Bibliographies thématiques / Television actors and actresses – Hong Kong

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Littérature scientifique sur le sujet « Television actors and actresses – Hong Kong »

Auteur : Grafiati
Publié le 25 juillet 2024
Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Television actors and actresses – Hong Kong"

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張, 惠. "不爲良相，則爲儒商———“紳商”陳步墀的儒家情懷與慈善事業". 人文中國學報, 1 грудня 2018, 299–319. http://dx.doi.org/10.24112/sinohumanitas.272059.

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LANGUAGE NOTE | Document text in Chinese; abstract also in English.
 1908年6月，廣東肇慶、南海、東莞、清遠、四會及廣西桂林等地，遭遇特大洪災，牆傾屋摧，崩決百丈，田園徧成澤國，平民葬身魚腹，宛如末日降臨。這場百年不遇的大洪災，將一個人推到了臺前。在這次大洪災中，他每天在報章上刊發自己所撰寫的題爲“救命詞”的詩篇，呼籲大衆關注。許多女子刺繡他的詩義賣，捐錢助賑，爲他贏得了“繡詩樓主人”的雅號。在他的呼籲和感召下，官員、醫院、善堂，甚至優伶娼妓都投身到這次大型賑濟之中，充分體現了香港作爲慈善之都的深切意涵。同時他開創的賣物義賑演變成爲當今香港賣旗的源頭，對當今香港慈善理念的形成都有促進意義。進而，他的後續行爲還揭開了香港保良局領婚領育神秘的面紗之一角，使我們得以窺見粵港融合的過程中少爲人知的另一面。而且他以商人的身分出任香港保良局總理，其一系列的行爲包括賑災、領婚、領育、興辦教育，實際上是承擔了地方官或者地方鄉紳的一部分職能。這實際上是光緒廢科舉之後，不能夠學而優則仕的一部分讀書人，從“士子”轉型爲“紳商”，將“民胞物與，修齊治平”的理念予以現代化轉型及實踐的典型。
 In June 1908, a disastrous flood inundated many counties of Gua
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Săpunaru Tămaș, Carmen. "Prince(ss) Charming of the Japanese Popular Theatre." M/C Journal 25, no. 4 (2022). http://dx.doi.org/10.5204/mcj.2920.

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Taishū engeki—Entertainment for the Masses? What do a highway robber, a samurai, and a geisha have in common? They are all played by the same actor, often at the same time, in an incredible flurry of costume change, in a contemporary form of Japanese theatre called taishū engeki. Taishū engeki, translated as vaudeville, literally, “theatre for the masses”, would be better described as a parallel world of fantasy, glitter, and manga-esque beautiful men wearing elaborate wigs and even more elaborate kimonos, who dance and gracefully sway their hips to portray women, and simultaneously do their b
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Chen, Jasmine Yu-Hsing. "Beyond Words." M/C Journal 27, no. 2 (2024). http://dx.doi.org/10.5204/mcj.3033.

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Introduction Despite the expansive and multimodal realm of Chinese Boys’ Love (BL) culture (also known as danmei in Chinese), audio works have been notably absent from scholarly discussions, with the focus predominantly being on novels (e.g. Bai; Zhang). This article aims to fill this gap by delving into the transformative impact of sound on narrative engagement within the Chinese BL culture. Focussing on the audio drama adaptations of Grandmaster of Demonic Cultivation (modao zushi, hereafter Grandmaster), originally a serialised Chinese BL novel, this analysis aims to unravel the meticulousl
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Thèses sur le sujet "Television actors and actresses – Hong Kong"

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Choi, Wing-yee Kimburley. "Reading audiences : spectatorship and stars in Hong Kong cinema : the case of Chow Yun-fat /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19853397.

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Shing, On-ki Angel, and 盛安琪. "The star as cultural icon: the case of Josephine Siao Fong Fong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952823.

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Wong, Suet-lan, and 黃雪蘭. "Hong Kong cinema made international: the action cinema of Bruce Lee and Jackie Chan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951764.

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Choi, Wing-yee Kimburley, and 蔡穎儀. "Reading audiences: spectatorship and stars inHong Kong cinema : the case of Chow Yun-fat." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B29913469.

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Lau, Wai-sim, and 劉慧嬋. "Chinese martial arts stardom in participatory cyberculture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50533824.

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The participatory cyberspace, epitomized by the concept of Web 2.0, has become a key venue of Chinese stardom in the post-cinema era.Web 2.0 invites its users to contribute to the content through an architecture of participation. Fans can search, poach, edit, and post filmic and publicity materials about stars, formulating seamless, collaborative reworkings of the star image and generating a new star-fan dynamic. At the crossroads of participatory cyberspace and cinema, transnational Chinese movie stars call our attention to the critical concern of Chineseness. In recent years, a number of Ch
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Suen, Siu-mei Jocelyn, and 孫少薇. "Tina Ti as sex symbol : a challenge to dominant culture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hdl.handle.net/10722/205876.

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Wong, Suet-lan. "Hong Kong cinema made international : the action cinema of Bruce Lee and Jackie Chan /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20059796.

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Shen, Chen. "Stephen Chow : the king of comedy in Hong Kong laughter in disguise and seeing beyond believing." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2525519.

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"Japanese voice goes global and local: globalization and localization of the Japanese seiyū culture in Hong Kong." 2007. http://library.cuhk.edu.hk/record=b5896750.

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Iu, Yiu.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.<br>Includes bibliographical references (leaves 163-173).<br>Abstracts in English and Chinese ; questionnaires also in Chinese.<br>Abstracts --- p.i<br>Acknowledgements --- p.iii<br>Table of Contents --- p.iv<br>Introduction --- p.1<br>Chapter A. --- Objectives and Significance --- p.1<br>Chapter B. --- Academic Issues and Literature Review --- p.4<br>Chapter C. --- Theories and Methodologies --- p.18<br>Chapter D. --- Structure of the Thesis --- p.20<br>Chapter Part I: --- The Making of a Seiyu Culture in Japan<br>Cha
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"Image and identity: a study of Connie Chan Po Chu and Josephine Siao Fong Fong as popular icons for women in the culture industry of Hong Kong." 1998. http://library.cuhk.edu.hk/record=b5889718.

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by Ku Ho Kwan Lisbeth.<br>Thesis submitted in: September 1997.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 1998.<br>Filmography: leaves 117-119.<br>Includes bibliographical references (leaves 109-116).<br>List of illustrations --- p.vii<br>Chapter I. --- Introduction --- p.1<br>Chapter 1. 1 --- Articulating Hong Kong History / Identity --- p.1<br>Chapter 1.2 --- Identity through Mass-Cultural Mediation --- p.10<br>Chapter 1. 3 --- Using Popular Culture --- p.18<br>Chapter II. --- The Locality of Culture: A Contextual Analysis of Cantonese Cinema in Hong Kong --- p.32<br>Chapte
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Livres sur le sujet "Television actors and actresses – Hong Kong"

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Hara, Tomoko. Honkon chūdoku: Hong Kong addicted : muteki no den'ei, myōjōmeitachi. The Japan Times, 1996.

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(Tokyo, Japan) Trash. Chōkyū muteki Honkon den'eiō: Hong Kong cinema king. Mirai Shuppan, 1997.

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Liao, Miaowei. Zhi fen feng liu: Xianggang dang dai Yue ju ming ling lu = Romance en rough : contemporary Cantonese opera performing artists in Hong Kong. Yi jin chu ban qi hua gong si, 2019.

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Dannen, Fredric. Hong Kong Babylon: An insider's guide to the Hollywood of the East. Hyperion, 1997.

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Dannen, Fredric. Hong Kong Babylon: An insider's guide to the Hollywood of the East. Hyperion, 1997.

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Dannen, Fredric. Hong Kong Babylon: An insider's guide to the Hollywood of the East. faber and faber, 1997.

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Su, Tao. Dian ying nan du: "nan xia ying ren" yu zhan hou Xianggang dian ying (1946-1966) = Drifting south : Shanghai emigre filmmakers and postwar Hong Kong cinema, 1946-1966. Beijing da xue chu ban she, 2020.

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Witterstaetter, Renee. Dying for action: The life and films of Jackie Chan. Warner Books, 1997.

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一個人也要幸福. 一丁文化, 2014.

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Ching-ling, Kwok. Hong Kong Here I Come (Monographs of Hong Kong Film Veterans). Hong Kong Film Archive, 2000.

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Chapitres de livres sur le sujet "Television actors and actresses – Hong Kong"

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Beng Huat, Chua. "Placing Singapore in East Asian Pop Culture." In Structure, Audience and Soft Power in East Asian Pop Culture. Hong Kong University Press, 2012. http://dx.doi.org/10.5790/hongkong/9789888139033.003.0005.

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Within Pop Culture China, Singapore with its small and multi-ethnic population is essentially a location of consumption of Chinese languages pop culture. Consequently, Mandarin singers from Singapore have to debut their careers in Taiwan, actors have to seek greater exposure and better prospect in Hong Kong and, while local television stations produce a substantial quantum of television dramas annually, only a trickle of this is exported to Southeast Asian neighbours with less developed media industries. However, with its new found national wealth, the local media industry, with the financial
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