Thesis (M.A.)--University of Queensland, 2001. / Includes bibliographical references.

Thesis (Ph. D. in English)--Vanderbilt University, Dec. 2008. / Title from title screen. Includes bibliographical references.

Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 174-177). Also available on the Internet.

Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 174-177). Also available on the Internet.

No description available.

作為本論文的研究對象，許鞍華在電影界成就無容置疑。惟有關她的學術研究和著作，在數量上寥可所涉攝範圍亦未見全面；後現代語境對主體的抗拒下，許鞍華的電影作者(auteur)往在研究中遭忽略或迴避，抺殺她作為女性電影者的可能 。這反映出女性導演在主流電影建制和論述中長期被邊緣化的現象。本論文目標，是冀在填補「許鞍華研究」上的空白， 並推進女性電影作者之討論。 / 本論文借用晚期傅柯的倫理主體概念和生存美學作為思考工具，嘗試走出傳統電影作者論和女性電影作者論對主體乃座落於電影作品或觀影者中的的觀點， 運用新主體工具帶動思考的轉向， 在建立女性電影作品中，對女性主體規範、性道德及國族身份的真理遊戲予以問題化，進行反思、批判挑戰以至顛覆自我技術 （technologes of the self ）力圖塑造出一個歷史的、在地流動和停存活於構成狀態中倫理主體。在這個脈絡下，許鞍華電影作品中的延續性和差異，成為了她這倫理電影作者當下的、在地歷史和文化結構中， 於電影實踐這場域所進行修工夫，在宏大的權力和知識網絡中，轉化自我與我的主體關係，邁向傅柯式的自我實踐生存美學。 / Being one of the most renowned and established film directors in Hong Kong, film critics and researchers often show ambivalence in recognizing Ann Hui as an Auteur, which is usually based on the lack a consistent body of themes, techniques and genres observed in Ann Hui’s work. To further complicate the recognition of Ann Hui as an Auteur, more specifically a female auteur, are the tensions between anti-essentialism and naïve humanism on one hand, and the advent of postmodernism’s critique against the Subject on the other. This study sets out to address the marginalization of Ann Hui as a female director in both the film industry and film studies, and seeks to provide theoretical tools for the constitution of agency of a female auteur from the perspective of the Foucauldian thoughts on ethical subjectivity and aesthetics of existence. / With a view of achieving a historical rather than ahistorical, a multiple rather than unified, and both as a constituted as well as constituting subject in light of Foucault’s ethical subjectivity, this study challenges the beliefs held by contemporary Auteur theory and feminist auteur theories that film authorship is only located within the repertoire of a film director as signature, or as the reading strategy of the audience. By drawing on the idea of ascesis (askēsis) - a work on oneself which aims at intensifying and transforming one’s relation to oneself - discussions are highlighted in how Ann Hui makes use of film productions as self-practices to reconstitute her own relation with film authorship. This study argues that Ann Hui problematizes the game of truth (jeux de verité) of the hegemonic Auteur that she has been subjugated to, and actively makes herself the subject of an alternative female authorship, with an emphasis on her own personal visions. Through analyzing how this evasive stance further drives Ann Hui's problematization in rethinking, criticizing, challenging or even subverting other games of truth, especially in her ongoing interrogations of the female subject, sexual subject and national identity through the technologies of the self, this study establishes the ways Ann Hui seeks to progress towards the “art of existence by transforming her relations with these rules of conduct, and making her life as a work of art that carries specific aesthetic values and meets distinctive stylistic criteria. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 林婉雯. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 358-385). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Lin Wanwen. / Chapter 第一章 --- 緒論 / Chapter 第一節 --- 研究動機：為什麼在乎女性電影作者？為什麼是許鞍華 --- p.1 / Chapter 第二節 --- 研究背景：電影作者主體的問題化用及思考客體成形 --- p.11 / Chapter 第三節 --- 研究方法及論文架構 --- p.36 / Chapter 第二章 --- 晚期傅柯 「倫理主體 」的啟示 / Chapter 第一節 --- 傅柯的主體觀：不是回歸，從來就是主體 --- p.47 / Chapter 第二節 --- 主體和真理遊戲 ：「知識」、 「治理 」和「主體化過程」 --- p.54 / Chapter 第三節 --- 自我技術和自我關懷：主體與生存美學 --- p.63 / Chapter 第四節 --- 小結 --- p.77 / Chapter 第三章 --- 許鞍華的女性電影作者倫理主體（一）：「我（不）是電影作者」 --- p.84 / Chapter 第一節 --- 重拾遺落的碎片：電影作者論在香港構成條件 --- p.85 / Chapter 第二節 --- 「電影作者 」的真理 遊戲 ：許鞍華電影作者身份論述 --- p.118 / Chapter 第三節 --- 集體創作中的自主創造： 《得閒炒飯》的實地觀察 --- p.140 / Chapter 第四節 --- 小結 --- p.166 / Chapter 第四章 --- 許鞍華的女性電影作者倫理主體（二）：電影實踐作為自我技術的工夫場域 --- p.170 / Chapter 第一節 --- 「我她是誰？」：女性主體的真理遊戲 --- p.175 / Chapter 第二節 --- 馴服與抵抗：性道德規範的真理遊戲 --- p.250 / Chapter 第三節 --- 何處是吾家：民族和家國的真理遊戲 --- p.281 / Chapter 第四節 --- 小結 --- p.328 / Chapter 第五章 --- 結論 / Chapter 第一節 --- 「屈從」下的不服從：許鞍華女性作者倫理主體 --- p.335 / Chapter 第二節 --- 研究特色與貢獻 --- p.340 / Chapter 第三節 --- 前瞻：未完成的方案和可持續發展 --- p.349 / 附錄 --- p.351 / 參考文獻 --- p.358