周昌龍. / Thesis (M.A.)--香港中文大學硏究院傳播學部. / Manuscript. / Includes bibliographical references (leaves 1-7 (2nd group)). / Zhou Changlong. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan chuan bo xue bu. / Chapter 第一章 --- 研究說明 / Chapter 第一節 --- 問題和界說 --- p.1 / Chapter 第二節 --- 本研究的特點及研究範圍 --- p.8 / Chapter 第三節 --- 研究方法 --- p.11 / Chapter 第四節 --- 理論和界說 --- p.15 / Chapter 第三章 --- 香港電影的發展模式 / Chapter 第一節 --- 香港電影模式的特點 --- p.21 / Chapter 第二節 --- 香港政府對電影的態度 --- p.25 / Chapter 第三節 --- 香港電影的娛樂傾向 --- p.31 / Chapter 第四節 --- 電影在本地市場上的競爭 --- p.38 / Chapter 第五節 --- 香港暴力電影的發展歷史及其特質 --- p.51 / Chapter 第三章 --- 暴力電影產生的商業背景 --- p.83 / Chapter 第一節 --- 暴力電影的製作成本 --- p.83 / Chapter 第二節 --- 暴力電影的市場及賣座情況 --- p.93 / Chapter 第三節 --- 結論 --- p.104 / Chapter 第四章 --- 暴力電影的製作技巧和吸引力 --- p.112 / Chapter 第一節 --- 技術改良和暴力電影的發展 --- p.113 / Chapter 第二節 --- 導演怎樣使暴力電影更吸引觀眾 --- p.121 / Chapter 第三節 --- 結論 --- p.137 / Chapter 第五章 --- 暴力電影的執行製作者 / Chapter 第一節 --- 執和製作者在影片製作上的地位 --- p.141 / Chapter 第二節 --- 導演製作暴力電影的客觀因素 --- p.149 / Chapter 第六章 --- 總結 / Chapter 第一節 --- 傳播者對社會的責任 --- p.187 / Chapter 第二節 --- 香港暴力電影的市場競爭力 --- p.190 / Chapter 第三節 --- 香港電影事業的特殊發展環境 --- p.197

This dissertation shows the way in which movies, as a form of popular culture and contemporary medium, can be used as a tool for facilitating an alternatively impressionable approach in understanding social history in context, which can be complementary to the purely historical approach in conducting research in the field of heritage conservation. 6 representative post-war Hong Kong movies from the 1950’s to 2000’s are selected for discussion through textual analysis of key cinematic frames based on 5 specific criteria. The ‘cinematic reality’ of each is discussed against the ‘historical reality’ of the year of its release, so as to facilitate a contextual understanding of the social-economic, architectural-geographical and ideological-political conditions of Hong Kong for the past 5 decades. / published_or_final_version / Conservation / Master / Master of Science in Conservation

published_or_final_version / Comparative Literature / Doctoral / Doctor of Philosophy

published_or_final_version / Comparative Literature / Master / Master of Philosophy

published_or_final_version / Comparative Literature / Master / Master of Philosophy

Ho Wing Shan. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 112-117). / Abstracts in English and Chinese. / Chapter One: --- Introduction --- p.1 / Chapter Two: --- Cross-dressing and Gender/ Sexuality Conscious Hong Kong Cinema --- p.18 / Chapter Three: --- "A Queer Sexualized Subject ´ؤWing in He ´ةs a Woman, She ´ةs a Man and Who ´ةs the Woman, Who´ة s the Man" --- p.45 / Chapter Four: --- A Queer Transsexual Subject~Asia the Invincible in Swordsman 2 --- p.77 / Chapter Five: --- Conclusion --- p.108 / Bibliography --- p.112

Tsang, Chung-yan. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2003. / Filmography: p. 182-183. / Includes bibliographical references (leaves 184-189). / Abstracts in English and Chinese ; appendix also in Chinese. / ABSTRACT --- p.2 / 論文摘要 --- p.3 / ACKNOWLEDGEMENTS --- p.4 / CONTENTS --- p.6 / Chapter Chapter 1 --- Introduction / Chapter 1.1 --- Empirical Puzzles and Theoretical Concerns --- p.10 / Chapter 1.2 --- Overview of The Thesis --- p.17 / Chapter 1.3 --- Literature Review --- p.17 / Chapter 1.3.1 --- Understanding the Image Construction of the Minorities through Films / Chapter 1.3.2 --- How the Images of the Blacks Get Represented - Blacks' Imagesin Films / Chapter 1.3.3 --- How Women Get Represented under the Male Gaze 一 Gender Representations in Films / Chapter 1.3.4 --- Childhood ´ؤ A Socially Constructed Concept / Chapter 1.3.5 --- How the Child Images are Constructed? - Literature Related to the Construction of Child Images / Chapter 1.4 --- Theoretical Framework - Foucauldian Concepts in Understanding Child Images --- p.33 / Chapter 1.4.1 --- Double Marginalization - Children as Victims / Chapter 1.4.2 --- Disciplinary Power over Children - Children as Moral Agents / Chapter 1.4.3 --- The Multiple Network of Power - Children as Anonymous Objects / Chapter 1.4.4 --- Care of the Children - Children as Protagonists / Chapter CHAPTER 2 --- Methodological Design and An Overview of the Hong Kong Film Industry / Chapter 2.1 --- Casing the Films ´ؤ Introduction to Methodological Design --- p.44 / Chapter 2.1.1 --- Content Analysis / Chapter 2.1.2 --- Ideological Approach / Chapter 2.2 --- The Development of the Hong Kong Film Industry and Its Relatedness with the Changes of the Child Images --- p.51 / Chapter 2.2.1 --- Formative and Developing 50s Film Industry - Time for Exploration / Chapter 2.2.2 --- The Golden Year of the 60s Film Industry - Time for Early Harvest / Chapter 2.2.3 --- Discontinuity of the Prosperity of the Film Industry in the 70s - Time for Reconstruction / Chapter 2.2.4 --- Golden Years in Both 80s to 90s - Time For Innovation and Globalization / Chapter CHAPTER 3 --- Double Marginalization - Children as Victims / Chapter 3.1 --- Subordinating to the Adults ´ؤ Child Images as Sufferers in the Social Margin --- p.59 / Chapter 3.1.1 --- Great Devotion (1961) - Children in Extreme Poverty / Chapter 3.1.2 --- Father is Back (1962) -Two Siblings Struggled for Survival without Parental Care / Chapter 3.1.3 --- A Lily in the Storm (1962) ´ؤ A Boy Who was Mistreated by His Stepmother / Chapter 3.2 --- Acceptance for Children as a Separate Entity? ´ؤ An analysis of the Child Images in the Subordinating Context in Films --- p.66 / Chapter 3.3 --- Absence of Child Images in the 70s - A Turn of the Child Images --- p.74 / Chapter 3.4 --- Concluding Remarks --- p.78 / Chapter CHAPTER 4 --- Disciplinary Power over Children - Children as Moral Agents / Chapter 4.1 --- Sacrifice and Respect - The Typical Child Images in the1960s Melodramas --- p.81 / Chapter 4.1.1 --- Filial Piety (1960) - Children Sacrificing Themselves for the Family / Chapter 4.1.2 --- Filial Piety that Moves Heaven (1960) 一 Children Saved Their Parents through Adventurous Experience / Chapter 4.1.3 --- The Seven Kids (1961) - Appropriate Training for the Children to Become Independent / Chapter 4.1.4 --- Little Artists (1962) - Showing Respect and Gratitude to the Teacher / Chapter 4.2 --- Child Images as Moral Agents under the Influence of the Disciplinary Power --- p.87 / Chapter 4.3 --- "The Recurrence in the 1980s and Unapparent ""Moral Occult"" in the 90´ةs" --- p.94 / Chapter 4.3.1 --- Daughter and Father (1981) - Repaying the Indebtedness to the Adoptive Father / Chapter 4.4 --- Social Context for the Rise of the Child Image as Moral Agents --- p.98 / Chapter CHAPTER 5 --- Victimization and Objectification - Children as Anonymous Objects / Chapter 5.1 --- "Defining Objectification - Children were Objects Portrayed as ""Something""" --- p.101 / Chapter 5.1.1 --- Goodbye Mammie (1986) - How Orphans Led Their Life in the Orphanage / Chapter 5.1.2 --- All about Ah Long (1989) - An Dilemma for Children who were Placed between Parents / Chapter 5.1.3 --- The Story of my Son (1990) 一 To Show the Extreme Suffering of the Children / Chapter 5.1.4 --- The Son on the Run (1991) - A Child was Born without Father or Mother / Chapter 5.2 --- Objectification of Child Images 一 Hidden Power over the Fate of Children --- p.114 / Chapter 5.3 --- Concluding Remarks --- p.122 / Chapter CHAPTER 6 --- Weapons of the Weak - Children as Protagonists / Chapter 6.1 --- Introduction to the Films Selected --- p.124 / Chapter 6.1.1 --- Siu Chong Yuen (1961 - The Child who Judged the Critical Moment / Chapter 6.1.2 --- "Little Detective (1963) - Adult Mind, Child Body" / Chapter 6.1.3 --- "Daddy, Father, Papa (1991) - The Hong Kong Version of Home Alone" / Chapter 6.2 --- How Children Empower Themselves? --- p.135 / Chapter 6.2.1 --- Sporadic Show Time for Children / Chapter 6.3 --- "Room for Having Dialogue, Resistance and Subversion ´ؤ How Children were Portrayed as Protagonists" --- p.140 / Chapter 6.3.1 --- A Protagonist - Direct Dialogue and Resistance to Redefine the Boundary / Chapter 6.4 --- Concluding Remarks - Complex Relational Network of Power --- p.144 / Chapter CHAPTER 7 --- Conclusion / Chapter 7.1 --- Four Categories - How Children were Getting Represented in the Hong Kong Films --- p.147 / Chapter 7.1.1 --- Children as Victims / Chapter 7.1.2 --- Children as Moral Agents / Chapter 7.1.3 --- Children as Anonymous Objects / Chapter 7.1.4 --- Children as Protagonists / Chapter 7.2 --- What is More? --- p.151 / Chapter 7.2.1 --- A Possible Supplement for the Foucauldian Framework / Chapter 7.2.2 --- Theorizing the Construction of Child Images ´ؤ A Reconsideration of the Hong Kong Cultural Studies for Adding in the Age Dimension / Chapter 7.2.3 --- A Call for Reconsideration - The Predicament of the Current Hong Kong Cultural Studies / Chapter 7.2.4 --- The Need for Inserting the Age Dimension in Cultural Studies / APPENDICE --- p.162 / FILMOGRAPHY --- p.181 / REFERENCES --- p.183

published_or_final_version / Comparative Literature / Master / Master of Philosophy

No description available.

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