Thesis (M. A.)--University of Canterbury, 2006. / Typescript (photocopy). Includes bibliographical references (leaves 126-130). Also available via the World Wide Web.

Thesis (S.T.M.)--Yale Divinity School, 2008. / Includes bibliographical references (leaves 77-79).

This paper traces the construction of African identities in A Reasonable Man (South Africa 1999), Chikin Biznis: The Whole Story (South Africa 1998), Fools (South Africa/France 1997), Hyènes (1992), Le cri du coeur (Burkina Faso/France 1994), Pièces d'Identités (France/Congo/Belgium 1998), Une couleur café (France 1997), and Xala (Senegal 1975) based on an analysis of race, ethnicity, tradition, modernization, Westernization, and cultural hybridity theories; as a way of contextualizing African history in general, this paper also explores the significance of colonialism, postcolonialism, and forms of neo-colonialism. I argue that nineteenth century perceptions of “race” that arose during the Enlightenment era are mistaken. Instead, African identities presented in film should be re-conceived based on concepts of ethnicity and culture and not simplistic racial constructions—for example “white,” “black,” or “mulatto” to name a few—since such interpretations inevitably surrender to problematic analysis. However, I also contend that neither a typical conception of fixed identities nor cultures can be applied to the understanding of contemporary African identities expressed in African film. The conception of African identities can and ought to be reconsidered as a fluid, social construction based on changing historical phenomena. As an alternative, I suggest that tradition, modernization, and Westernization processes contribute to the overall fluidity of contemporary African identities, which can be elucidated by cultural hybridity theories. Therefore, I ultimately propose that the hybridization of African identities is specifically linked to forms of modernization and Westernization—the practice of Western medicine, beliefs in monogamy, and entrepreneurial aspirations—that have also been filtered through traditional African value systems such as polygamy, traditional healing, patriarchy, communitarianism, and traditional religions within various African communities depicted in African film. Thus, a fixed “African” category that we strive to define—against either Western or African points of reference—is actually neither a fully Westernized nor entirely African distinction but a hybridized identity of traditional, modernized, and Westernized elements.

台灣自2002年的電影《藍色大門》後，兼以青春成長和同性戀為主題的商業電影相繼出現。從相關電影文本分析可見，這類電影脫離以往媒體再現同性戀者的刻板印象，明朗清新的電影基調亦有別歷年華語同志電影的悲情和政治色彩，對華語同志電影類型作出了翻新。本論文採取導演深入訪談的研究方法，從電影工業及創作角度切入，指出台灣當時已然崩潰的電影工業環境、輔導金制度、同性戀題材不構成籌資困難，以及青春成長電影類型低成本的特性，均是這類華語同志電影特例出現的原因。由於電影強調同性戀和異性戀者的共同性，對同志的再現反而有所局限，本文認為，更恰當的同性戀再現應包含正面肯定性差異的態度。台灣青春同志電影的個案，讓我們了解作者在商業電影創作中注入個性遇到的各種困難，亦提供了認識「後新電影」重尋生存策略的視角，檢示和整理台灣走出新電影運動後長達二十年的低谷的經驗。 / Blue Gate Crossing (2002) marked the beginning of a series of coming-of-age films that dealt with homosexual subject matter in commercial Taiwanese cinema. Using the method of textual analysis, it is found that the basic tone of these films is light and refreshing, in contrast to the sad and political tone in previous generations of homosexual films. These coming-of-age films formed a new genre of Chinese-language homosexual cinema and a divergence from previous media representation of homosexual stereotypes. By conducting in-depth interviews with directors of these films and dissecting the creative process of production, it is found that the reasons for the appearance of this new genre include the collapse of Taiwanese cinema, the policy of government subsidies, the ease of securing funding and the low cost of producing coming-of-age films. It is also found that by emphasizing the similarities between homosexual and heterosexual relationships, these films created limitations for the representation of homosexuality. A more appropriate representation of homosexuality should include affirmation of sexuality differences.This special case of a coming-of-age homosexual genre reveals the difficulties faced by directors when they tried to add creative elements to commercial cinema, and provides insights into strategies for Post-New Cinema to survive. This study thus stands as an overview of how New Taiwan Cinema rebounded after its 20-year-long trough. / Detailed summary in vernacular field only. / 鍾嘉瑩. / Thesis (M.Phil.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 110-116). / Abstracts in English and Chinese. / Zhong Jiaying.

published_or_final_version / Comparative Literature / Master / Master of Philosophy

Thesis. 1976. M.Arch--Massachusetts Institute of Technology. Dept. of Architecture. / Microfiche copy available in Archives and Rotch. / Bibliography: leaves 27-28. / M.Arch

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

Karen Jennings (1993) and Peter Krausz (2003) in their works, written ten years apart, note the changing ways in which the academic world and the media have dealt with representations of Indigenous identity. It was hoped that the latter work would have been discussing the way in which things have already changed. The fact that it does not, initiates the questions addressed in this thesis: whether Australian cinema explores Indigenous issues in sufficient depth and with cultural resonance. Can a study of cinematic representations lead to a better understanding of Aboriginal identity? In representing Aboriginality on screen does the cinema present a representational complex for Indigenous Australia, which is constructed on their behalf by the cinema itself? In this thesis these questions are theoretically framed within a semiotic methodology, which is applied to the examination of the complexities of representation. This is done through an analysis of the connotations and stereotyping of Indigenous identity in filmic narratives; and the operation of narrative closure and myth making systems through historical time periods; and dualisms in the filmic narratives such as primitive/civilised, us/them, self/other; and the presence of Aboriginality as an absent signifier. The four films chosen for comparative analysis are Jedda, Night Cries, Walkabout and Rabbit Proof Fence. These films span a period of fifty years, which allows for an explication of the changes that have occurred over the passing of time in their visual representations of Aboriginal identity. Hence social and cultural filmic identity representations are juxtaposed with the historical and political discourses prevalent at the time of their production. Through such a detailed analysis of the four film texts, the dominant social discourses of Australia are analysed in relation to their operation as representational frameworks for Indigenous Australians.

Thesis (Ph. D.)--University of Hong Kong, 2007. / Title proper from title frame. Also available in printed format.

Thesis (M.A.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on month November 9, 2007) Includes bibliographical references.