University of Macau / Faculty of Arts and Humanities. / Department of English

Thesis (Ph. D.)--University of Washington, 2001. / Vita. Includes bibliographical references (leaves 210-230).

University of Macau / Faculty of Arts and Humanities. / Department of English

楊曉慧. / "2003年7月". / 論文(哲學碩士)--香港中文大學, 2003. / 附參考文獻. / 附中英文摘要. / "2003 nian 7 yue". / The quotation marks for cyborg and feminine on abstract are 「」 respectively. / Yang Xiaohui. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003. / Fu can kao wen xian. / Fu Zhong Ying wen zhai yao. / 大綱： / 引言 --- p.1 / Chapter 第一章： --- 從女性主義到後女性主義 / 女性主義到後女性主義的發展 --- p.10 / Chapter 1.1 --- 第一波女性主義的出現與影響 --- p.11 / Chapter 1.2 --- 第二波女性主義對語言建構「女性」角色的評論 --- p.19 / Chapter 1.3 --- 意識形態與「女性」角色的形成 --- p.25 / Chapter 1.4 --- 女性主義至後女性主義 --- p.27 / Chapter 第二章： --- 從後女性主義到電子女性主義提倡的「有機機械人」 / 後女性主義與「身體」 --- p.32 / Chapter 2.1 --- Judith Butler的裝扮「身體」與電子女性主義的「有機機械人」 --- p.35 / Chapter 2.2 --- Donna Haraway的「有機機械人」 --- p.42 / Chapter 2.3 --- Anne Balsamo對「有機機械人」的批判 --- p.48 / Chapter 2.4 --- 「有機機械人」理論的發展 --- p.50 / Chapter 第三章： --- 科幻電影《異形》系列與《2019》中的「有機機械人」 / 電影與公式化的「女性」角色 --- p.57 / Chapter 3.1 --- 傳統兩性形象的公式與再現理論 --- p.59 / Chapter 3.2 --- 科幻電影與「女性」角色 --- p.73 / 科幻電影《異形》系列(2019) --- p.81 / Chapter 3.3 --- 《異形》系列（Alien) Series --- p.84 / Chapter 3.4 --- 《2019》（Blade Runner) --- p.103 / Chapter 第四章： --- 「有機機械人」對「女性」角色的衝擊 / 科幻與現實 --- p.124 / Chapter 4.1 --- 有關複製/改造的理論與實踐 --- p.126 / Chapter 4.2 --- 混雜和強化的「有機機械人」 --- p.128 / Chapter 4.3 --- 對「有機機械人」的批判 --- p.130 / Chapter 4.4 --- 「有機機械人」的成就 --- p.134 / 總結

Thesis (M. Phil.)--University of Hong Kong, 2000. / Includes bibliographical references (leaves 192-199).

Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 273-297). Available also in a digital version from Dissertation Abstracts.

Thesis (M. Phil.)--University of Hong Kong, 2000. / Title from PDF t.p. (viewed on Dec. 20, 2005). Includes bibliographical references (leaves 192-199) Also issued as print manuscript.

In many societies in developing countries, women are not given a chance to communicate their issues. The organisation within these societies places men at the top, giving them the opportunity to make all the important decisions. This situation is reflected in the two films which fall under this study, namely, Water and Moolaadé both of which are fictional representations of the oppression of women. In this study, an attempt is made to explain communication struggles in the two films: Water, reflecting Indian society and Moolaadé, reflecting African society. To understand the outcome of these struggles against patriarchy, the study looks at two types of feminism: Indian feminism and African feminism and attempts to find the sense that characters in the film can be understood. The analysis also looks at what the women, who act as feminists in the films have achieved out of their struggles to break the silence and how their voices have influenced or sensitised the silenced majority of women in their societies. Feminist communication theories have been used to analyse the female voice in the films. In the conclusion, I have argued that in both films women have managed to transform their respective societies. However more potential to social transformation are revealed by women depicted in Moolaadé than in Water, where there is very slow pace of change.

Submitted in partial fulfillment of the requirements for the degree Master in Arts In the Department of Film and Television Faculty of Humanities University of the Witwatersrand March 2017 / Drawing on Carol Clover’s theory of the male antagonist or "Bogeyman" and the female protagonist or "Final Girl" that define the American Slasher Horror sub-genre, I analyzed two original Slasher films, namely Halloween (Carpenter 1978) and A Nightmare on Elm Street (Craven 1984). I later outlined the evolution of these conventions within the Slasher sub-genre, using the remakes of both films respectively. I then endeavoured to explain the subversion of these conventions in France with the New French Extremity Movement, and analyse how these filmmakers successfully transposed a typical American subgenre to France. Finally, using New French Extremity, I attempted to subvert and transpose these conventions to South Africa by writing, producing and directing a short Slasher film titled The Teddy Bear Man. / MT2018

Thesis (Ph. D.)--Lehigh University, 2004. / Includes vita. Includes bibliographical references (leaves 171-182).