published_or_final_version / abstract / Chinese / Master / Master of Philosophy

在30年代主流文化界和知識界繼續熱誠地、全然地追求現代性時，一些現代傾向（modernist）的文化知識份子在電影和其他媒體中更多元地實踐着五四時期菁英知識份子的"全盤反傳統主義"(Totalistic Antitraditionalism)，他們將這種熱情訴諸于積極塑造以新興的知識女性為代表的中國"新女性"身上。 然而，在對電影這樣新興舶來品的媒介使用和對西方一些基本"電影語言"（cinematography）的效仿中，某些源于儒家的中國核心傳統價值和審美觀念，被有意識或無意識地挪用到電影人物形塑和審美韻味的建構中。這樣，不僅傳統經典的"儒家閨秀"藉着當代知識女性的新身份被重新包裝和再現，一些極具中國美學特色的電影處理技巧也在其中雛形漸現。更重要地，傳統閨秀的美學特點解釋了新的受教育女性謂之"新"的原由。本文（1）將從"美德"這一概念的傳承和模糊性入手，追溯禮教、道德之于傳統人物建構的意義和時代困境；（2）通過淺論閨秀人物與儒家美學思想的關係，以梳理多重道德審美的層次，並提煉"節"、"止"、 "制"的傳統美學建構機理；（3）通過提煉的這套可以參照施行的電影分析途徑，分析相關電影並蒐集分析證據；（4）借用銀幕內外的實踐策略來梳理和回應"傳統與現代"不同層次的矛盾衝突、協作重構，最後不僅可以進一步探究以30年代電影人為代表的人物思想矛盾，還可以辨析中國現代性的駁雜深刻之處。 In the 1930s when dominant intellectuals were cordially and overtly aspiring over modernity, a bunch of modernist intellectuals diversely practiced Totalistic Antitraditionalism inherited from MFM (May Fourth Movement) elite, on silver screen and other media. The educated women are both mediated representatives of Chinese "new" women and bearers of modernists' passion and dreams. Nevertheless, while accessing the film (as exotic and "new" medium then) and imitating western cinematography, some traditional core values and aesthetic ideologies rooted in Confucianism are consciously or unconsciously appropriated in constructing characteristic and auratic aesthetics on silver screen. Hence, not only the classic Confucian guixiu has been repacked and represented with new identity as contemporary educated women, but also some Chinese aesthetical patterns have emerged in film. More importantly, the aesthetics embedded in classic guixiu explain why new educated women are representatives of the "new". This paper (1) starts with the inheritance and ambiguity of the concept "meide (virtue)", before deploying how conventional Li (rites) and Daode (moral) contribute to both constructive significance and chronic dilemma of characters. (2) By virtue of analyzing classic guixiu and Confucius aesthetics, it is further enacted how moral aesthetics are enriched with multiple layers. Moreover, a type of constructive mechanism related to abridge (jie), stop (zhi) and restraint (zhi) is generalized. (3) Then, it deduced some framework that could be approached to filmic analysis as well as collecting data. (4) Lastly, the question about "traditional and modern" will be echoed with on and off screen strategic practices, in terms of contradiction, conflict, collaboration and reconstitution on different levels. Thus, not only the rooted dilemma in the 1930s could be revealed by means of analyzing contradictions of filmic people, but also the hybridity, heterogeneous and profundity of Chinese modernity could be further indicated.

自1989 年以来，中国独立电影在国家电影体制的管控之下，已经发展二十余年。随着数字摄影、非线性编辑、互联网应用等技术的不断提升，今天的独立电影与以往相比，拍摄成本更低、制作方式更便捷、影像质量更高、传播手段多样化；但其创作力和艺术水准并没有大幅提升，反而呈现停滞，甚至下降趋势。究其原因，当然包括官方压制、国内电影市场冲击、海外影展关注度降低等多方面外界因素的影响，但中国独立电影内部环境和中国独立电影人自身所存在的问题则往往被人们忽略掉了。本研究正是通过对中国独立电影二十余年历史的梳理，力图描述其内部生态环境的变化，提出中国独立电影在原有国家电影体制之外建构了一个新的体制--"亚体制"，并分析"亚体制"对于当前独立电影创作和独立电影评论的影响。 / 国家电影体制对中国独立电影的管控由来已久，尤其表现在对其传播、发行、放映的控制上。在此情况下，"前DV 时代（1989-2000 年）的独立电影人经历了从体制中逃离、与体制合作、回归体制的路线。而同时，一些民间电影放映社团逐渐搭建起了自己的独立电影放映管道，并培养了一批帮助独立作者进行影片推广的"中间人"。在"后DV 时代"（2000 至今），各地放映社团发展壮大，开始举办独立电影节，"中间人"也由此获得了更多的权力和威信，变为具有较强话语权的“关键人。就这样，以民间放映社团为单位，独立电影节为支柱，"关键人"为核心，独立电影基金、学校、资料馆、公司为分支的独立电影"亚体制"框架基本形成。本研究主要通过人物采访、田野考察、影像文本分析等方法，结合布迪厄（Pierre Bourdieu）"场域"的相关理论分析这一"亚体制"的结构关系、经济链条和体制化表象。 / 经过论证，本研究认为在独立电影"亚体制"的场域中，"关键人"通过积累文化资本、经济资本和社会资本的方式来获得权力，并在此基础之上建立其评价体系，形成“非主流"中的主流标准。如果这种状况得不到改善，"阶级"、"霸权"、"垄断"等问题将会愈演愈烈，独立电影界也会重蹈原有体制的覆辙，其内部会逐渐丧失"独立性"，最终导致抑制独立电影多元化发展的结果。 / Since 1989, the independent film in China, under the control of national cinema institution, has already had a history of more than 20-year development. With the continuous improvement of technology in the fields of photography, editing and internet application, today's Chinese independent film has lower producing cost, quicker production methods, higher image quality, and more diversified transmission methods. However, instead of a substantial improvement, the creativity and theartistic criteria of the films tend to stagnate and even have a tendency to decline, for which the main reasons might be government control, the impact of the domestic film market, the reduced attention of abroad film festivals and other external factors, but we cannot ignore the internal problems in the ecosystems of the independent film and the filmmaker themselves. This study, through sorting the over-20-year development history of independent films in China, strives to describe the changes of the internal ecological environment and put forward institutionalization of the independent film outside the national institution. / The national cinema institution has a long-time control over the Chinese independent film, especially over its distribution and exhibition. Under such a circumstance, the independent filmmakers in the "former DV era" (1989-2000) have shifted from the paths of fleeing from the national institution, cooperating and returning. In the meantime, some "film viewing social organizations" (we call them "film clubs") gradually have set up their own exhibition channel of films and have cultivated a group of “intermediator" who could help promote the independent film. In the "later DV era" (2000 up to the present), film clubs in various regions developed and expanded to hold some independent film festivals. Consequently, while gained more power and prestige, the "intermediator" became the "key person" who has a greater discourse power. In this way, with the film club as the unit, independent film festival the pillar, the "key person" the centre, the independent film fund, school, archive and company the branch, the frame of institution was basically formed. This study, mainly through interview, field observation, analysis of image and text and other methods, and by combining with the related "field" theory of Pierre Bourdieu, analyzes the structural relation, economic chain and the representation of institutionalization in the independent film. / Through the demonstration, the study concludes that, in the field of independent film, if the situation ("the key person" gains power through accumulating cultural capital, economical capital and social capital, and on this base establishes a review system to form a mainstream standard among the "non mainstream") cannot be improved, the problems, like "social classes", "hegemony" and "monopoly" will become more and more serious. As a result, the Chinese independent film will follow the same road of national cinema institution, and the films will gradually lose its "independence", which eventually would restrain the diversified development of the film. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 李铁成. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 242-265). / 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. / Li Tiecheng. / 摘要 --- p.i / Abstract of thesis entitled: --- p.iii / 致谢 --- p.v / 目录 --- p.vii / 绪论 --- p.1 / 中国独立电影评论回顾 --- p.2 / 体制与独立电影 --- p.16 / 亚体制 --- p.26 / Chapter 第一章 --- “体制"vs.“独立" / 独立剧情片──被迫逃离体制 --- p.32 / 独立纪录片──与体制的合作 --- p.40 / 影视体制市场化 --- p.52 / Chapter 第二章 --- “前DV时代"独立电影的去向 --- p.60 / 香港──最早的“中间人" --- p.61 / 贾樟柯的香港经历 --- p.69 / 民间放映社团学习期（1996-2000） --- p.77 / 本土中间人的身份及成长 --- p.87 / Chapter 第三章 --- 亚体制独立影展的创办 --- p.94 / “后DV时代"初期──爆发后的困惑 --- p.94 / 影展试探期（2000-2002） --- p.101 / 影展创办期（2003-2007） --- p.115 / 云之南人类学影像展 --- p.116 / 中国独立纪录片交流周 --- p.122 / 中国独立影像年度展 --- p.127 / Chapter 第四章 --- 关键人与独立电影的生态链条 --- p.136 / “关键人"和“场域" --- p.137 / “资本生态链条" --- p.143 / “生态链条"的经济命脉 --- p.145 / 放映联盟 --- p.157 / 独立电影学校 --- p.160 / Chapter 第五章 --- “亚体制"vs.“独立" --- p.164 / “独立性"的选择 --- p.165 / 2011年CIFF“萨满·动物宣言" --- p.185 / 话语权不断失衡 --- p.187 / 独立作者受到的影响 --- p.193 / Chapter 第六章 --- 个案分析 --- p.196 / 创作路程原初与现状 --- p.199 / 亚体制的主流美学 --- p.204 / 自媚与猎奇 --- p.214 / 结论 --- p.219 / Chapter 附文一： --- 贾樟柯娄烨王小帅等联名上书电影局（全文） --- p.227 / Chapter 附文二： --- “萨满 动物"（南京宣言） --- p.229 / Chapter 附表一： --- 1990-2011年 柏林电影节展映之中国大陆影片 --- p.232 / Chapter 附图一： --- 中国独立电影生态图 --- p.235 / Chapter 附图二： --- 2010年 国际青年艺术电影高峰论坛 宣传手册封面 --- p.236 / Chapter 附图三： --- 2010年 国际青年艺术电影高峰论坛 第1页 --- p.237 / Chapter 附图四： --- 2010年 国际青年艺术电影高峰论坛 第2页 --- p.238 / 采访记录： --- p.239 / 英文文献： --- p.242 / 中文文献： --- p.246 / 网络文献： --- p.251 / 电影（本文中涉及到的）： --- p.259

Gao Yang. / Thesis submitted in: June 2005. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 123-133). / Abstracts in English and Chinese. / GENDER AND NATIONALISM IN CHINESE FILMS BETWEEN 1949 AND 1989 --- p.I / 摘要 --- p.III / ABBREVIATIONS --- p.VIII / Chapter CHAPTER 1 --- INTRODUCTION --- p.1 / Chapter 1.1 --- Literature Review --- p.2 / Chapter 1.1.1 --- "Nation, State and Nationalism" --- p.2 / Chapter 1.1.2 --- Gender and Nation in Chinese Cinematic Narration --- p.6 / Chapter 1.2 --- Methodology --- p.10 / Chapter 1.2.1 --- Typology --- p.10 / Chapter 1.2.2 --- Film Analysis as Method --- p.11 / Chapter 1.2.3 --- Case Selection --- p.16 / Chapter CHAPTER 2 --- SOCIAL BACKGROUND OF CHINA: 1949-1989 --- p.22 / Chapter 2.1 --- Background of the First Period:1949-1978 --- p.22 / Chapter 2.1.1 --- "New China, New Women" --- p.22 / Chapter 2.1.2 --- The Cooperative Movement and the Communization Movement:1952- --- p.24 / Chapter 2.1.3 --- The Great Leap Forward and the Suppression of Individualism:1958-1960 --- p.26 / Chapter 2.1.4 --- The Magnification of Class Struggle and the Cultural Revolution --- p.28 / Chapter 2.1.5 --- The Unchanged Philosophy behind the Changing Policies: the Strategic Opening Up of Public Domain for Women --- p.30 / Chapter 2.2 --- Economic and Political Landscape after the Cultural Revolution: 1979-1989 --- p.31 / Chapter 2.2.1 --- Economic Reform and the Concomitant Social Problems --- p.31 / Chapter 2.2.2 --- Political Liberalization and the Backlashes --- p.32 / Chapter 2.2.3 --- "The ""Cultural Fever"" and the ""Fifth Generation"" Filmmakers" --- p.33 / Chapter 2.2.3.1 --- Collective Frustration: The Social Sentiment after the National Trauma --- p.33 / Chapter 2.2.3.1.1 --- Traumatic Experiences during the Cultural Revolution --- p.33 / Chapter 2.2.3.1.2 --- The Lost Past --- p.36 / Chapter 2.2.3.1.3 --- The Meaningless Present --- p.36 / Chapter 2.2.3.2 --- The Specter of Westernization --- p.37 / Chapter 2.2.3.2.1 --- "The ""Anti-Wholesale Westernization"" Campaign" --- p.37 / Chapter 2.2.3.2.2 --- "New Social Crisis and the Nationalism behind ""Anti- Wholesale Westernization""" --- p.38 / Chapter 2.2.3.3 --- The Fifth Generation in the Cultural Fever and the Root-Searching Movement --- p.40 / Chapter 2.2.4 --- Shifts of Women's Issues in the Reform Era --- p.44 / Chapter 2.2.4.1 --- Women and Labor under the Economic Reform --- p.44 / Chapter 2.2.4.2 --- Femininity in Flux --- p.45 / Chapter 2.2.4.3 --- The Representation of Women --- p.46 / Chapter 2.2.4.3.1 --- Women in the Public Space ´ؤ Discourse and Visuality --- p.46 / Chapter 2.2.4.3.2 --- Women and the Nation in Representation --- p.47 / Chapter CHAPTER 3 --- CLASSIC REVOLUTIONARY FILMS --- p.49 / Chapter 3.1 --- "Ghost of the Old Society, Master of the New State, a Case Study of The White- Haired Girl" --- p.50 / Chapter 3.1.1 --- Gender Conflicts in the Form of Class Confrontations --- p.51 / Chapter 3.1.2 --- The Fading Female Sexuality in the Evolving Adaptations of the Story --- p.52 / Chapter 3.1.3 --- Male Desire and Male Sexuality --- p.53 / Chapter 3.1.4 --- The Reason behind the Desexualization of both Sexes --- p.54 / Chapter 3.1.5 --- State Feminism: Where Will Women's Liberation Led to? --- p.55 / Chapter 3.2 --- Gender Dynamics and Socialist Discourse in Xie Jin's The Red Detachment of Women --- p.56 / Chapter 3.2.1 --- "Sexuality, Body and the Inscription of Class Struggle" --- p.57 / Chapter 3.2.2 --- The Myth of Class and Class Struggle in the Construction of Nationalism --- p.58 / Chapter 3.2.3 --- Constructing Class and Nation in Collective Memories --- p.61 / Chapter 3.2.4 --- "The Interpellation of Individuals by “Ideological State Apparatus""" --- p.62 / Chapter 3.3 --- A Comparison between The White-Haired Girl and The Red Detachment of Women --- p.64 / Chapter 3.3.1 --- The Representation of the Daughterhood --- p.64 / Chapter 3.3.2 --- The Representation of the Wifehood --- p.65 / Chapter 3.3.3 --- The Representation of the Motherhood --- p.66 / Chapter 3.3.4 --- Understanding the Differences between the Two Films --- p.67 / Chapter CHAPTER 4 --- THE FIFTH GENERATION'S FILMS --- p.71 / Chapter 4.1 --- Case Study of Yellow Earth --- p.72 / Chapter 4.1.1 --- "Reading the Reviews, Reading the Film" --- p.72 / Chapter 4.1.2 --- "Class, Gender and Nation in Yellow Earth" --- p.74 / Chapter 4.1.2.1 --- Class and Gender in the Characterization --- p.75 / Chapter 4.1.2.1.1 --- The Invisible and the Visible: Departing from the Socialist Rhetoric of Class Struggle --- p.75 / Chapter 4.1.2.1.1.1 --- No Villain --- p.75 / Chapter 4.1.2.1.1.2 --- No Hero --- p.77 / Chapter 4.1.2.1.1.3 --- The Party's Folksong-Collection and the Peasants' Taciturnity --- p.78 / Chapter 4.1.2.1.1.4 --- The Estrangement between the Party and the Peasantry --- p.80 / Chapter 4.1.2.1.2 --- Gender Images in a Gendered Narration --- p.81 / Chapter 4.1.2.1.2.1 --- The Gender Separation --- p.82 / Chapter 4.1.2.1.2.2 --- The Impossible Romance --- p.83 / Chapter 4.1.2.1.2.3 --- The Refusal and the Death --- p.85 / Chapter 4.1.2.2 --- The Significant Setting in a National Allegory --- p.86 / Chapter 4.1.2.2.1 --- The Natural Landscape --- p.86 / Chapter 4.1.2.2.2 --- The Rituals --- p.87 / Chapter 4.1.3 --- Debates and Awards --- p.89 / Chapter 4.1.3.1 --- Debates --- p.89 / Chapter 4.1.3.2 --- Awards --- p.91 / Chapter 4.2 --- Case Study of Red Sorghum --- p.93 / Chapter 4.2.1 --- An Egalitarian Myth of National Heroes --- p.93 / Chapter 4.2.1.1 --- The Villains --- p.93 / Chapter 4.2.1.2 --- The Heroes --- p.94 / Chapter 4.2.1.3 --- The Ideology of the Body --- p.96 / Chapter 4.2.1.4 --- Carnivals ´ؤ Festive Rituals that Connect the Personal with the National --- p.98 / Chapter 4.2.2 --- Rebuilding Desirable Masculinity through Female Sexuality --- p.100 / Chapter 4.2.3 --- Red Sorghum ´ؤ Searching Root in a National Allegory --- p.106 / Chapter 4.2.4 --- Debates and Awards --- p.108 / Chapter 4.3 --- Comparing Yellow Earth and Red Sorghum --- p.110 / Chapter CHAPTER 5 --- CONCLUSION --- p.114 / Chapter 5.1 --- Before the Cultural Revolution --- p.114 / Chapter 5.2 --- The Cultural Revolution --- p.116 / Chapter 5.3 --- After the Cultural Revolution --- p.117 / Chapter 5.4 --- Conclusion --- p.120

published_or_final_version / English / Doctoral / Doctor of Philosophy

The dissertation attempted to study Yingxi Fiction, a genre of fiction, which emerged and prevailed in Shanghai during the early two decades of the twentieth century. The majority of writers of Yingxi fiction at that time were literati of the Mandarin Duck and Butterfly School. After watching the imported silent movies, they recorded the contents and adapted them as fictional texts for the purpose of introducing the stories to those who could not afford to watch the films. This type of genre was named Yingxi fiction and had been welcomed by public readers at leisure. In fact Yingxi fiction had implied how traditional literati received and absorbed western cultural elements on their way to pursue Chinese modernity. This study would like to conduct a close examination of Yingxi fiction, which has been previously ignored, through in-depth analysis of the texts and investigation of its social as well as cultural significance. This dissertation consisted of five chapters. Chapter One was an introduction of the popular fiction, movie and Yingxi fiction in Early Republican China. Previous studies on Yingxi fiction were briefly presented as well. Chapter Two dealt with the emergence of Yingxi fiction. The prefaces and peer reviews of some works of this genre would be especially studied in order to explore the motivations of the writers and their approaches to compose the Yingxi fiction. Three Yingxi fiction writers, Zhou Shoujuan (1895-1968), Bao Tianxiao (1875-1973) and Lu Dan’an(1894-1980), were comprehensively illustrated as case studies. Chapter Three focused on the application of “Paradigm” in textual analyses of Yingxi fiction. Serving as an unusual spectacle, paradigm provided a thorough understanding of the hybrid narrative style of the stories. By discussing the narrative pause, redundancy, story modes and language usage, the way in which the paradigm of Chinese fiction influenced by western literature would been exposed. Chapter Four discussed the graph-text conversion in Yingxi fiction. It was suggested that writers’ failure in identifying the moral issues and female images in western movies could be explained and might be regarded as the writers’ skills of adaptation of the stories for the sake of Chinese representations. Lastly, the conclusion chapter summed up the distinctive features of Yingxi fiction, the prominence of the genre and its significance in modern Chinese literature. Besides, the limitations and reasons of fading away of Yingxi fiction would also be expounded. / published_or_final_version / Chinese / Master / Master of Philosophy

Wu, Xiao. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 111-124). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgement --- p.iv / Table of Contents --- p.v / Chapter Chapter One: --- Chinese Film Piracy Consumption and Media Globalization --- p.1 / Introduction: The Rampant Film Piracy in China --- p.1 / Literature Review --- p.4 / Focuses in Chinese Film Piracy --- p.4 / Four Theoretical Positions in Media Globalization --- p.7 / Summary --- p.17 / Chapter Chapter Two: --- Problematics of Chinese Film Piracy Consumption --- p.19 / Two Concepts --- p.19 / Diversity --- p.19 / Filmic Gene Pool --- p.20 / Two Arguments and One Deduction --- p.23 / The Argument for the Expanding Global Capital --- p.23 / The Argument for National Protectionism --- p.25 / The Long Tail --- p.26 / The Theoretical Deduction for the Chinese Case --- p.27 / Research Questions --- p.28 / Methodological Note --- p.28 / Chapter Chapter Three: --- A Re-Examination of Chinese Film Piracy Market --- p.32 / The Myth of Market Access --- p.32 / State Censorship Overlooked --- p.34 / The First-Release Obsession --- p.35 / An Internet Take-over? --- p.38 / Summary --- p.39 / Chapter Chapter Four: --- "In Search of the “Invisible"" Audience/Viewers" --- p.42 / The “Official´ح Audience --- p.42 / Chinese Film Audiences Re-Captured --- p.45 / Sketches on the ´بInvisible´ة Viewers --- p.51 / Conclusion --- p.56 / Chapter Chapter Five: --- Structural Analysis for Chinese Film Piracy Consumption --- p.58 / Chinese Piracy Viewers: An Idle Spare of the Nexus? --- p.58 / The Film Piracy Market in China --- p.61 / Summary --- p.63 / Chapter Chapter Six: --- A Brief History of Chinese Piracy Consumption --- p.67 / Video Hall (Mid-1980s to Mid-1990s) --- p.68 / Epoch of the Videodisc (Since mid-1990s) --- p.70 / Online Movie Forums and Blogs (1998-Present) --- p.73 / Online Social Networks of Cinephiles (2004-Present) --- p.76 / The Accompanying Print Media (1999-Present) --- p.78 / Conclusion --- p.82 / Chapter Chapter Seven: --- The Chinese Public Cine-Space --- p.83 / The Publicness of Piracy Viewing --- p.83 / A Public Cine-Space --- p.84 / Cultural Public Sphere: The Concept --- p.84 / The Chinese Internet --- p.85 / The Chinese Online Film Critics --- p.87 / The Chinese Public Cine-Space --- p.89 / A Trajectory of the Online Cine-Space --- p.90 / Mechanism towards Diversity --- p.93 / The Techno-Divide --- p.98 / Chapter Chapter Eight: --- Conclusion --- p.100 / Contributions --- p.100 / Historical Account of Chinese Film Piracy Consumption --- p.100 / Inclusive Model for Diversity of Cultural Market --- p.101 / Weaknesses and Future Suggestions --- p.103 / Final Remark --- p.106 / Appendix A --- p.108 / Bibliography --- p.111

In part three 'Women·Song and Dance-Vernacular' (chapter 5), I deploy film textual analysis, focused on one female image--the sing-song girl, and in this part, I try to identify the differences and similarities of soft film and Li's soft songs and dances. From the perspective of women and on the basis of comparison, I try to study the hybridity of Chinese vernacular in left-wing films. / In the first part 'Poems·Music·Vernacular' (chapters 1&2), I draw upon intermediary and interdisciplinary research methods, to analyse the interrelationship between Hu Shi's vernacular poems and Li Jinhui's popular songs. Focusing on Li Jinhui's musical practices from the May Fourth to the 1920s and the 1930s, I try to analyse and summarize the two key features of Chinese vernacular modernism: intertextuality and hybridity, characterised by the mixture of different cultures and discourses (including urban popular culture, intellectual high culture, official culture, traditional folk culture and so on), and the dialectical relations between body and sense and enlightenment and education ('Entertainment with Enlightenment', Yu Jiao Yu Le). / In the second part 'Vernacular·Songs·Sound films' consisting of two chapters (3&4) , I will analyse film magazines, such as Film Magazine (Yingxi zazhi), Movie Magazine (Dianying zazhi) and Modern Cinema (Xiandai dianying), film texts, such as Street Angel (Malu tianshi, Yuan Muzhi, 1937) The Big Road (Dalu, Sun Yu, 1934), Children of Trouble Time (fengyun er nuˇ, Xu Xingzhi, 1935), The New Year's Coin (Yasui qian, Xia Yan, 1937), etc., and I draw a picture of Chinese early cinema's vernacular scene, before and after the arrival of sound. Specifically, from the perspective of the musical tune and lyrics of film songs, I attempt to analyse the hybridity of Chinese vernacular embodied especially in left-wing films. / The dissertation has three main sections. / This dissertation is focused on analysing the film culture of Chinese early cinema from the perspective of sound, from 1930 to 1937. The theoretical development of this dissertation is based around the concept of vernacular modernism, proposed by Miriam Bratu Hansen and developed by Zhang Zhen. I will not simply borrow this theory but use it within a critical framework. I attempt to rethink its meanings in the Chinese context, and on this basis, I will propose a new account of early Chinese sound film's vernacular modern history. / 魏萍. / Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 262-267). / 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. / Abstracts in Chinese and English. / Wei Ping.