Thesis (M.A.)--Ohio University, June, 2005. / Title from PDF t.p. Includes bibliographical references (p. 132-140)

Today's processes of cultural globalization involve three major trends: (I)the global expansion of transnational communications conglomerates; (2) the global implementation of market-oriented cultural policies; and (3) the global diffusion of new communication technologies. These processes have set in motion complicated consequencesa nd prompted a range of national responses.B oth China and Taiwan, the two locations which embody the Asian region's largest cultural formation, have experienced major shifis in their internal political and economic organisation and been significantly influenced by these interlinked global processes since the early 1980s. Taking the national film industries in both locations as a case study, this thesis examines the impact of globalisation on the organisation of national cultural production and distribution, and explores the uses of film in representing shifting conceptions of national culture and identity.

Univ., Diss.--Jena, 2005. / Literaturverz. S. 205 - 226.

Univ., Diss.--Hamburg, 2003.

Thesis (Ph. D.)--University of Chicago, Dept. of Anthropology, August 1999. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--Pennsylvania State University, 1993. / Vita. Includes bibliographical references (leaves 65-70).

Thesis (Ph. D.)--Cornell University, 2003. / Includes bibliographical references (leaves 538-568).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. Also published by Praeger in 1972 under title: Peking's UN policy. Description based on print version record. Includes bibliographical references.

Taiwan’s pop music is enormously popular in China. This study aims to probe the reasons for this success as it has taken place against a backdrop of hostile political relations between the Taiwanese and the Chinese. The study explores the ways in which Chinese people and the Chinese media have negotiated and practised the work of ‘imagined communities’ through the consumption of Taiwan’s pop. It focuses on the cultural-political struggles of Taiwan’s pop in China, its mediation, and consumption as a cultural practice. The study suggests that deliberative mediation and a sociable mediation are able to coexist through the process of music consumption. The study has used a variety of research methods, including semi-structured interviews of Chinese audience-members; documentary, media and historical analysis; desk research; and a six-month period of observation in Beijing. It examines the experiences of 26 Chinese audience members living in Beijing or Taiwan who are fans of the ‘Little Freshness’ style of music. Four important media texts are discussed: 1) Chinese Central Television’s (CCTV’s) New Year’s Gala (1984–2014); 2) the magazine People’s Music(1980–2007); 3) Li Wan’s book, How Much Time has Gone By, the Forgotten Sorrow: Sixty years of Songs Across Three Places: China’s Mainland, Hong Kong and Taiwan (2012); 4) Zhang Lixian’s edited volume, Archaisms: Luo Dayou (2000). Using the concept of mediation, the study highlights the significance of a ‘structure of feeling’ (Williams, 1961) to identify how the ‘multi-mediated’ process of consumption of Taiwan’s pop is made up of emotion, conflict and negotiation from the interplay of relations between Taiwan and China. This has emerged as a combination of musical mediation and political mediation, a combination which, in turn, moved from the cultural consumption of Taiwan’s pop towards the practice of the political. The study reflects on related approaches to see their limits and problems when applied to the study of Taiwan and China, and proposes that music consumption requires the engagement of the biographies of both the audience-members and the musical work in order to ‘activate’ the social use of music. It draws on Williams’s concept of common culture as well as Mouffe’s idea of agonistic pluralism to suggest that participation in, and interpretation of, Taiwan’s pop may further propel both Taiwan and China towards commonly held, yet contested, cultures - in other words, that their citizens may come to possess plural cultural citizenships.

Thesis (M.B.A.)--University of Hong Kong, 1992.