published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

He, Mali. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 104-112). / Abstracts in English and Chinese. / Abstract (English version) --- p.i / Abstract (Chinese version) --- p.iii / Acknowledgement --- p.v / Table of Contents --- p.vii / List of Tables --- p.ix / List of Figures --- p.x / Chapter Chapter 1. --- Local Media Industry in the Global Context --- p.1 / Chapter 1.1 --- Introduction --- p.1 / Chapter 1.2 --- The Issues of Globalization --- p.5 / Chapter 1.3 --- Cultural Industries: Political Economy in Practice --- p.12 / Chapter 1.4 --- Hollywood Reacquainted --- p.14 / Chapter Chapter 2. --- Industrial Reforms and the Current Development of the Chinese Film Industry --- p.18 / Chapter 2.1 --- Trajectory of the Chinese Film Industrial Reforms --- p.18 / Chapter 2.11 --- The Internal Industrial Reform --- p.20 / Chapter 2.12 --- The Reforms on External Policy --- p.22 / Chapter 2.13 --- Closer Economic Partnership Agreement (CEPA) --- p.26 / Chapter 2.14 --- Consequences of and Implications for the Chinese Film Industrial Reforms --- p.29 / Chapter 2.2 --- A Glance at the Current Development and Dilemma in the Chinese Film Industry --- p.31 / Chapter Chapter 3. --- Research Questions and Methodology --- p.39 / Chapter 3.1 --- Analytical Framework --- p.39 / Chapter 3.2 --- Research Questions --- p.42 / Chapter 3.3 --- Methodology --- p.43 / Chapter Chapter 4. --- The Analysis of Localization of the Foreign Media Capital in Crazy Stone --- p.48 / Chapter 4.1 --- Trajectory of Warner Bros. Entering Mainland China Market --- p.49 / Chapter 4.2 --- Investment Mode of Crazy Stone --- p.53 / Chapter 4.3 --- Successful Strategies Contributing to the Success of Crazy Stone --- p.60 / Chapter 4.3.1 --- Localization of the Creative --- p.60 / Chapter 4.3.2 --- Localization of the Content --- p.65 / Chapter 4.33 --- Localization of the Economic --- p.74 / Chapter 4.34 --- Localization of Marketing Strategies --- p.80 / Chapter 4.35 --- Success of Crazy Stone --- p.87 / Chapter Chapter 5. --- Conclusion and Discussion --- p.89 / Chapter 5.1 --- Localization as Prerequisites --- p.89 / Chapter 5.2 --- "Localization, Regionalization and Globalization一A Chinese-specific Possible Film Development Model" --- p.92 / Chapter 5.3 --- Implications for the Chinese Film Industry --- p.96 / Chapter 5.4 --- Limitation and Discussion --- p.100 / Notes --- p.104 / References --- p.108 / Appendices --- p.114 / Appendix 1 --- p.114 / Appendix 2 --- p.115 / Appendix 3 --- p.116

After the "Cultural Revolution" in 1976, the Chinese film industry returned to normal. Between 1976 and 1979, most filmmakers returned to their film studios and began to reorganize the production system. After 1980, the Chinese film industry began to develop multi-dimensionally. The highlight of this development was the rising of a large number of young directors and their works, which became hits and attracted attention both at home and abroad. More and more Chinese films were seen at international film festivals, often winning the awards. This study focuses on the important period between 1976 and 1988 in the Chinese film history and its influence on the development of the Chinese film industry; it concludes with the discussion of the direction the Chinese film industry is heading in the future.

by Grace Leung Lai-kuen. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1993. / Includes bibliographical references (leaves 120-124). / Preface --- p.ii / Abstract --- p.iii / Contents --- p.iv / Chapter Chapter 1. --- Introduction --- p.1 / Chapter Chapter 2. --- Theoretical Review and Method of Study --- p.5 / Chapter i) --- An Anomaly to Media Imperialism / Chapter ii) --- Inadequacies of Non-Marxists Theories / Chapter iii) --- Analytical Framework / Chapter iv) --- Research Questions and Research Design / Chapter Chapter 3. --- Hong Kong as a Regional Movie Production & Export Centre -- a Statistical Review --- p.19 / Chapter i) --- Hong Kong as a Movie Production Centre / Chapter ii) --- Hong Kong as a Movie Export Centre / Chapter Chapter 4. --- Evolution of the Movie Industry in Hong Kong -- a socio-historical analysis --- p.44 / Chapter i) --- An Overview / Chapter ii) --- Stages of Development / Chapter 1) --- Initial Period / Chapter 2) --- Nascent Period / Chapter 3) --- Growing Period / Chapter 4) --- Developing Period / Chapter 5) --- Quiescent Period / Chapter 6) --- Reconstruction Period / Chapter 7) --- Prosperity Period / Chapter 8) --- Declining Period / Chapter 9) --- Revival Period / Chapter Chapter 5. --- In Search of an Explanatory Framework --- p.77 / Chapter Chapter 6. --- Conclusion --- p.111 / Appendices --- p.118 / Reference --- p.120

Wu Huaiting. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 122-130). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Introduction and Analytical Framework --- p.1 / Chapter Chapter 2 --- Local Agents and Global Alliance --- p.28 / Chapter Chapter 3 --- Particularization and Universalization --- p.51 / Chapter Chapter 4 --- "Distribution, Marketing and Exhibition" --- p.75 / Chapter Chapter 5 --- The Globalization of a Local Culture --- p.94 / "Appendix 1 Awards for Crouching Tiger, Hidden Dragon" --- p.104 / "Appendix 2 Credits for Crouching Tiger, Hidden Dragon" --- p.106 / Appendix 3 Ang Lee's Features --- p.108 / Appendix 4 Source List for Database --- p.110 / "Appendix 5 The Story of Crouching Tiger, Hidden Dragon" --- p.113 / "Appendix 6 Release dates for Crouching Tiger, Hidden Dragon" --- p.119 / Bibliography --- p.122

by Chu Lui. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1997. / Includes bibliographical references (leaves 351-354). / ABSTRACT --- p.ii-iv / ACKNOWLEDGEMENT --- p.v / LIST OF FIGURES --- p.vi-vii / LIST OF ILLUSTRATIONS --- p.viii / CHAPTERS / Chapter PART I --- Introduction --- p.1 / Chapter PART II --- Theoretical formulation on exhibitors' structuration of movie-going activity --- p.30 / Chapter 2 --- Approaches from existing film studies --- p.31 / Chapter 3 --- Structuration: social practices and social structure --- p.49 / Chapter 4 --- An analytical application of the structuration theory in Cinema --- p.73 / Chapter 5 --- An analytical application of structuarion theory in exhibitors' restructuration of movie-going activity --- p.91 / Chapter PART III --- The reflector's self-reflection --- p.105 / Chapter 6 --- "My general knowledge of Chinese Cinema's development in ""reform""" --- p.109 / Chapter 7 --- Procedures of data collection and analysis PART IV Redefining what cinema is --- p.127 / Chapter PART IV --- Redefing what cinema is --- p.149 / Chapter 8 --- Confusion over a simple matter --- p.150 / Chapter 9 --- Delineating a new landscape of the cinema --- p.165 / Chapter 10 --- "In name, in language, in ""affairs""" --- p.195 / Chapter PART V --- Redefining what movie-viewing is --- p.224 / Chapter 11 --- A comparison on two kinds of movie-viewing --- p.225 / Chapter 12 --- Reconstructing movie-viewing space --- p.249 / Chapter 13 --- Reconstructing movie-viewing time --- p.281 / Chapter PART VI --- Conclusions: on exhibitors' shadow land --- p.303 / REFERENCES --- p.351

This study focuses on the evolution of the movie industries in Taiwan, Hong Kong, and China in the late 1980s and early 1990s, with an emphasis on the interaction and cooperation in movie production among these three areas. The study consists of three sections: a general description of the development of Chinese cinema before 1949; an overview of the movie industries in Taiwan, Hong Kong, and China after the civil war; and an intensive study of the recent changes, interactions, and connections among these industries. In the third section, three models are proposed to explain the changing practices in movie production in these three areas. Obstacles preventing further cooperation and the significance of the reconstruction and integration of Chinese cinema are discussed.

This project is an examination of the Hong Kong film industry, focusing on the years leading up to the handover of Hong Kong to communist China. The influence of classical Chinese culture on gender representation in martial arts films is examined in order to formulate an understanding of how these films use gender issues to negotiate a sense of cultural identity in the face of unprecedented political change. In particular, the films of Hong Kong action stars Michelle Yeoh and Brigitte Lin are studied within a feminist and cultural studies framework for indications of identity formation through the highlighting of gender issues.

Taking co-production as a dominant development of Hong Kong's film industry, this study examines the transnationality of different trends of co-production: Hong Kong China co-production, Hong Kong - Asia co-production, and individuals working for overseas productions, and the production cultures in these varied contexts are analyzed. By crossing production culture, policy, film business and the work of individual practitioners with the concept and practices of transnationality, this study outlines the possibilities and limitations of developing transnational co-production in Hong Kong cinema. Focusing on its varied manifestations, this thesis emphasizes the plurality of transnationality and suggests that "transnationalities" are a result of the development of Hong Kong cinema. The influences and infiltration of Hong Kong cinema into the other cinemas of the world reflects its ways of survival, and the simple claiming of "the death of Hong Kong" should be questioned. Although there are many constraints in co-production, and some practitioners of valuable skills, like action choreography, are privileged to others, the thesis reveals that Hong Kong cinema is transforming in a direction that provides a foundation for sustainable development. The different co-production projects in which Hong Kong cinema is now engaging demonstrate how this cinema will be able to incorporate itself into the production process in China, Asia and the overseas contexts. / Chan, Ka Ming. / Adviser: Lai-Kwan Pang. / Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 317-338). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese.

Shin, Kei-Wah Victor. / "November 2010." / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 177-198). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgments --- p.iv / Table of Contents --- p.vi / List of Tables --- p.ix / List of Figures --- p.xii / Chapter Chapter 1: --- Framing the Puzzles --- p.1 / "INTRODUCING: ""The Curious Case of... a Fallen 'Asian Hollywood'""" --- p.3 / METHOD AND DATA --- p.6 / STRUCTURE OF THE THESIS --- p.12 / Chapter Chapter 2: --- "“The Blind Side"" of Existing Explanations" --- p.15 / CONVENTIONAL EXPLANATIONS --- p.17 / Triad Intrusion and Piracy --- p.17 / Hasty and Unpolished Productions --- p.19 / EXPLANATIONS DERIVED FROM THEORETICAL PERSPECTIVES --- p.21 / The Cultural Imperialism approach --- p.22 / The Cultural-flows/ Network approach --- p.27 / Suppositions related to the Cultural-flows/ Network approach --- p.32 / The Reception approach --- p.36 / The Cultural Policy and Strategies approach --- p.41 / What about the Receiving Countries? --- p.46 / THE POLITICAL-CULTURAL APPROACH --- p.48 / Chapter Chapter 3: --- The “Bloom´ح in the 1970s and the 1980s --- p.53 / "THE ""BLOOM""" --- p.53 / BRINGING IN THE POLITICAL-CULTURAL APPROACH --- p.57 / THE INDUSTRIAL SETTING OF THE HONG KONG FILM MARKET VIS-A-VIS HOLLYWOOD --- p.59 / THE SOCIAL STRUCTURE OF THE HONG KONG FILM MARKET --- p.62 / From Studio System to Independent Production System since the 1970s --- p.63 / The Revenue-sharing Structure --- p.68 / """CONCEPTIONS OF CONTROL"" IN THE HONG KONG FILM MARKET (1970s - 1980s)" --- p.70 / Distributor-driven Exhibition --- p.72 / Distributor-driven Production --- p.75 / HONG KONG FILM INDUSTRY AT ITS PEAK IN THE LATE 1980s --- p.81 / SUMMARY --- p.88 / Chapter Chapter 4: --- "The ""Twilight"" since the mid-1990s" --- p.91 / WHAT HAPPENED DURING THE 1990s? --- p.91 / The Plot in Brief --- p.92 / THE KEY TO SUCCESS TURNS INTO A SOURCE OF STRESS --- p.97 / "Conventional Practices inscribed in the ""Conceptions of Control""" --- p.99 / The Entwined Financial Practice --- p.99 / The Exclusive Exhibition Practice --- p.101 / What caused a Turn in the late 1980s? --- p.102 / "The ""Meteor Shower"" of Taiwan Capital" --- p.102 / China's Cinematic Reform --- p.104 / "The Resultant Cross-Strait “Industrial Complex""" --- p.106 / The Exogenous Shock Induced --- p.108 / Reduction of Theatres in each Theatre Chain and its Impact --- p.110 / The Consequence of Exclusive Exhibition Practice --- p.113 / The Consequence of Entwined Financial Practice --- p.114 / A REVERSAL OF FORTUNE IN 1993 --- p.117 / "The Short-lived ""Newcomers""" --- p.119 / The Rising Land Price --- p.122 / The Ebb Tide of the Taiwan Capital Flood --- p.128 / The Last Samurai and the Finale of the Distributor-led Production System --- p.134 / Summary --- p.138 / TRANSFORMATION IN THE HONG KONG FILM MARKET --- p.139 / The Return of the Challengers: Distributors of Foreign Movies --- p.143 / "The Emergence of New ""Conceptions of Control""" --- p.147 / The Impact on Film Companies producing Local Movies --- p.151 / Chapter Chapter 5: --- "A ""Revolutionary Road"" to the Peak and Drop" --- p.156 / A BRIEF REPRISE --- p.156 / "The ""Bloom"" in Retrospect" --- p.158 / "The ""Twilight"" in Retrospect" --- p.161 / IMPLICATIONS OF THIS STUDY FOR EXISTING APPROACHES --- p.168 / Implications for the Cultural Imperialism approach --- p.168 / Implications for the Cultural-flows/ Network approach --- p.169 / Implications for the Reception approach --- p.172 / AN INTEGRATIVE APPROACH TO CURRENT THEORIES --- p.174 / LIMITATIONS OF THE RESEARCH AND SUGGESTIONS FOR FUTURE DIRECTIONS --- p.175 / REFERENCES --- p.177