University of Technology, Sydney. / The purpose of my research for this thesis has been to investigate the psychic and emotional history of the milieu of independent, feminist filmmaking that began to form within the Women's Liberation Movement in Sydney in 1969. My interest in the psyche of the milieu has been twofold: to explore the possibility of writing an interior or subjective history, not of an individual but of a political milieu; and to grapple with the trajectory of the utopian, activist politics of the 1970s into the 1980s. I began my research by reading over five hundred funding applications from the files of the Women's Film Fund - an extensive archival record of the interaction between the funding femocracy and aspiring filmmakers. The building blocks of the thesis derived from interviews with founding members of the Sydney Women's Film Group (SWFG) and the Feminist Film Workers (FFW), and with former managers and Advisory Panel members of the Women's Film Fund. I consulted the SWFG and FFW records held (uncatalogued) by the National Film and Sound Archive, and I was given access to papers from the personal files of some of the filmmakers. I also viewed the body of films associated with the women's collections at the former Sydney Filmmakers Co-operative and the Women's Film Fund. From 1969-89 there were three major reconfigurations in the psyche of the milieu. The 1960s liberationist ethos - characterised by energy, excitement and eros - was transformed into an ethic of duty, discipline and sacrifice in the late 1970s. In the 1980s, feminist activism reached a limit point which turned the milieu's attention to the psychic foundations of its own origins and to the question of what had been sacrificed in the formation of the feminist activist. This question haunts the films of the 1980s through the insistent figure of the maternal. The ties that bound this milieu to a luminous vision of the future had their origins in a deeply shadowed image of the immediate past. This psychic reality is a point of origin and return as the milieu continues to remake itself through the cinema, into the 1990s.

University of Technology, Sydney. / The purpose of my research for this thesis has been to investigate the psychic and emotional history of the milieu of independent, feminist filmmaking that began to form within the Women's Liberation Movement in Sydney in 1969. My interest in the psyche of the milieu has been twofold: to explore the possibility of writing an interior or subjective history, not of an individual but of a political milieu; and to grapple with the trajectory of the utopian, activist politics of the 1970s into the 1980s. I began my research by reading over five hundred funding applications from the files of the Women's Film Fund - an extensive archival record of the interaction between the funding femocracy and aspiring filmmakers. The building blocks of the thesis derived from interviews with founding members of the Sydney Women's Film Group (SWFG) and the Feminist Film Workers (FFW), and with former managers and Advisory Panel members of the Women's Film Fund. I consulted the SWFG and FFW records held (uncatalogued) by the National Film and Sound Archive, and I was given access to papers from the personal files of some of the filmmakers. I also viewed the body of films associated with the women's collections at the former Sydney Filmmakers Co-operative and the Women's Film Fund. From 1969-89 there were three major reconfigurations in the psyche of the milieu. The 1960s liberationist ethos - characterised by energy, excitement and eros - was transformed into an ethic of duty, discipline and sacrifice in the late 1970s. In the 1980s, feminist activism reached a limit point which turned the milieu's attention to the psychic foundations of its own origins and to the question of what had been sacrificed in the formation of the feminist activist. This question haunts the films of the 1980s through the insistent figure of the maternal. The ties that bound this milieu to a luminous vision of the future had their origins in a deeply shadowed image of the immediate past. This psychic reality is a point of origin and return as the milieu continues to remake itself through the cinema, into the 1990s.

University of Technology, Sydney. / The purpose of my research for this thesis has been to investigate the psychic and emotional history of the milieu of independent, feminist filmmaking that began to form within the Women's Liberation Movement in Sydney in 1969. My interest in the psyche of the milieu has been twofold: to explore the possibility of writing an interior or subjective history, not of an individual but of a political milieu; and to grapple with the trajectory of the utopian, activist politics of the 1970s into the 1980s. I began my research by reading over five hundred funding applications from the files of the Women's Film Fund - an extensive archival record of the interaction between the funding femocracy and aspiring filmmakers. The building blocks of the thesis derived from interviews with founding members of the Sydney Women's Film Group (SWFG) and the Feminist Film Workers (FFW), and with former managers and Advisory Panel members of the Women's Film Fund. I consulted the SWFG and FFW records held (uncatalogued) by the National Film and Sound Archive, and I was given access to papers from the personal files of some of the filmmakers. I also viewed the body of films associated with the women's collections at the former Sydney Filmmakers Co-operative and the Women's Film Fund. From 1969-89 there were three major reconfigurations in the psyche of the milieu. The 1960s liberationist ethos - characterised by energy, excitement and eros - was transformed into an ethic of duty, discipline and sacrifice in the late 1970s. In the 1980s, feminist activism reached a limit point which turned the milieu's attention to the psychic foundations of its own origins and to the question of what had been sacrificed in the formation of the feminist activist. This question haunts the films of the 1980s through the insistent figure of the maternal. The ties that bound this milieu to a luminous vision of the future had their origins in a deeply shadowed image of the immediate past. This psychic reality is a point of origin and return as the milieu continues to remake itself through the cinema, into the 1990s.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1984. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 319-326).

Thesis (M.A.) - Carleton University, 2006. / Includes bibliographical references (p. 124-132). Also available in electronic format 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

Thesis (Ph. D.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 266-288).

As a product of the western feminist movement, feminist films have become an important tool for displaying feminist connotations and reflecting femalec onsciousness. With the advancement of society and the awakening of female consciousness, feminist film theory, criticism and practice have gradually taken a place in the film system dominated by male discourse power, and have constantly tried to speak for women on the big screen. After China's reform and opening up, feminism took root in China. In the 1980s, under the influence of western feminist film theory and practice, Chinese female filmmakers also began to try to express the situation and demands of Chinese women through films. After more than 40 years of drastic changes in reform and opening up, major changes have taken place in alllevels of current Chinese society. Chinese feminism and feminist films have also changed in accordance with the trend of the times. When the next generation of feminist filmmakers stand on the shoulders of their predecessors, they incorporate the spirit of the new era for the expression of feminism. This article selects two representative Chinese feminist films, which are "Woman Demon Human" and "Send Me to the Clouds". Through the comparison and analysis of the thematic contents, narrative styles and lens languages of the two films, the differences between the two are revealed in three aspects of feminist connotation,which include the subjective consciousness, female desires and gender differences. / 作为西方女性主义运动的产物，女性主义电影成为了展现女性主义内涵和反映女性意识的重要工具。随着社会的进步和女性意识的觉醒，女性主义电影理论、批评与实践在以男性话语权为主导电影体系中渐渐占据了一席之地，并不断尝试在大荧幕上为女性发声。中国改革开放后，西方女性主义思潮进一步影响中国。八十年代中国的女性电影人在西方女性主义电影理论与实践的影响下，也开始尝试通过电影来表达中国女性的处境和诉求。在经历改革开放四十多年的剧变后，当下的中国社会各个层面都发生重大变革。中国的女性主义以及女性主义电影也顺应时代的潮流而改变。下一代的女性主义电影人站在前辈们的肩膀上，为女性主义的表达融入了新时代的精神。 本文从上世纪八十年代和近十年的中国影坛选取两部具有代表性的女性主义电影——《人鬼情》和《送我上青云》，并通过对两部电影在主题内容、叙事方式和镜头语言上的分析，发现两部电影在呈现女性意识的三个不同方面——主体性意识、女性欲望和性别差异上的表达呈现出不同的侧重点。由此，从而以小见大，从局部来窥见两个时代的女性主义电影所反映的女性主义的时代性内涵。