Dissertations / Theses: '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.
10000-01-01

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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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Zheng, Runping. "Chinese academic women in economic transformation." access full-text online access from Digital Dissertation Consortium, 1996. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9640260.

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He, Xin 1970. "Chinese Leftist Urban Films of the 1930s." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278723/.

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Cheung, Shuk-ting, and 張淑婷. "Validation of the psychological maltreatment of women inventory for Chinese women." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196490.

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In view of the lack of a culture-specific tool to measure psychological maltreatment comprehensively in Chinese women, this research study aims to validate the Psychological Maltreatment of Women Inventory (PMWI) for Chinese women. The validation was conducted in two phases: (a) preparation of the Revised Chinese PMWI and (b) full psychometric testing of the questionnaire. In the preparation phase, the PMWI was first revised taking into account the possible cultural differences between Chinese and non-Chinese women. In addition, given the changing nature of psychological maltreatment with the advent of mobile digital devices, supplementary items were added to keep the instrument in line with the expanding scope of this phenomenon. The revised PMWI included 67 items after revision, and was translated into Chinese by two bilingual translators using forward and back translation. The Revised Chinese PMWI was reviewed by a panel of intimate partner violence (IPV) experts in Hong Kong for the relevance of items to Chinese women, resulting in the scale-level content validity index of 0.94, which indicated the content validity was satisfactory. After adjustment of items based on the experts’ opinions, cognitive debriefing was conducted with a sample of 10 Chinese women to confirm the comprehensibility of the Revised Chinese PMWI by the target population. The last step in the preparation phase was assessment of test-retest reliability of the questionnaire among 37 Chinese women with a 2-week interval, which was shown to be satisfactory with an intraclass correlation coefficient over 0.95. The second phase of the validation process was the full psychometric testing of the Revised Chinese PMWI. The validation study included 1198 Chinese women who had been in intimate relationships during the preceding 12 months. Based on exploratory factor analysis, the questionnaire was reduced to 49 items. The test revealed two factors as the original English version, emotional-verbal and dominance-isolation, which were further verified by confirmatory factor analysis. In addition, known-groups validity was demonstrated by significant differences in scores between women recruited from different places (shelter as opposed to community center) and with different abuse histories (abused in past year, not abused but in distressed in relationships, or not abused in satisfactory relationships). Moreover, convergent validity was established through moderate-to-strong correlations of the Revised Chinese PMWI with measures assessing other forms of IPV, controlling behaviors, marital satisfaction, and depression. Trivial correlation with unrelated demographic variables (number of children and education level) indicated discriminant validity. Regarding reliability, the Revised Chinese PMWI showed good internal consistency. Cronbach’s alpha for each subscale ranged from 0.947 to 0.966 and was 0.975 for the entire tool. The use of the comprehensive validation procedures in the present study provided evidence for both cultural appropriateness and satisfactory psychometric properties of the Revised Chinese PMWI. It shows promise as a useful instrument in research and clinical practice to measure the experience of psychological maltreatment in intimate relationships in Chinese women.
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Nursing Studies
Master
Master of Philosophy

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Zhang, Heather Xiaoquan. "Maoism, the post-Mao reforms and the changing status of Chinese rural women : Chinese women speak for themselves." Thesis, University of Strathclyde, 2001. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=26530.

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This study analyses the implications of the state development strategies of the past four decades for gender relations in rural China. Based on rural women's own perspectives, the research examines their gains and losses under the Mao and post-Mao development policies, and allows women themselves to define their needs, priorities and interests as against those defined by the state. The research reveals a fundamental collision of the Maoist urban-centred development strategy of agricultural collectivisation with the interests of rural women. It demonstrates as well an essential congruence of the ostensibly iconoclastic Cultural Revolution with the orthodox Confucian patriarchal familial and state systems, and thus oppressiveness for women. The post-Mao reorientation of the official development strategy has brought a gradual shift in the function of the state, leading to a changing relationship between the state and women. Rural women, in this process, have acted as agents of change in both defying the state-imposed restrictions and contesting the patriarchal gender rules that have posed constraints on their lives. Women's actions as such have constituted an unprecedented challenge to traditional values, gender expectations and the existing political, social and sexual orders. However, rural women's inroads into male-dominated occupations and their hopes for further empowerment through education, training and employment, and through political participation and representation have been impeded by the structural urban-rural cleavage, unequal gender power relations, traditional ideas and male prejudice, as well as inadequate government actions. Sexism has simply assumed new forms: the gendered allocation of rights, opportunities and resources in the marketplace. Women are more able now to organise their independent interests and exert pressure on the authorities. Meanwhile, the growing gender inequalities during the economic transition call for a bigger role of the state in guaranteeing social justice and gender equity in the fresh redistribution of rights and interests.

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Lau, Ying. "Intimate partner abuse in Chinese pregnant women." Click to view the E-thesis via HKUTO, 2003. http://sunzi.lib.hku.hk/hkuto/record/B31972846.

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Tam, Dora Mei-Ying. "Advocacy intervention with abused Chinese Canadian women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ51807.pdf.

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Hui, Choi Wai-hing. "The transition to motherhood for Chinese women." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B39634012.

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Lau, Ying, and 劉櫻. "Intimate partner abuse in Chinese pregnant women." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31972846.

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Hui, Choi Wai-hing, and 許蔡惠卿. "The transition to motherhood for Chinese women." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39634012.

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Wang, Jing. "Strategies of Modern Chinese Women Writers' Autobiography." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392046947.

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Wu, Ting-Ying. "Chinese American women's ethnic identities a qualitative study /." online access from Digital Dissertation Consortium access full-text, 2003. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3114094.

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Lee, Donna Ho. "Psychology serving the Chinese church development of the support group for Chinese Christian women /." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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Lai, Kwai-fong Wendy. "A study of the roles of Chinese working women in China and Hong Kong." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19672159.

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Hsiao, Yun-hua. "The Chinese Atlantic : contemporary women writers of Chinese Ancestry in Britain and America." Thesis, University of Newcastle Upon Tyne, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437859.

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Chau, Hau-yan, and 周厚仁. "Symptom clusters among Chinese women with breast cancer." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48422563.

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Background: breast cancer patients were found to experience multiple concurrent symptoms. These concurrent symptoms (termed symptom cluster) could have synergistic effects on patient functional status and quality of life. Understanding symptom cluster provided us new insight in symptom assessment and symptom management. Previous studies on symptom cluster among breast cancer patients focused on Caucasian. The current study attempt to identify symptom cluster and the factors associated with it among Chinese breast cancer patients. Methods: this study was a secondary analysis on a sample of 348 breast cancer patients. Data on symptom distress (assessed by Memorial symptom Assessment scale Short Form) was retrieved. Symptom clusters were identified through factor analysis using principal components method and Varimax rotation. Demographics and medical characteristics were proposed to be associated with symptom cluster. Uni-variate analysis and linear regression performed on these variables. Results: four symptom clusters (namely gastrointestinal cluster, general malaise cluster, self image cluster, and cutaneous cluster) were identified. Recurrence of breast cancer and chemotherapy were associated with either gastrointestinal cluster or general malaise cluster. Age, cancer status and occupation were associated with self image cluster while no variable was associated with cutaneous cluster. Conclusion: The current study provided empirical evidence that Chinese breast cancer patients experienced similar symptom clusters as Caucasian. Future study could be done to verify these four symptom clusters and identify underlying mechanism. Recommendations: health care providers could pay more attention to those suffer from breast cancer recurrence or currently receiving chemotherapy. These patients tend to experience gastrointestinal cluster and general malaise cluster. Clinical setting and evaluation tools could be adjusted to fit these high risk groups.
published_or_final_version
Public Health
Master
Master of Public Health

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Satia, Asongate Jessie. "Diet, acculturation, and health in Chinese American women /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/6594.

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Fei, Yue. "Women managers' careers in a Chinese commercial bank." Thesis, University of Leicester, 2017. http://hdl.handle.net/2381/39667.

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China’s rapid economic growth since 1978 has made the country an important place to examine. This growth, though raising 800 million people out of poverty, has also created challenges for the state, one of which is how to integrate China into the global economy, and how to create understanding between distinct business practices. Increasing trade between China and the rest of the world has made it necessary to understand different cultural business practices to avoid conflict and misunderstandings. Another challenge for China is the increasing economic independence of women, which has resulted in the need to address gender inequality in the workplace in terms of women’s experience in their careers. This is a micro-ethnographic study of a Chinese bank in a medium sized city on the east coast of China, and I collected the data between July to September 2012. This includes over 492 hours of observation in the working practices of the bank, examination of 164 documents, and interviews with 51 managerial employees. The study focuses specifically on woman managers in the bank, and examines how they made their decision to work in banking, how their career developed and how they understand gender equality in the bank. It also examines whether they experience discrimination because of their gender, in what is usually regarded as a male dominated career. The study found that the women managers negotiate their gender positions moving between the established feminine and masculine characteristics in their role as managers depending on the context. However more relevant to the female managers is the cultural context of working in a Chinese bank. Guanxi was a prominent feature in this study; this was in terms of recruitment, promotion, discrimination and job allocation. The study argues that guanxi has adapted to the political, social and economic development of China, but continues to be essential for understanding Chinese culture and gender relations in the bank, which would be relevant in other industries in China. The implication is that to work with Chinese companies, other countries need to have a deeper understanding of how guanxi operates if they are able to successfully operate in a Chinese context. Furthermore, this study also postulates that traditional Chinese cultural values promote informal flexible work for women, protect their career progress during their maternity leave, encourage cooperation at work, and encourage commitment to the bank. This study contributes to the discussion on Chinese women’s career in management and argues that categories such as collectivism, individualism, feminism, and masculinity are too narrow for the complexity of the modern Chinese professional woman.

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Patrick, Tegan Rae. "Legitimising Misogyny: Representations of Women in Three Shakespeare Films." Thesis, University of Canterbury. Humanities, 2014. http://hdl.handle.net/10092/10015.

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The plays of William Shakespeare have long been considered a source of cultural and educational interest by both academics and filmmakers, and the practice of adapting Shakespeare’s works to film has existed for almost as long as film itself. The name “Shakespeare” evokes ideals of cultural legitimacy and importance, and Shakespeare film as a genre is always caught up in questions of fidelity and legitimacy. In adapting Shakespeare to the screen, filmmakers also adapt, whether deliberately or not, the various cultural beliefs that his work is steeped in. Early modern ideas about gender, race and class are reproduced in modern film through the adaptation of Shakespeare, often excused or unexamined in the name of fidelity. This thesis discusses Shakespeare’s three plays Hamlet, Richard III and The Taming of the Shrew, all of which deal in some way with gender roles and the place and power of women, whether that power is sexual, political or verbal. I also examine three film adaptations of the plays: Kenneth Branagh’s Hamlet, Ian McKellen and Richard Loncraine’s Richard III, and Gil Junger’s 10 Things I Hate About You. All three films serve as examples of the way the misogyny present in Shakespeare’s works is reproduced and sometimes magnified through adaptation to the screen. The reproduction of early modern gender hierarchies is naturalised in a number of ways across the three films, including the use of star power, the invocation of Shakespeare as a cultural authority, and specific filmic techniques such as flashback and the cutting and editing of film and screenplay. I argue that in all three films, the faithful adaptation of Shakespearean ideas of gender comes at the expense of both the women characters and those women who make up the films’ audience.

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Uddsten, Veronica. "Chinese Men and "Leftover Women" : How do Chinese Men Position Themselves in Relation to the Concept of Labelling Women as "Leftover"?" Thesis, Högskolan Dalarna, Kinesiska, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-23239.

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In recent years there has been a resurgence of gender inequality in China. Today, women are pressured to get married by the state and their social surroundings, as they told if they remain unmarried and have the "three highs"; high age, education and salary, they will become leftovers on the marriage market. Previous research on the concept of labelling women as "leftover" has 4 shown that labelling women as "leftover" can have several different negative impacts. In this thesis, both the theory of masculine hegemony and the theory of symbolic interaction have been used. The concept creates a hegemonic masculinity as it is a normative practice that promotes the subordination of women. However, as the concept is based on the notion that all Chinese men, or at least those of relevant social standing, would find the "three highs" undesirable, it is relevant to see how Chinese men in fact do position themselves in relation to the hegemonic masculinity on an individual level. In symbolic interaction, the concept of gender is created through social construction when people attach special meanings to the sex of a person, a process which is called "doing gender". Therefore symbolic interaction is used to see what special meaning Chinese men attach to women having the "three highs" and masculine hegemony to put their answers into a larger context. If it could be shown that Chinese men do not comply with the hegemonic masculinity, Chinese women would not have to feel obliged to adjust to the hegemonic masculinity and thereby making it easier for them to pursue higher education, high paying jobs and marrying at a later age. However, as this thesis is a qualitative study, and therefore a limited number of data subjects, the generalizability of the result should not be exaggerated. The interviews that were conducted for this thesis showed that the data subjects were familiar with the concept and that they considered it to be natural for there to be women China labelled as "leftover". Nevertheless, in relation to their own marital choices, the data subjects did not attach the negative meaning as set out by the hegemonic masculinity, a result which to some extent was confirmed by the data subjects’ experiences and other control questions. The result is interesting, and enforces Connell and MesserSchmidt’s theory, that even though a hegemonic masculinity is normative, not everyone has to comply with it. As the cornerstone of the concept is that Chinese men find women with the "three highs" undesirable, the result of the study shows that there is a need for the concept to be further examined and questioned.
近年，性别不平等在中国又开始回潮。今天，中国女性在婚姻问题上受到来自社会的不小压力。如果这些女性尚未结婚而又具有?三高? ，即高龄、高学历和高薪，那她们将有可能成为婚姻上的剩女。以往研究表明，女性被打上?剩女? 的标签后，这?剩? 字会给她们带来若干负面影响。本文运用两个理论：「支配性男性气质」(hegemonic masculinity) 和「象征性互动」(symbolic interaction) 理论。「支配性男性气质」作为理论说明男性如何建立规范使妇女处于从属地位。此观念基于这样一个已有概念，即中国男性不喜欢?三高? 女性。本文主要讨论中国男人在「支配性男性气质」主导的社会里如何自我定位。根据「象征性互动」理论，性别的概念是经由社会建構创造的性意思，过程被称为「做性别」(doing gender) 。「象征性互动」理论因此被用来观察中国男性对?三高?女性存在的特殊想法。而「支配性男性气质」的理论则把他们的回答放到一个更大的范围内。如果我们能够证明中国男性并不完全赞同「支配性男性气质」的概念，那么中国女性就没有必要认为必须顺应「支配性男性气质」的一些规范，从而使这些女性更愿意接受高等教育，从事高收入工作和晚婚。需要指出的是，由于本论文是定性研究，样本数量有限，结果不一定具有普遍性。本文受访者均熟悉・剩女?这个观念，并且觉得这些・三高・女性很自然地被社会标签为?剩余?。但尽管如此，当谈及他们自己的婚姻选择时，这些受访者却并不在意「支配性男性气质」对女性标签的负面意义。此现象在一定程度上从受访者个人经历和我们附加的对照性问题上得到证实。这一结果相当有意思，根据康奈尔（Connell）和梅塞施密特（MesserSchmidt）的理论，即使「支配性男性气质」是一个常态，但其在统计学上并不一定最常见。由于已有的概念认为中国男性不喜欢?三高?女性，本研究结果显示，有必要对这一概念作进一步的探讨和分析。

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30

Carty, Gabrielle Mary. "Female roles in the comedy films of Fernando Colomo." Thesis, Queen Mary, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252065.

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Lui, Ching-ying Octavia. "The Chinese women of Hong Kong and Singapore : perspectives of change from the 1950s to the 1990s /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22199226.

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32

Gau, Spring Chen. "A study of the women's leadership in North America Chinese churches." Theological Research Exchange Network (TREN) Access this title online, 2004. http://www.tren.com.

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Lau, Wai Lin. "Am I a pastor? Woman in ministry in a Chinese church in Canada /." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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Wang, Chi. "From véité to post-véité a critical analysis of Chinese "new documentaries" /." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1258125393.

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Liu, Rebecca Jen Mei Wang Liu. "A proposal to promote women's ministry in North American Chinese churches." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Ma, Yee-man Ellen. "Personal voices: self perceptions of Chinese women in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B29688802.

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Yu, Siu-hung. "Representations of Chinese women in three modern literary texts." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31988271.

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Chew, Wendy Poh Yoke. "Consuming femininity : nation-state, gender and Singaporean Chinese women." University of Western Australia. School of Humanities, 2007. http://theses.library.uwa.edu.au/adt-WU2007.0135.

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My research seeks to understand ways in which English-educated Chinese women in cosmopolitan Singapore bolstered their identity while living under the influences of Confucian values, patriarchal nation-building and racial concerns. My thesis examines women who have themselves been lost in translation when they were co-opted into the creation of a viable state after 1965. Often women are treated as adjuncts in the patriarchal state, particularly since issues of gender are not treated with the equality they deserve in the neo-Confucian discourse. This thesis takes an unconventional approach to how women have been viewed by utilizing primary sources including Her World and Female magazines from the 1960s and 1990s, and subsequent material from the blogosphere. I analyze images of women in these magazines to gain an understanding of how notions of gender and communitarianism/race intersect. By looking at government-sponsored advertising, my work also investigates the kind of messages the state was sending out to these women readers. My examination of government-sponsored advertisements, in tandem with the existing mainstream consumer advertising directed at women provides therefore a unique historical perspective in understanding the kinds of pressures Singaporean women have faced. Blogging itself is used as a counterpoint to show how new spaces have opened up for those who have felt constricted in certain ways by the authorities, women included. It would be fair to say that women?s magazines and blogging have served as ways for women to bolster their self worth, despite the counter-argument that some highly idealized and unhealthy images of women are purveyed. The main target group of glossy women?s magazines is English-educated women readers who are, by virtue of the Singapore?s demographics, mostly Chinese.

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Lo, Chin Yun Jean Wu. "Chinese cross-cultural missionary care for women from Taiwan." Theological Research Exchange Network (TREN) Access this title online, 2004. http://www.tren.com.

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Yu, Siu-hung, and 余小紅. "Representations of Chinese women in three modern literary texts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31988271.

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Chan, Chee-hon, and 陳之翰. "Intimate partner violence and chronic pain among Chinese women." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45606729.

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Horst, Jennifer Lynne Levin C. Melinda. "The making of the documentary film Women in red." [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-9088.

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43

Coskun, Cicek. "Modernization And Women In Tunisia: An Analysis Through Selected Films." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12607598/index.pdf.

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This study analyzes the representation of women and modernization in Tunisian society by looking at Tunisian films produced in Tunisia after 1980. Study aims to develop a new concept to understand modernization process of women in a non-western, Muslim, and North African society through representations in films. Women&rsquo
s modernization process has been analyzed through the qualitative analyses of five Tunisian films by focusing on conceptualization of women issue as one of the main elements of Tunisian modernization. More presicely, the study examines stages of women&rsquo
s modernization on the one side, and representation of this process in films on the other. In conclusion, I argue that examining written literature alone is not enough to understand women&rsquo
s modernization process in a non-western society. Expansion of modernization is not rapid and equal in the Tunisian society. If taking place in the public sphere, having a paid job and having education are taken as the indicators of women&rsquo
s modernization, it is seen that lower class women face with problems in every stage of Tunisian modernization. At that point, attending to visual sources like cinema which has the ability to reflect the society can give us convenient information about this process.

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Azeez, Adesina Lukuman. "Representations of Women in Nigerian Video Films : Construction and Reception." Thesis, University of Leeds, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503257.

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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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Chan, Yan-chuen, and 陳仁川. "Neorealism and the Chinese ideology in Yamada Yoji's family films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/210180.

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Besides Tora-san series and samurai trilogy, veteran Japanese filmmaker Yamada Yoji also endeavors in making family films, however, his ‘home drama’1 genre has long been neglected in academia. To fill this gap, the aims of this research are to investigate firstly the aesthetics of his social realistic films; secondly, what are the family values revealed in his family films and thirdly, how ‘woman’ is portrayed in his ‘home drama’. Working under the ‘director system’ of Shochiku Studio, this research argues that auteur theory which advocates director as the author of a film is applicable to Yamada and is thus employed to examine family films that are produced between 1970 and 2013. Background information of the auteur (author) and his films are reviewed in Part I of this thesis while Part II will focus on the discussion and analysis of the film aesthetics and motifs of Yamada Yoji’s family films. Similar to other cultural artefacts, film aesthetics cannot stand apart from the surrounding culture. Italian neorealism which flourished at the time when Yamada entered the film industry will be used to examine Yamada’s stylistic orientation. It is found that except collaborating with professional actors, Yamada’s films display most of the characteristics of Italian neorealism. In the pursuit of aesthetic realism, the “repeated team” (also known as ‘director’s team’) of Yamada at Shochiku Studio helped him to actualize his film aesthetics. With its adoption of ‘director system’ and ‘star system’, Shochiku is also known for producing shomingeki (film of ordinary people), so besides the possible influences from Italian neorealism, Shochiku Studio may have also cast influences to the artistic style of Yamada Yoji. Through intertextual reading of his social realistic films, the kind of social problem always lies in the dilemma between tradition and progression. Viewing ‘family’ as the fundamental unit of a society, Yamada presents to us the importance of preserving traditional virtues and family values in the continuation of a family so as to the sustainability of a society. This research reaffirms the influence of Chinese ideology on the construction of Japanese family system that the family relationships and the core family values found in films can well be explained by Chinese Confucianism. Under the patriarchal social context, it is interesting to discover the portrayal of ‘strong woman and weak man’ image in his family films. While the oppression of women is depicted in the process of modernization, the image of ‘strong woman’ is presented through the inscription of femininity in Yamada’s cinematic film texts. Rejecting the binary opposition of sexes, women in Yamada’s films is portrayed to encompass the qualities of masculinity and femininity under the ecriture feminine writing of Yamada. This feminine approach can be regarded as a way out, as proposed by the auteur, to tackle social challenges. Through an in-depth examination of Yamada Yoji’s family films, this research demonstrates that is a good way to learn more about a culture or a society through social realistic cinema.
published_or_final_version
Japanese Studies
Doctoral
Doctor of Philosophy

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Yuan, Yilei. "Subtitling Chinese cinema : a case study of Zhang Yimou's films." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7724/.

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In recent years, more and more Chinese films have been exported abroad. This thesis intends to explore the subtitling of Chinese cinema into English, with Zhang Yimou’s films as a case study. Zhang Yimou is arguably the most critically and internationally acclaimed Chinese filmmaker, who has experimented with a variety of genres of films. I argue that in the subtitling of his films, there is an obvious adoption of the domestication translation strategy that reduces or even omits Chinese cultural references. I try to discover what cultural categories or perspectives of China are prone to the domestication of translation and have formulated five categories: humour, politeness, dialect, history and songs and the Peking Opera. My methodology is that I compare the source Chinese dialogue lines with the existing English subtitles by providing literal translations of the source lines, and I will also give my alternative translations that tend to retain the source cultural references better. I also speculate that the domestication strategy is frequently employed by subtitlers possibly because the subtitlers assume the source cultural references are difficult for target language subtitle readers to comprehend, even if they are translated into a target language. However, subtitle readers are very likely to understand more than what the dialogue lines and the target language subtitles express, because films are multimodal entities and verbal information is not the only source of information for subtitle readers. The image and the sound are also significant sources of information for subtitle readers who are constantly involved in a dynamic film-watching experience. They are also expected to grasp visual and acoustic information. The complete omission or domestication of source cultural references might also affect their interpretation of the non-verbal cues. I also contemplate that the translation, which frequently domesticates the source culture carried out by a translator who is also a native speaker of the source language, is ‘submissive translation’.

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Zhu, Zhu. "Translators' communicative assumptions in subtitling Chinese feature films into English." Thesis, University of Newcastle upon Tyne, 2016. http://hdl.handle.net/10443/3317.

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Medium-bound features and translation strategies are two central issues in the study of subtitling. However, the translator, who reacts to the medium-bound features and opts for translation strategies, has remained outside the focus in research on subtitling. The scarcity of studies on the translator in the context of subtitling seems to suggest that the translator in this type of translation is simply viewed as a transparent vehicle. This study attempts to shed light on the translator’s discursive presence in subtitling by proposing the use of a new concept, the translator’s communicative assumptions. A bottom-up model, rooted in Descriptive Translation Studies, has been established to investigate the translator’s communicative assumptions. This model consists of a comparative phase followed by an analysis phase. The English subtitles of three Chinese feature films were examined using this model in order to reveal the translators’ communicative assumptions. In the comparative phase, the original dialogues and the subtitles are compared in order to identify and categorise micro-structural shifts in the subtitles. In the following analysis phase, Bordwell’s (1997) approach to filmic perception and cognition, Text World Theory and Relevance Theory are adapted and combined to provide a theoretical framework and analytical tools to further scrutinise patterns and tendencies observed at the comparative phase. The comparative-analysis model proves to be a useful tool to reveal translators’ communicative assumptions in subtitling. The findings show that although translation shifts take place at various levels, the translator makes linguistic adjustments to give priority to syuzhet (plot elements) related to his/her own established fabula (story). Consequently, syuzhet is made more explicit; film characters’ inner worlds and personality are enhanced; culture-specific and stylistic features of the original dialogue exchanges are generally diminished. Viewers seem to be regarded as cultural outsiders who have little knowledge of the Chinese culture in general and need additional assistance in the comprehension of certain syuzhet information.

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Ng, Po-chu, and 伍寶珠. "Writing about women and women's writing." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36259019.

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Ng, Po-chu. "Writing about women and women's writing a study of Hong Kong feminine fiction in 80s and 90s = Shu xie nü xing yu nü xing shu xie : ba, jiu shi nian dai xiang gang nü xing xiao shuo yan jiu /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36259019.

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Dissertations / Theses on the topic 'Women in Chinese Films'

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