This thesis explores the significance of digital cinematic technology within the independent film community. The main objective of this study is to demonstrate how various forms of digital technology (including cameras, non-linear editing software, and projection systems) are "democratizing" the processes of production, post-production, distribution, and theatrical exhibition.

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Thesis (M.S. )--Kutztown University of Pennsylvania, 2006. / Source: Masters Abstracts International, Volume: 45-06, page: 2708. Typescript. Abstract precedes thesis as 1 leaf (iii). Includes bibliographical references (leaf 21).

Thesis (M.S.)--Kutztown University of Pennsylvania, 2006. / Source: Masters Abstracts International, Volume: 45-06, page: 2805. Typescript. Abstract precedes thesis as 2 leaves (iii-iv). Includes bibliographical references (leaves 58-59).

Tam, Wai Fung. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Filmography: p. 133-136. / Includes bibliographical references (leaves 123-129). / Abstracts in English and Chinese. / Acknowledgements --- p.iii / Abstract --- p.iv-vi / Table of Contents --- p.vi-viii / Introduction --- p.1 / Chapter Chapter 1: --- Background´ؤMembership of the Chinese “Sixth Generation´ح Directors --- p.7-23 / Chapter -- --- The Early Stage of the “Sixth Generation´ح Cinema --- p.7 / Chapter -- --- Current Commercial Turn among the “Sixth Generation´ح Directors --- p.14 / Chapter Chapter 2: --- Discourses on Chinese “Sixth Generation´ح Cinema --- p.24-61 / Chapter -- --- Analytical Framework --- p.24 / Chapter -- --- Scholastic Discourse on “Sixth Generation´ح Cinema --- p.27 / Chapter -- --- The Differences between Western Political Interpretations and the Chinese Populist Discourse on “Sixth Generation´ح Cinema --- p.35 / Chapter -- --- The Western Discourse´ؤA Liberal Political Definition --- p.36 / Chapter -- --- Chinese Populist Discourse on “Sixth Generation´ح Cinema --- p.43 / Chapter -- --- New Bom Generation --- p.52 / Chapter -- --- Independent Filmmaking´ؤDirectors' Views on the Naming of “Sixth Generation´ح --- p.55 / Chapter Chapter 3: --- "The Interrelationship between the Filmmakers, Discourses and Social Context" --- p.62-86 / Chapter -- --- Evaluations on the Discourses of “Sixth Generation´ح --- p.62 / Chapter -- --- The Dominant Features of the “Sixth Generation´ح Cinema --- p.65 / Chapter -- --- Relationship between the “Sixth Generation´ح Cinema and Chinese Socio-political Context --- p.70 / Chapter -- --- How “Independent´ح the “Sixth Generation´ح Filmmakers are? --- p.82 / Chapter Chapter 4: --- Examining the Subversive Functions of the Naming of “Sixth Generation´ح --- p.86-114 / Chapter -- --- Political Subjectivity of the “Sixth Generation´ح Directors and its Relation with the Event --- p.86 / Chapter -- --- The Split Subject of the “Sixth Generation´ح Directors --- p.97 / Conclusion --- p.115-122 / Bibliography --- p.123-132 / Filmogarphy --- p.133-136

Thesis (Ph.D.) -- University of Western Sydney, 2004. / Thesis submitted for the degree of Doctor of Philosophy, School of Humanities, Centre for Cultural Research, University of Western Sydney. Includes bibliography.

Thesis (Ph. D.)--University of Oregon, 2008. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 415-429). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.

Indiana University-Purdue University Indianapolis (IUPUI) / Interpretive textual analysis, informed by a feminist perspective, is applied to five independent films written and directed by female filmmakers in order to understand to what extent the rhetorical construction of motherhood as presented in the films deviates from or supports a patriarchal Western vision. This study provides a rich textual analysis of Amreeka (2009), Frozen River (2008), Waitress (2006), The Dead Girl (2006), and Lovely and Amazing (2001); five films that each considers the role of contemporary mothering as a central part of its plot. Each film has been distributed within ten years of the inception of this study, is considered an independent film, has received some degree of critical acclaim, and is written and directed by a female filmmaker. Using a feminist critical interpretive lens, this study investigates the public and private sphere identification of the mothers, the mother-child relationships, and the family systems that work to unveil a vision of motherhood in contemporary independent film and identify the extent to which this vision challenges or adheres to traditional representations. The readings of these films rely on theoretical insights of feminist film criticism and feminist theory. In addition, feminist rhetorical perspectives provide the framework to reveal the broader cultural implications of the representation of contemporary motherhood in public discourse. The analysis reveals a subversive reading of contemporary mothering characterized by the rejection of domesticity and other traditional mothering ideologies. Informed by resistance theory, the findings suggest the female filmmakers utilize the symbolic inversion tactic as a tool to resist their subordinate status. The subversive discourses give voice to female filmmakers attempting to negotiate power in a traditionally patriarchal forum by invoking a rhetoric of resistance. However, the rhetorical construction of the “indie” mother is characterized by maternal sacrifice and maternal autonomy which ultimately forces women to negotiate their mothering identity in relation to the hegemonic childrearing model of intensive mothering. The production of contradictory messages illustrates an attempt to adapt to existing conditions rather than transform the patriarchal system suggesting that independent film is a dynamic medium that both reflects hegemonic discourse while remaining open to ideological variance.