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She inches glass to break: conversations between friendsLuscombe, Liang Xia 01 January 2018 (has links)
She inches glass to break: conversations between friends is a project that aims to manifest, through research and practice, my own feminist language within the videos I have produced in my final year of my Masters of Fine Arts. My feminist language is Australian and intersectional, invested in combating sexism, racism and in deepening language and representation around sexuality in relation to Asian women. This project discusses my video She inches glass to break (2018) in length, which created intersectional feminist dialogue in response to feminist filmmaker Ulrike Ottinger’s film Ticket of No Return (1979) and Breakfast at Tiffany’s (1961). Additionally, given this project’s investment in language, this body of work is influenced both by aspects of psychoanalysis – in which speech is central to a “therapeutic action” – and by feminist linguistics in which linguistic analysis reveals some of the mechanisms through which language constrains, coerces and represents women, men and non-binary people in oppressive ways.
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Hong Kong cinema 1982-2002 : the quest for identity during transitionCheung, Wai Yee Ruby January 2008 (has links)
This thesis seeks to interpret the cinematic representations of Hong Kongers’ identity quest during a transitional state/stage related to the sovereignty transfer. The Handover transition considered is an ideological one, rather than the overnight polity change on the Handover day. This research approaches contemporary Hong Kong cinema on two fronts and the thesis is structured accordingly: Upon an initial review of the existing Hong Kong film scholarship in the Introduction, and its 1997-related allegorical readings, Part I sees new angles (previously undeveloped or underdeveloped) for researching Hong Kong films made during 1982-2002. Arguments are built along the ideas of Hong Kongers’ situational, diasporic consciousness, and transformed ‘Chineseness’ because Hong Kong has lacked a cultural/national centrality. This part of research is informed by the ideas of Jacques Derrida, Homi Bhabha and Stuart Hall, and the diasporic experiences of Ien Ang, Rey Chow and Ackbar Abbas. With these new research angles and references to the circumstances, Part II reads critically the text of eight Hong Kong films made during the Handover transition. In chronological order, they are Boat People (Hui, 1982), Song of the Exile (Hui, 1990), Days of Being Wild (Wong, 1990), Happy Together (Wong, 1997), Made in Hong Kong (Chan, 1997), Ordinary Heroes (Hui, 1999), Durian Durian (Chan, 2000), and Hollywood Hong Kong (Chan, 2002). They meet several criteria related to the undeveloped / underdeveloped areas in the existing Hong Kong film scholarship. Hamid Naficy’s ‘accented cinema’ paradigm gives the guidelines to the film analysis in Part II. This part shows that Hong Kongers’ self-transformation during transition is alterable, indeterminate, and interminable, due to the people’s situational, diasporic consciousness, and transformed ‘Chineseness’. This thesis thus contributes to Hong Kong cinema scholarship in interpreting films with new research angles, and generating new insights into this cinematic tradition and its wider context.
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