Relevant bibliographies by topics / Women in Chinese Films

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Women in Chinese Films'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Women in Chinese Films"

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Donald, S. "Women reading Chinese films: between orientalism and silence." Screen 36, no. 4 (December 1, 1995): 325–40. http://dx.doi.org/10.1093/screen/36.4.325.

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Rafman, Carolynn. "Imagining a Woman's World: Roles for Women in Chinese Films." Cinémas 3, no. 2-3 (March 15, 2011): 126–40. http://dx.doi.org/10.7202/1001195ar.

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Chinese cinema embraces a paradoxical relationship to its own traditions, especially concerning the abusive treatment of women. Films like Yellow Earth, Judou and Raise the Red Lantern which desire to uncover a repressed history, tend instead to reinforce and sustain an image of women's suffering to modern audiences. While exposing discrimination and injustice, some films perpetuate the stigma that women are still second class citizens. Three Chinese women filmmakers have challenged the dominant confusion ethos: "Male honorable, female inferior" (nan zun nü bei) by portraying women as independent and thinking individuals. This article analyses Passion (Zui ai) by Sylvia Chang, Song of the Exile (Ketu qiuhen) by Ann Hui and Three Women (San ge nüren) by Peng Xiaolian.
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Li, Meng. "Portrayals of the Chinese Être Particulières: Intellectual Women and Their Dilemmas in the Chinese Popular Context Since 2000." British Journal of Chinese Studies 9, no. 1 (April 4, 2019): 9–58. http://dx.doi.org/10.51661/bjocs.v9i1.25.

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This article studies the tension between post-Mao Chinese intellectual women and their dilemma in post-2000s Chinese popular media. TV dramas, films, songs and reality shows in which Chinese intellectual women and their dilemmas are identified, mis/represented, mis/understood and addressed are the research objects of this article. By foregrounding the two motifs of estrangement and escape in understanding and characterising post-Mao Chinese intellectual women, the article seeks to answer the following questions: In what ways are well-educated Chinese women consistently stigmatised under the unsympathetic limelight of the public? And for what reason are Chinese intellectual women identified as the être particulières in the popular context? At time of publication, the journal operated under the old name. When quoting please refer to the citation on the left using British Journal of Chinese Studies. The pdf of the article still reflects the old journal name; issue number and page range are consistent.
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Biehl, Brigitte. "Women “in motion”: the kinaesthetic viewing experience in Chinese viral advertising films." Consumption Markets & Culture 23, no. 5 (March 20, 2019): 439–55. http://dx.doi.org/10.1080/10253866.2019.1586680.

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Liu, Chang. "The Cultural Communication Significance ofthe Mulan Films Made by Disney." Learning & Education 9, no. 3 (December 29, 2020): 68. http://dx.doi.org/10.18282/l-e.v9i3.1578.

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In September 2020, the live-action film “Mulan” shot by Disney in the United States was released in mainland China. This is the fourth time that Disney has put Mulan, a traditional Chinese character, on the screen. The first time was the animated version in 1998. After the success, the “Mulan II” was released in 2004, the third time was the 2012 animation version for children. This time, Disney put this historical story that is well-known in China on the screen in the form of a live-action version. The Chinese elements presented in these four versions are undoubtedly obvious. Although many people in China think that the Mulan created by Disney is not the Mulan in their minds, and the interpretation of traditional Chinese culture in the play is not necessarily accurate. However, by observing Chinese traditional culture from Westerners’ vision and interpreting Chinese traditional culture with Westerners’ concepts, Disney’s efforts objectively played a role in spreading Chinese traditional culture on a larger scale. It shows the traditional Chinese values of “loyalty, righteousness, courage and filial piety” and the two unique Chinese cultural symbols of dragon and phoenix to audiences all over the world, at the same time, the concept of caring for women and publicity of individuality is integrated into it, which makes this traditional character have a strong contemporary character and is more easily accepted by modern audiences. Its significance in cultural communication is worthy of recognition.
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Lo, Shauna. "Chinese Women Entering New England: Chinese Exclusion Act Case Files, Boston, 1911–1925." New England Quarterly 81, no. 3 (September 2008): 383–409. http://dx.doi.org/10.1162/tneq.2008.81.3.383.

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Chinese women who sought entry to the United States during the Chinese Exclusion Act (1882–1943) faced unique challenges. As case files (1911–25) from the Boston Immigration Office reveal, however, they became adept transnational migrants, overcoming great obstacles and adopting innovative strategies to reach their destinations in the Northeast.
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Li, Zhuying. "Female warriors: a reproduction of patriarchal narrative of Hua Mulan in The Red Detachment of Women (1972)." Media International Australia 176, no. 1 (May 8, 2020): 66–77. http://dx.doi.org/10.1177/1329878x20916955.

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During the Chinese Cultural Revolution, the CCP officially claimed that Chinese women achieved an equal position as men, and the Confucian patriarchal family was deconstructed. This article is an ongoing exploration of Maoist gender discourse by analysing the image of female warriors in the revolutionary opera film, The Red Detachment of Women (1972) which was made and popularised during the Cultural Revolution. This article finds that Maoist gender discourse failed to deconstruct the Confucian patriarchy. The image of female warriors in the revolutionary opera films was a reproduction of the patriarchal narrative of Hua Mulan, which served an ethical symbol of loyalty and filial daughter in the discourse of Confucian patriarchy. Similar to Mulan, the masculinised image of female warriors in the revolutionary opera films cannot be identified as a feminist representation yet a cultural and ethical symbol of filial daughter that leads to women’s subordination to men’s needs.
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Xia, Zhou, and Yiwen Liu. "Director Guang Chunlan in Conversation." Feminist Media Histories 5, no. 1 (January 1, 2019): 95–112. http://dx.doi.org/10.1525/fmh.2019.5.1.95.

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This interview features Guang Chuanlan, a Sibe director who has been active since 1976. Guang is known for establishing Chinese Muslim cinema made in the Xinjiang autonomous region in socialist China. Many of her films are released and awarded in Arabic countries and in India. Her enduring career exemplifies the key role women filmmakers have played in building Chinese cinema under state-driven film policies. While it is commonly believed that the Fifth Generation (represented by male directors such as Zhang Yimou, Chen Kaige, and Tian Zhuangzhuang) put post–Cultural Revolution Chinese cinema on the international map, Guang's career (along with those of other women directors) compels us to reexamine Chinese film historiography and excavate a more complex constellation, especially with regard to women's authorship in intersection with race/ethnicity and the state, and inter-Asian film interactions based on a shared religion—a dimension oftentimes obscured by the dominant paradigm of East-West internationality.
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Zhang, Chuyi. "Deconstructing the Other’s Other: Analyzing the Chinese Female Image in the Film Saving Face." Film Matters 12, no. 1 (March 1, 2021): 93–100. http://dx.doi.org/10.1386/fm_00133_1.

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The image of Chinese women portrayed in American films is essentially the West’s imagination of China, conveyed by the female body and constructed in the Orientalist discourse. Over the past one hundred years, Chinese women have been primarily depicted as docile, weak, submissive, voiceless, and in need of being rescued and guided by Occidentals. With the evolution of the global order and the rise of China’s international status, the silent Orient has taken the initiative to resist and reshape this voiceless, “other-ed” image. This article aims to focus on the female characters in Saving Face, an American film directed by Chinese American director Alice Wu in 2004, and analyzes how the director reverses the stereotyped Chinese female image based on the theoretical framework of Orientalism and postcolonial studies, not only “the other” with regards to men, but also “the other” as to the Occident, thus dismantling long-held misreadings of China.
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Berry, Chris. "Hitchcock with a Chinese Face: Cinematic Doubles, Oedipal Triangles, and China's Moral Voice (with DVD). By Jerome Silbergeld. [Seattle: University of Washington Press, 2004. 160 pp. £22.95. ISBN 0-295-98417-1.]." China Quarterly 182 (June 2005): 454–56. http://dx.doi.org/10.1017/s0305741005360267.

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Jerome Silbergeld introduced an art history approach into Chinese film studies with China into Film: Frames of Reference in Contemporary Chinese Cinema in 2000. Hitchcock with a Chinese Face goes further. Like an art historian selecting three seemingly disparate paintings and demonstrating their links, Silbergeld chooses a film each from Hong Kong, Taiwan and mainland China, but argues that they pursue similar aesthetic and political directions. The result is a virtuoso display of intense textual and inter-textual exegesis, informed by an in-depth knowledge of the pre-modern Chinese arts, contemporary Chinese political culture, and globally circulated Western culture (including Hitchcock). It is also a challenge to the discipline of film studies itself.The three films Silbergeld selects for analysis are Lou Ye's 2000 film from mainland China, Suzhou River (Suzhou he); Yim Ho's 1994 Hong Kong film, The Day the Sun Turned Cold (Tianguo nizi); and the final part of Hou Hsiao Hsien's 1995 Taiwan trilogy, Good Men, Good Women (Hao nan, hao nü,). He acknowledges that the project began as a personal indulgence allowing him to explore further some of his favourite films. However, his engagement with the films leads him to argue that each one, in its own way, deconstructs the commonly circulated idea of a unified Chinese culture, engages powerfully with morality, is narratively complex and anti-commercial, mobilizes a cosmopolitan knowledge of world cinema, and displays an unusual degree of interest in individual psychology and oedipality. The latter elements help to ground the comparisons to Hitchcock (as well as to Hamlet, Dostoevsky, Faulkner and others).
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Dissertations / Theses on the topic "Women in Chinese Films"

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Nie, Jing. "Contemporary Chinese Cinema: Fifth Generation films, urban films, and Sixth Generation films." Ohio : Ohio University, 2003. http://www.ohiolink.edu/etd/view.cgi?ohiou1061419663.

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Lin, Hui-Ling. "Bodies in motion : the films of transmigrant queer Chinese women filmmakers in Canada." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/33753.

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This dissertation examines the representations of racialized, gendered, queer sexuality in selected films produced by four transmigrant queer “Chinese” women filmmakers in Vancouver, with a main focus on body images. Personal interviews with these filmmakers about their lives and films were collected and analyzed in-depth using feminist qualitative method informed by standpoint epistemology. The analyses are framed by discussions of what it means to be “Chinese” outside of China, in relation to what it means to be female and “queer.” Selected films were analyzed drawing on feminist film theory, postcolonial and poststructuralist theories, and transnational feminist theory. Judith Butler’s ideas on gender performance and performativity and José E. Muñoz’s concept of “disidentification,” and their application to theories of the body serve as a framework to examine the following research questions: How do these filmmakers re-present “Chineseness,” “queerness,” and “femininity” by deploying their own bodies or those of others? How do they evoke or challenge mainstream stereotypes, and what kinds of narratives and film techniques do they exploit in order to re-conceptualize the non-conforming and transmigrant queer female body? Chapter 2 provides a detailed, contextualized introduction to the filmmakers, based on the interviews, and information on the Canadian context. Chapter 3 explores how racialized, queered, and gendered bodies are presented, appropriated, or subverted in a selection of films. Chapter 4 examines three major strategies of disidentification in the films: the appropriation of dominant stereotypical images; the use of hybrid genres and technical effects; and the reinvention of language(s). The analysis of the films and interviews shows that these filmmakers produce alternative forms of embodied knowledge based on their lived experiences, showing that there is no essential queer “Chinese” women body. Their sense of “Chineseness” is highly contextualized and intersectional, which opens up the possibility that transnational “Chineseness,” like gender and sexuality, could be cited and re-cited in ways that disclose its vulnerability and instability. These filmmakers and their films contribute to new articulation of mobile queerness in the context of transmigrant “Chineseness,” and create a temporary and transnational “utopian performative,” a safe and hopeful space for queer women viewers.
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Hao, Yiren. "The Ever-changing Roles of Chinese Women in Society: A Content Analysis and Semiotic Analysis of some Contemporary Chinese Films." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20481.

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One major question in the area of Feminist Media Studies is to analyze the stereotypical female role portrayals in media. Researchers in this area have examined diverse media including television, radio, films, textbooks, literature and so on. Empirical evidence provided by these studies shows that women in media are often underrepresented or stereotypically portrayed in traditional roles such as housewives or mothers associated with feminine values, such as dependent, submissive, and passive. Using content analysis and semiotic analysis, this study is designed to examine the portrayals of female roles in a sample of contemporary (1949-2010) Chinese films. Content analysis is employed to examine how women have been portrayed in films, with the primary focus on the frequency of three types of female roles including (1) traditional roles, (2) modern role, and (3) ideal role. Results suggest that during this long period of time, representations and constructions of women in films have shifted from promotion of gender equality, to diminishing and erasing gender difference, and finally regressed to confining them to traditional roles while emphasizing traditional feminine values and expectations. In using semiotic analysis, this research is able to outline the connotative meanings of the female characters as well as the implicit cultural values and messages of gender that are embedded in films. On this cultural analysis, the findings reveal that female role portrayals in films, which are influenced by political, cultural, and social changes, remained associated with traditional feminine stereotypes, values, and expectations.
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Lin, Zhichun. "Hearing Their Stories Through Polyphonic Soundtracks: Women and Music in Contemporary Chinese Film." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1374231964.

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Hsieh, Hsin-Chin. "Life on the Move: Women's Migration and Re/making Home in Contemporary Chinese and Sinophone Literature and Film." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19322.

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My dissertation examines the transformation of family and the reinvention of home from migrant women’s perspectives as represented in contemporary Chinese and Sinophone literature and film. In the era of globalization, people are increasingly mobile both within and across borders, resulting in the reshaping of family structure and re-conceptualization of home. In this dissertation I contend that migration is closely related to family dynamics and that migration also facilitates women’s agency in transforming family structure, navigating cultural differences, and negotiating with local societies and nation-states. The Chinese concept of jia 家 can be translated into English as family, home or house, and “homeness” in the context of Chinese migration is particularly associated with a geographical origin, a dwelling, a settlement, or familial intimacy. In this regard, I argue that migration is a process which reflects tradition, modernity and transnationalism, yet it can move beyond the metanarrative of homeland and nationalism that is often promoted by patriarchal cultural producers. I treat home as a locally defined notion to offer an alternate understanding of women migrants’ localization rather than focusing on the myth of return to the homeland. Women’s transgression of the boundaries of the household and their movement to other geographical locales transform their gendered role within the family, inciting their agency in opposing patriarchy and nationalism and creating space within which to negotiate the challenges of gender inequity, cultural difference, and marginalization. In contrast with the male-centered grand narrative featuring nostalgia for the homeland, I find that tales of women migrants show their protagonists eagerly adapting to their host countries and embracing local experiences. Hence, my dissertation focuses on the literary and cinematic representation of women migrants in contemporary Chinese and Sinophone literary works, documentaries and fictional films and explores four types of movement: immigration to North America, multiple transnational movements, cross-Strait migration from Taiwan to China, and new marriage-based immigration in Taiwan. Analysis of these works will improve understanding of the transnational flow of populations, the contested notion of home in migration, as well as the ways in which place-based literary and cultural productions are influenced by real-world migration.
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Lin, Tong (Hilary). "Ji Sor (1997): Self-Realization of Women in Cinema and in History." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1671.

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100 years ago, there was a group of women called Zishunu who stood up against the whole society and swore off marriage for life. Zishu offered an escape for many women in the Pearl River Delta area. As forerunners in female independence and liberation, Zishunu never had the chance to be the spokesman of themselves or the recognition they deserved. Ji Sor (1997), a groundbreaking work in lesbian-themed movies, beautifully depicts this special and unparalleled historical phenomenon in detail. Released a few months after the Handover of Hong Kong in 1997, this critically acclaimed movie by Hong Kong New Wave filmmaker Jacob Cheung embodies the three biggest fears of an extremely conservative society: absence of marriage, challenges to male hegemony, and homosexuality. Although seen as representatives of strong and independent women, Zishunu had to make a lot of compromises to the patriarchal culture to be allowed not to marry. The emancipation of Zishunu, although as a huge advancement in the feminism in China, is not a complete liberation. Women emancipation cannot be achieved by women celibacy. A hundred years later, we are still asking what gender equality really means, what is women’s power, what is independence, what is feminism? Through the analyses of Zishu and Ji Sor both individually and together, this thesis explores the meanings of gender equalities and sexual identities mean in the cinematic world and in the real world. There shouldn’t be a set of standards of how women should act. The right that a woman should have, just like a real women’s movie, is the autonomy to make her own decisions.
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Au, Kerrie Po Kiu Lin. "Chinese women and immigration." Thesis, University of Liverpool, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250431.

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Fu, Lai-lee Charlotte, and 傅麗莉. "Identities of American Chinese women." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952598.

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Fu, Lai-lee Charlotte. "Identities of American Chinese women." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2219938X.

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

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This thesis aims to re-categorize Chinese independent films from a region-based perspective as a critical response to existing literature on Chinese independent films. This thesis analyzes three independent films made in three different regions of China in order to investigate regional Chinese independent cinema as a recently rising phenomenon: respectively, Jia Zhangke’s Xiaowu (1997) made in Shanxi Province, Ying Liang’s Taking Father Home (Bei yazi de nanhai, 2006) in Sichuan Province, and Robin Weng’s Fujian Blue (Jinbi huihuang, 2007) in Fujian Province. By using Bakhtin’s concept of chronotope (literally time-space) as the fundamental framework and exploring the many aspects of it, I will develop three major theoretical points to study selected regional Chinese independent films: first, chronotope enables the evaluation of texts of Chinese independent films; second, the documentary impulses prevailing Chinese independent films serve as the chronotopic linkage between the world in the film text and the world the film text represents; three, the mediation function as one aspect of chronotope is characterized by the negotiation between regional Chinese independent films and many social relations, for example, filmmakers, casting, audiences. This thesis also explores many issues related to Chinese independent films, for example: How do we value the unique film practice of Chinese independent filmmakers instead of viewing them as a unified whole? How do we relate Chinese independent films as aesthetic practices to the region-specific reality they are embedded in? How can Chinese independent cinema as a social practice play an effective role in society? The exploration of these questions does not only enlighten new research perspectives on Chinese independent films, but also provide reflections on the geographical, cultural and social diversity of Chinese regions.
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Books on the topic "Women in Chinese Films"

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Wang, Lingzhen. Chinese women's cinema: Transnational contexts. New York: Columbia University Press, 2011.

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Chen, Ya-chen. Women in Chinese martial arts films of the new millennium: Narrative analyses and gender politics. Lanham: Lexington Books, 2012.

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Women in Chinese martial arts films of the new millennium: Narrative analyses and gender politics. Lanham: Lexington Books, 2012.

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Chinese women's cinema: Transnational contexts. New York: Columbia University Press, 2011.

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"Ta zhe" jing xiang: Haolaiwu dian ying zhong de Hua ren nü xing = The image of the other : Chinese women in Hollywood films. Beijing: Zhongguo she hui ke xue chu ban she, 2010.

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Yuan, Yongyi, Jiali Wu, and Dongsheng Er. Xin bu liao qing: C'est la vie, mon cheri. San Francisco, CA: Tai Seng Entertainment, 2007.

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Li, Hanxiang, Kun Li, and Run Run Shaw. Liang Shanbo yu Zhu Yingtai. Taibei Shi: Hao ke chang pian gu fen you xian gong si, 2003.

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Gu, Dezhao, and Zhiwei Zeng. Liu fu xi shi: Hello babies. Xianggang: Lei she qi ye you xian gong si, 2014.

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Charlotte, Brunsdon, ed. Films for women. London: British Film Institute, 1986.

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Zhang, Baiqing. Chinese films and television plays. Beijing: Culture and Art Publishing House, 1999.

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Book chapters on the topic "Women in Chinese Films"

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Chi, Robert. "The Red Detachment of Women: Resenting, Regendering, Remembering." In Chinese Films in Focus II, 189–96. London: British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92280-2_25.

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Harris, Kristine. "The Goddess: Fallen Woman of Shanghai." In Chinese Films in Focus II, 128–36. London: British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92280-2_17.

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Lee, Haiyan. "Woman, Demon, Human: The Spectral Journey Home." In Chinese Films in Focus II, 243–49. London: British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92280-2_32.

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Li, Zhuying. "Women, the revolutionary opera films, and the Cultural Revolution." In Gender Hierarchy of Masculinity and Femininity during the Chinese Cultural Revolution, 5–23. New York : Routledge, 2020. | Series: Focus on global gender and sexuality: Routledge, 2020. http://dx.doi.org/10.4324/9781003108207-2.

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Pang, Cecilia J. "Eyes of the Other: The Role of Chinese Women through the Lens of Documentary Films." In Genre in Asian Film and Television, 45–60. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230301900_4.

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Tuan, Iris H. "Myth and Levi-Strauss: Taiwan Musical The Classic of Mountains and Seas & Chinese Film The Monkey King: Kingdom of Women." In Pop with Gods, Shakespeare, and AI, 65–81. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7297-5_4.

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Dönmez-Colin, Gönül. "His films." In Women in the Cinemas of Iran and Turkey, 299–338. London; New York, NY : Routledge, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9781351050319-8.

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Gu, Diane Yu. "Women in Academia." In Chinese Dreams? American Dreams?, 43–51. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-540-1_4.

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Yang, Mayfair. "Women in Chinese Religions." In Encyclopedia of Psychology and Religion, 1914–18. Boston, MA: Springer US, 2014. http://dx.doi.org/10.1007/978-1-4614-6086-2_9023.

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Cooper, Tamara. "Missionaries and Chinese women." In Colonialism, China and the Chinese, 171–83. Abingdon, Oxon; New York, NY: Routledge, 2019. | Series: Empires in perspective: Routledge, 2019. http://dx.doi.org/10.4324/9780429423925-11.

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Conference papers on the topic "Women in Chinese Films"

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Brandl, Ana Lúcia. "Effects of Magnetic Interactions in Superparamagnetic Granular Films." In WOMEN IN PHYSICS: 2nd IUPAP International Conference on Women in Physics. AIP, 2005. http://dx.doi.org/10.1063/1.2128328.

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Yan, Yanlai, Kangmin Chai, Huahan Liang, and Lingda Kong. "Physics involvement in ancient Chinese chime bells." In WOMEN IN PHYSICS: 4th IUPAP International Conference on Women in Physics. AIP, 2013. http://dx.doi.org/10.1063/1.4794219.

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Yang, Lan-Hee, Jinwoo Park, B. D. Yu, Y. R. Jang, Beverly Karplus Hartline, Renee K. Horton, and Catherine M. Kaicher. "Electronic Structures of Oxide-Supported Pt films: Magnetic Properties (abstract)." In WOMEN IN PHYSICS: Third IUPAP International Conference on Women in Physics. AIP, 2009. http://dx.doi.org/10.1063/1.3137895.

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Johnson, Beth A. "HOLLYWOOD PERCEPTIONS OF WOMEN IN GEOLOGY: WOMEN GEOSCIENTISTS IN FILMS (1986-2016)." In GSA Annual Meeting in Denver, Colorado, USA - 2016. Geological Society of America, 2016. http://dx.doi.org/10.1130/abs/2016am-279528.

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Eblen-Zayas, Melissa. "Low-Temperature Response of Ultrathin Manganite Films in a Field-Effect Geometry." In WOMEN IN PHYSICS: 2nd IUPAP International Conference on Women in Physics. AIP, 2005. http://dx.doi.org/10.1063/1.2128334.

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Soria, G. Ruiz, F. Grinblat, N. Vega, M. Villafuerte, S. P. Heluani, G. Braunstein, Beverly Karplus Hartline, Renee K. Horton, and Catherine M. Kaicher. "Electric Conduction Mechanisms of Thin Films of ZnO Doped with Sulfur (abstract)." In WOMEN IN PHYSICS: Third IUPAP International Conference on Women in Physics. AIP, 2009. http://dx.doi.org/10.1063/1.3137884.

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Jang, Seunghun, Changhun Ko, Kiyoung Jeong, Moonsup Han, Beverly Karplus Hartline, Renee K. Horton, and Catherine M. Kaicher. "The Charge Storage Characteristics of Si-QDs Embedded in Silicon Nitride Films (abstract)." In WOMEN IN PHYSICS: Third IUPAP International Conference on Women in Physics. AIP, 2009. http://dx.doi.org/10.1063/1.3137826.

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Song, Sanghoon, Wonsuk Cha, Heeju Lee, Xiaolong Li, Zhang Jiang, Suresh Narayanan, Adrian Ruehm, et al. "Surface Dynamics of Block Copolymer Films by X-ray Photon Correlation Spectroscopy (abstract)." In WOMEN IN PHYSICS: Third IUPAP International Conference on Women in Physics. AIP, 2009. http://dx.doi.org/10.1063/1.3137883.

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Bian, Jing, and Chao Lu. "Work careers of Chinese Republic Peers women." In The 2013 International Conference on Applied Social Science Research (ICASSR-2013). Paris, France: Atlantis Press, 2013. http://dx.doi.org/10.2991/icassr.2013.64.

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Gao, J., X. Zhang, B. Zhang, J. Wang, and X. Liang. "Breast Cancer Subtypes in Northern Chinese Women." In Abstracts: Thirty-Second Annual CTRC‐AACR San Antonio Breast Cancer Symposium‐‐ Dec 10‐13, 2009; San Antonio, TX. American Association for Cancer Research, 2009. http://dx.doi.org/10.1158/0008-5472.sabcs-09-3168.

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Reports on the topic "Women in Chinese Films"

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Wang, Judy H. Impact of Culture on Breast Cancer Screening in Chinese American Women. Fort Belvoir, VA: Defense Technical Information Center, September 2005. http://dx.doi.org/10.21236/ada443568.

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Huei-Yu Wang, Judy. Impact of Culture on Breast Cancer Screening in Chinese American Women. Fort Belvoir, VA: Defense Technical Information Center, September 2004. http://dx.doi.org/10.21236/ada433100.

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Wang, Judy H. Impact of Culture on Breast Cancer Screening in Chinese American Women. Fort Belvoir, VA: Defense Technical Information Center, September 2003. http://dx.doi.org/10.21236/ada420871.

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Landroche, Tina. Chinese women as cultural participants and symbols in nineteenth century America. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6174.

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Wang, Judy H. Impact of Culture on Breast Cancer Screening in Chinese American Women. Fort Belvoir, VA: Defense Technical Information Center, September 2006. http://dx.doi.org/10.21236/ada472318.

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Liang, Xingyan, Yu Su, Chunli Lu, and Hongxia Ma. Chinese herbal medicine combined with acupuncture for women with polycystic ovarian syndrome. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, August 2021. http://dx.doi.org/10.37766/inplasy2021.8.0048.

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Shi, Tao. One woman, one child : the implications of the one-child-family policy for Chinese women. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6169.

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Lingling Perry, Anna, Juyoung Lee, Rui Li, and Mary Lynn Damhorst. Image, social role and social weight of Chinese women on the cover of Popular Cinema from 1950 to 2012. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-810.

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Zhao, Li, and Jung Ha-Brookshire. How to Succeed? An Analysis of the Impact of Women Founder's Personality Traits on Chinese Apparel New Venture Success. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-127.

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Goldman, Mindy, and Debasish Tripathy. Phase I/II Pilot Study to Assess Toxicity and Efficacy of Chinese Herbs to Treat Hot Flashes and Menopausal Symptoms for Women With a History of Breast Cancer. Fort Belvoir, VA: Defense Technical Information Center, August 2004. http://dx.doi.org/10.21236/ada439324.

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