniform and seductive attire, use of aggression as a style of conflict resolution, commission of crime, and commission of nonviolent crime. The films closely represented the official data in regard to male and female violent offenders with a small overrepresentation of female violence and an equally small underrepresentation of male violence. Women were underrepresented as property offenders and men were overrepresented. In terms of victimization, women were overrepresented as victims of violent crime and property crime. Over the two decades, women were consistently absent when compared to the number of men casted in the films; were consistently underrepresented as law enforcers, with the exception of two, three year intervals; and were most often casted as wives or girlfriends of law enforcers except in one, three year interval. Men were most likely to be seen as law enforcers in every interval, again consistent with the male domination seen in the law enforcement field. Sexism Level I films, indicating extreme sexism, was found to be at least in 67% of all films for each three interval except from 1984 to 1986.<br>Ed. D.

International film co-productions are sometimes thought of by the Americans as a form of financing providing the U.S. with the ability to sell works to its most important export market, Europe. Europe prefers thinking of it as way to provide its market with works that reflect European culture and ideals. This thesis questions the reality of such a statement, using the examples of the EU, the U.S. and Canada.<br>The author first explains the mechanism of co-production within the framework of a presentation of the methods of film financing. Follows a twofold discussion on the current nature of international co-productions, on both the international and national levels.<br>A considerable portion of this work examines the terms of the debate about the interplay between culture and trade. As an instrument used in the audiovisual industry, therefore strongly connected to cultural industries, international co-production is indeed an ideal model to represent the tensions existing between culture and global trade. This thesis sets international co-production up as a symbol of the interface between culture and trade.<br>Follows a debate on the congruity of the existing global and regional trade agreements for the protection of a culture always weaker in its diversity and propagation. With the prospect of the imminent phasing out of the sectoral exemptions allowed by the GATS, the inadequacy of the NAFTA cultural exemption and current quota policy systems, what would be best to calm down the tensions between culture and trade? Three solutions are discussed here: the New International Instrument on Cultural Diversity; a powerful competitor to the American majors such as Vivendi-Universal, and the technique of co-ventures.

Orientador: Célia Reis Camargo<br>Banca: Carlos Eduardo Jordão Machado<br>Banca: Pedro Plaza Pinto<br>Resumo: A Agência Nacional de Cinema (ANCINE) é uma autarquia vinculada ao Ministério da Cultura que foi criada pela Medida Provisória 2.228-1/01, no contexto da reforma administrativa do governo do Presidente Fernando Henrique Cardoso. O surgimento da Agência se constituiu em um marco regulatório da indústria cinematográfica nacional no período posterior ao processo de retomada na década de 1990, como resultado das discussões realizadas por representantes dos segmentos que se ligam à atividade no âmbito do 3º. Congresso Brasileiro de Cinema - CBC, no ano 2000, impelindo o governo a criar o Grupo Executivo para o Desenvolvimento da Indústria do Cinema - GEDIC. Nesse grupo estavam presentes representantes de pastas ministeriais e de setores interessados na produção cinematográfica e sua comercialização. Sua implantação se deu no ano de 2002, mas até 2005 sofreu com as dificuldades de implementação das suas atividades finalísticas. O objetivo deste estudo é analisar os mecanismos de incentivo originados nesse processo e em anos anteriores - Lei Rouanet e do Audiovisual - que possibilitaram a institucionalização do setor cinematográfico nacional e colocá-los em uma perspectiva histórica, identificando as modificações introduzidas e as permanências verificadas. Além disso, pretendemos analisar a documentação que aborda os primeiros anos de funcionamento da Agência e o possível impacto no setor. Por fim, a partir da trajetória de Gustavo Dahl, primeiro Diretor-Presidente do órgão, entender as visões que permearam a elaboração do projeto, sejam elas marcadas por continuidades ou rupturas, e problematizar a própria criação da instituição. Nesse sentido, buscar explicações para o tipo de institucionalização pelo qual se optou e para o modelo de política pública voltada para o setor audiovisual, do qual a... (Resumo completo, clicar acesso eletrônico abaixo)<br>Abstract: The National Agency of Cinema - ANCINE is a federal autarchy under the Ministry of Culture which was established by Provisional 2.228-1/01 in the context of administrative reform of the government of President Fernando Henrique Cardoso. The emergence of the Agency constituted a regulatory framework of the national film industry in the period after the resumption process in the 1990s as a result of discussions held by representatives of the segments that bind to the activity under 3º Brazilian Congress of Cinema - CBC, in 2000, prompting the government to create the Executive Group for the Development of Film Industry - GEDIC. In this group were present representatives of ministerial portfolios and sectors interested in film production and marketing. It was implemented in 2002, but ate 2005 suffered from the difficulties of implementing its final activities. The objective of this study is to analyze the incentives arising in this process and in previous years - Rouanet and Audiovisual Laws - which enabled the institutionalization of the national film industry and put them in a historical perspective, identifying the changes made and stays checked. In addition, we intend to analyze the documentation that covers the first years of operation of the Agency and the possible impact on the sector. Finally, from the path of Gustavo Dahl, first Chief Executive of the body, understand the views that permeated the development of the project, whether marked by continuities or ruptures, and to discuss the creation of the institution itself. In this sense, seeking explanations for the kind of institutionalization by which they chose and for the model of public policy directed to the audiovisual sector, which ANCINE is the convergence space and to identify the problems, especially economic, still present in activity and overcome... (Complete abstract click electronic access below)<br>Mestre

Made available in DSpace on 2014-06-11T19:26:36Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-08-17Bitstream added on 2014-06-13T19:54:43Z : No. of bitstreams: 1 barbosa_wgc_me_assis.pdf: 1161981 bytes, checksum: 6d5db086a0188bcb6b1dd44f4d413f96 (MD5)<br>A Agência Nacional de Cinema (ANCINE) é uma autarquia vinculada ao Ministério da Cultura que foi criada pela Medida Provisória 2.228-1/01, no contexto da reforma administrativa do governo do Presidente Fernando Henrique Cardoso. O surgimento da Agência se constituiu em um marco regulatório da indústria cinematográfica nacional no período posterior ao processo de retomada na década de 1990, como resultado das discussões realizadas por representantes dos segmentos que se ligam à atividade no âmbito do 3º. Congresso Brasileiro de Cinema – CBC, no ano 2000, impelindo o governo a criar o Grupo Executivo para o Desenvolvimento da Indústria do Cinema – GEDIC. Nesse grupo estavam presentes representantes de pastas ministeriais e de setores interessados na produção cinematográfica e sua comercialização. Sua implantação se deu no ano de 2002, mas até 2005 sofreu com as dificuldades de implementação das suas atividades finalísticas. O objetivo deste estudo é analisar os mecanismos de incentivo originados nesse processo e em anos anteriores – Lei Rouanet e do Audiovisual – que possibilitaram a institucionalização do setor cinematográfico nacional e colocá-los em uma perspectiva histórica, identificando as modificações introduzidas e as permanências verificadas. Além disso, pretendemos analisar a documentação que aborda os primeiros anos de funcionamento da Agência e o possível impacto no setor. Por fim, a partir da trajetória de Gustavo Dahl, primeiro Diretor-Presidente do órgão, entender as visões que permearam a elaboração do projeto, sejam elas marcadas por continuidades ou rupturas, e problematizar a própria criação da instituição. Nesse sentido, buscar explicações para o tipo de institucionalização pelo qual se optou e para o modelo de política pública voltada para o setor audiovisual, do qual a...<br>The National Agency of Cinema - ANCINE is a federal autarchy under the Ministry of Culture which was established by Provisional 2.228-1/01 in the context of administrative reform of the government of President Fernando Henrique Cardoso. The emergence of the Agency constituted a regulatory framework of the national film industry in the period after the resumption process in the 1990s as a result of discussions held by representatives of the segments that bind to the activity under 3º Brazilian Congress of Cinema - CBC, in 2000, prompting the government to create the Executive Group for the Development of Film Industry - GEDIC. In this group were present representatives of ministerial portfolios and sectors interested in film production and marketing. It was implemented in 2002, but ate 2005 suffered from the difficulties of implementing its final activities. The objective of this study is to analyze the incentives arising in this process and in previous years - Rouanet and Audiovisual Laws - which enabled the institutionalization of the national film industry and put them in a historical perspective, identifying the changes made and stays checked. In addition, we intend to analyze the documentation that covers the first years of operation of the Agency and the possible impact on the sector. Finally, from the path of Gustavo Dahl, first Chief Executive of the body, understand the views that permeated the development of the project, whether marked by continuities or ruptures, and to discuss the creation of the institution itself. In this sense, seeking explanations for the kind of institutionalization by which they chose and for the model of public policy directed to the audiovisual sector, which ANCINE is the convergence space and to identify the problems, especially economic, still present in activity and overcome... (Complete abstract click electronic access below)

Defence date: 29 January 2010<br>Examining Board: Prof. Bo Stråth, Supervisor (EUI, University of Helsinki); Prof. Philipp Ther (EUI); Prof. Wlodzimierz Borodziej (Warsaw University); Prof. Frank Stern (Vienna University)<br>PDF of thesis uploaded from the Library digital archive of EUI PhD theses<br>The dissertation examines the role of German and Polish feature films in the Europeanization of the construction of the Holocaust memory. The role of the global media representations in providing foundations for a 'transnational Holocaust memory' was highlighted by Natan Sznaider and Daniel Levy (2002; 2006). However, while the authors of Erinnerung im Globalen Zeitalter concentrated on the international resonance of such Holocaust representations as Steven Spielberg‘s 'Schindler‘s List', my aim is to view the Holocaust films selected here primarily from the perspective of the nationally specific historical debates to which they relate. Employing a comparative perspective, I hope to show a dynamic picture of the role of cinema in current public processes of remembrance in Europe, and examine the ways in which different visions of national and European past clash or interact. The conceptual framework of the dissertation is located at the crossroad of the following areas of intellectual debate: the question of possibility of representing the Holocaust in film and other media; the concept of collective memory and the discussion about film as a legitimate media for historical discourse; historical and public confrontation with World War II and the Holocaust in Germany and Poland since 1945, especially after 1989; finally, the debate about a European identity and the place of the Holocaust within it.

Taking co-production as a dominant development of Hong Kong's film industry, this study examines the transnationality of different trends of co-production: Hong Kong China co-production, Hong Kong - Asia co-production, and individuals working for overseas productions, and the production cultures in these varied contexts are analyzed. By crossing production culture, policy, film business and the work of individual practitioners with the concept and practices of transnationality, this study outlines the possibilities and limitations of developing transnational co-production in Hong Kong cinema. Focusing on its varied manifestations, this thesis emphasizes the plurality of transnationality and suggests that "transnationalities" are a result of the development of Hong Kong cinema. The influences and infiltration of Hong Kong cinema into the other cinemas of the world reflects its ways of survival, and the simple claiming of "the death of Hong Kong" should be questioned. Although there are many constraints in co-production, and some practitioners of valuable skills, like action choreography, are privileged to others, the thesis reveals that Hong Kong cinema is transforming in a direction that provides a foundation for sustainable development. The different co-production projects in which Hong Kong cinema is now engaging demonstrate how this cinema will be able to incorporate itself into the production process in China, Asia and the overseas contexts.<br>Chan, Ka Ming.<br>Adviser: Lai-Kwan Pang.<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 317-338).<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.

Masters of Arts Research Report submitted for the fulfilment of a Masters of Arts degree by coursework<br>Cultural policy in South Africa is critical in shaping government priorities for supporting the cultural industries. Since 1994 cultural policy has been informed by democratic principles of redress, accountability, freedom of expression, access and inclusiveness – diversity and multiplicity as well as economic development articulated in the cultural industries strategy. The research examines the discourse of cultural industries and the framing of the film industry by reviewing both cultural industries and film industry strategies and policy. The research applies Throsby’s (2010) concept of balancing between cultural and economic value in the cultural industries. The value of the film industry in South Africa is measured using indicators that mainly assess economic growth within the value chain. The important value measured emphasises the number of films produced and box office returns versus the attainment of the principles of the White Paper on Arts, Culture and Heritage (1996) as mentioned, therefore, what is neglected when we don’t measure the cultural value?

Chung, Simon.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.<br>Includes bibliographical references (leaves 123-130).<br>Abstracts in English and Chinese; appendix 2 in Chinese.<br>Abstract<br>Chapter Chapter 1 --- Introduction --- p.4<br>Chapter Chapter 2 --- "Film Policies in France, Canada and Korea" --- p.19<br>Chapter Chapter 3 --- Hong Kong Film Policy --- p.65<br>Chapter Chapter 4 --- Conclusion --- p.106<br>Appendix --- p.114<br>Bibliography --- p.120

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

Thesis (M.M. (Public Policy))--University of the Witwatersrand, Faculty of Commerce, Law and Management, Graduate School of Public and Development Management, 2013.<br>The study aimed to understand and analyse the ways in which the NFVF as the institution mandated by government to implement its vision for the film industry, interpreted and executed this mandate in its inception years. Using a combination of top-down and bottom-up approaches to policy implementation, this study applied the 5-C protocol developed by Brynard and de Coning (2006) to analyse film policy. The study assesses the process of implementation and the key factors that shaped how the NFVF carried out its policy mandate between 2000 and 2005 largely from the perspective of ‘street-level bureaucrats’ who were the main policy implementation officials. Implementation scholars suggest that in order to understand policy, one is required to follow its journey as it moves through the implementation process, changing its environment, and in turn being influenced by the environment within which it is located. The study’s findings are discussed under various themes that emerged from the interviews and document review. The focus is on the NFVF’s policy content and implications this had on the clarity of its role and mandate. The themes that emerged from the discussion on the NFVF’s policy context indicated that the governance and institutional arrangements for implementation as well as the lack of policy coherence and co-ordination contributed to a difficult operating and implementation environment. Under policy commitment, the discussion pointed to the NFVF’s leadership and institutional style between 2000-2005. The NFVF’s capacity to implement policy was analysed in terms of its available financial resources. Finally, the last section of the study considers the NFVF’s policy clients and coalitions and how they responded to the NFVF‘s implementation of policy.

Since the People’s Republic of China (PRC) resumed sovereignty over Hong Kong in 1997, the unprecedented ―one country, two systems (OCTS) policy has been put into practice. While this policy is usually considered from political, economic and legal perspectives, this study proposes a cultural studies approach to the understanding of this political formula through the examination of post-1997 Hong Kong cinema, particularly its production and reception in relation to the policies of both the central and local governments. Crossing and combining the disciplines of cultural studies and film studies, this dissertation has two primary aims: to understand this ―OCTS era as a peculiar cultural-historical conjuncture through the lens of Hong Kong cinema; and to explore the impact and influence of the OCTS policy on Hong Kong cinema as a social, economic and cultural institution. Embedding a textual analysis within contextual inquiry, this study will unravel the interplay between the reflection of the OCTS in the Hong Kong cinematic imaginary and its impact on the industrial operation, commercial performance, and critical response to post-1997 Hong Kong cinema. This thesis will address the production and reception of post-1997 Hong Kong cinema, and its significance for the analytical understanding of the OCTS policy through a number of perspectives. First, in its newly-claimed PRC market, Hong Kong cinema tends to be censored or self-censored. The resulting ―one movie, two versions phenomenon illustrates how Hong Kong and the PRC collaborate economically on the basis of ―one country while, at the same time, they diverge politically under the ―two systems. Second, the prominent presence of Mainland actresses in the thriving film co-productions is an indication of the changing dynamics in the Hong Kong-PRC relationship as a result of China’s economic takeoff. However, in an effort to retain a xv distinct local identity, some Hong Kong filmmakers are deliberately ignoring the lucrative PRC market in order to keep Hong Kong cinema unchanged. These ―not for the PRC‖ films are instrumental in monitoring the fulfillment of the ―no change in Hong Kong for fifty years promise made by the OCTS arrangement. Furthermore, either through the cinematic portrayals of Macao and Taiwan, or through the industrial linkages to Singapore and Malaysia, Hong Kong cinema has demonstrated a variety of ―Chineseness-es outside the PRC. The unshakable connections between Hong Kong cinema and Chinese diasporas have posed a serious challenge to the notion of equating ―China to the PRC as defined in the OCTS policy. Finally, the economic integration of Greater China has brought about the emergence of a pan-Chinese cinema mainly based on the Hong Kong martial arts genre. Taking advantage of their common history, cultural heritage and anti-imperialist Chinese nationalism, these pan-Chinese martial arts films have made a significant contribution to an imaginary ―unified cultural China, although the ultimate goal of the OCTS policy— the grand political reunification under the rule of the PRC — is still a dream yet to be fulfilled. By addressing the complexity of the PRC’s ―split reunification‖ with Hong Kong under the OCTS, this study challenges the simple dichotomy of ―PRC socialism vs. Hong Kong capitalism, probing overlapping concepts of ―China— the PRC, the Greater China or the imagined cultural China. Finally, it makes a broader contribution to research on ―national‖ cinemas in the context of dynamic geo-political and socio-cultural change within regions and across the globe.

Cultural policy studies, or studies in the relations of government and culture (Mercer, 1994) were initiated in Australia in the 1980s, where cultural studies have been reinterpreted into a dialogue of policy-making and cooperation between the government and academia (Cunningham, 1994; Hunter, 1993/1994; Molloy, 1994; Santamaria, 1994). This Australian-pioneered "cultural policy moment" (Cunningham 1994; Hawkins, 1994) thus provides an epistemological starting point for an analysis of cultural policy developments in South Africa, especially after 1994. Early South African cultural policy studies tend to draw from the Australian experience (Tomaselli and Shepperson, 1996). It must be noted that in terms of South African film policy analysis, there have been two cultural policy moments, one that addresses film post World War II to 1991, a period that is generally characterised as a "cinema of apartheid" (Tomaselli, 1989). This period is indebted to the seminal work of Keyan Tomaselli and Martin Botha. The second cultural policy moment begins in 1991 and continues to the present. It is this "moment" that informs the research and critical focus of the ways in which cultural studies in South Africa have modified the foundation of its critical position towards the state in response to developments since 1990. The aim of this thesis is to critically examine the ways in which South African cultural studies have responded to the Australian "cultural policy moment" in terms of academic-state relations, and the impact of discussions that were engaged in by various film organisations on film policy after 1990, and which resulted in the written proposals on film submitted to the Arts and Culture Task Group in 1994 and 1995. The Arts and Culture Task Group was the case study within which the notion of cultural policy was studied, along with the White Paper on Film. This thesis draws on and applies a variety of methods: firstly, there is the participatory research: I was employed by ACTAG to undertake research into film policy. My own experience of the process in which I worked very closely with the film sub-committee provides an "insider" account of assumptions, conflicts, practices and how outcomes were reached. I was also designated, along with Professor Tomaselli and Dr Botha, as one of the co-authors of the White Paper, and was thus part of the process of revising the ACTAG recommendations into draft legislation. Secondly, there is the method of comparative study: this thesis initially draws on the Australian cultural studies and film policy on the one hand, and South African cultural studies and film policy on the other. It then evolves into a critique of the "cultural policy moment" (Cunningham, 1994; Hawkins, 1994) as it related to the development of South African film policy between 1991 and 1997. Lastly, there was the empirical investigation: ACTAG, which was established to counsel Dr Ben Ngubane on the formulation of policy for the newly established government (see Chapter Four of this thesis, and see Karam, 1996), served as a case study. The final ACTAG document resulted in a reformulated arts and culture dispensation consistent with the new Constitution. This process in turn led to the origination and publication of the Government of National Unity's White Paper on Film in May 1996. Incorporated into this analysis was an "information trawl" (Given, 1994; Mercer, 1994 and Santamaria, 1994) of prior and extant policy frameworks and assumptions of various film, cultural and media organizations formulated during the period under review. The link between film and culture, and hence film and cultural policy, emerges from the following two commonplace associations: firstly, that film as a form of visual creation is therefore a form of art; and secondly, that the concepts of art and culture are inextricably connected. What drives the present debate is the Australian appropriations of Raymond Williams's description of culture as "a whole way of life". This, while validly dissolving the early-twentieth century identification of culture with "high" or "canonical" forms of traditional literature, sculpture, or painting, none the less leaves theorists with a "distinct fuzziness" (Johnson, 1979) as to what the term "culture" actually denotes. Australian policy studies' approaches tend to focus on culture as personifying a structure of "livability" under terms of employment, environmental concerns, and urban planning (Cunningham, 1994; Hawkins, 1994). In general, however, the focus has only attained any concrete outcomes when research has resuscitated precisely the link between culture and the arts, thereby drawing on the old polemics of "high" versus "low" and "popular" culture. The individual chapters cover the following topics: the Introductory Chapter provides a general historical overview of the South African film subsidization system, a crucial element of the analytical framework, from its inception in 1956 to it's dissolvement in the 1980s; Chapter Two, "Cultural Policy" deals with the origination and development of the concept of "cultural policy"; Chapter Three focuses on the Australian "cultural policy moment" and it's application to film; Chapters Four and Five deal with the ACTAG Film Sub-committee and the White Paper on Film respectively; and the last chapter, Chapter Six critiques these processes and their resulting documents, as case studies, from a cultural policy standpoint.<br>Thesis (M.A.)-University of Natal, Durban, 1997.

In transboundary water resources policy and management situations, such as the governance of the Columbia River Basin, complex social, ecological, and economic factors seem to be in irreconcilable competition with one another. However, cooperative negotiation provides an outlet for entities and stakeholders to "expand the pie" and develop creative alternatives for integrated, resilient management. To achieve these goals, it is critical that stakeholders have meaningful dialogue that goes beyond positions to identify the underlying values and interests in the basin. Furthermore, parties must develop a shared understanding of the substantive complexities of the social-ecological system. Collaborative learning allows participants to meet both of these objectives at once, and facilitators can spark collaboration through carefully planned interventions. The goal of this study was to test a carefully crafted "facilitative" documentary film as a facilitation tool to promote dialogue, understanding, and creative scenario development amongst parties. The study has three main components: 1) the resilience and learning analysis of the case study (the Columbia River Treaty) policy situation, 2) the creation of a facilitative film featuring interviews with diverse stakeholders in the basin, and 3) the qualitative and quantitative assessment of the effects of the film in the cooperative negotiation process. The film, A River Loved: A film about the Columbia River and the people invested in its future, premiered at the Universities Consortium Symposium on Columbia River Governance- an informal forum for dialogue held in Kimberley, British Columbia in October 2011. I measured participants' reactions to the film and found substantial support for my hypotheses, concluding that interventions such as facilitative documentary film have great potential to transform complex, multi-stakeholder social-ecological policy situations.<br>Graduation date: 2012