薛婷. / 論文(碩士) -- 香港中文大學硏究院傳播學部, 1995. / 附參考文獻. / Xue Ting. / Chapter 第一章 --- 引言 / Chapter 1. --- 硏究背景 --- p.1 / Chapter 2. --- 硏究方法 --- p.2 / Chapter 3. --- 論文結構 --- p.2 / Chapter 第二章 --- 理論依據 / Chapter 1 . --- 政治經濟學 --- p.4 / Chapter 2. --- 媒體的政治經濟學 --- p.11 / Chapter 3 . --- 理論的啓示 --- p.18 / Chapter 第三章 --- 中國的政經環境和媒體的關係 / Chapter 1 . --- 中國政治經濟互動關係的運作背景 --- p.20 / Chapter 2 . --- 中國政治經濟和媒體作爲政治宣傳工具的轉變 --- p.28 / Chapter 3 . --- 分析架構硏究方法 --- p.31 / Chapter 第四章 --- 中國電影的本質、管理體制和思想指導 / Chapter 1 . --- 中國電影本質的歷史發展 --- p.36 / Chapter 2 . --- 電影的管理體制和指導思想 --- p.43 / Chapter 第五章 --- 中國電影的發展和互動 / Chapter 1. --- 電影事業的槪況 --- p.52 / Chapter 2 . --- 政經互動和電影發展的歷史關係 --- p.59 / Chapter 3. --- 電影事業的矛盾論 --- p.78 / Chapter 4 . --- 小結：政治´ؤ電影發展的重擔 --- p.91 / Chapter 第六章 --- 北京電影制片廠--個案硏究 / Chapter 1. --- 系統內尋求適應的組織 --- p.96 / Chapter 2. --- 硏究假設和方法 --- p.97 / Chapter 3. --- 政經環境變化和北京電影廠的發展 --- p.100 / Chapter 4. --- 小結 --- p.134 / Chapter 第七章 --- 總結和討論 / Chapter 1. --- 電影事業自主權和組織變化 --- p.139 / Chapter 2. --- 電影事業發展和政府控制 --- p.140 / Chapter 3. --- 矛盾中尋求平衡的電影事業 --- p.142 / Chapter 4. --- 硏究啓示 --- p.144 / 附表二 ： 電影類型編碼定義 / 附表二 ： 北京電影制片廠電影生產年表(1979-1994) / 參考書目

published_or_final_version / abstract / Humanities / Doctoral / Doctor of Philosophy

by Cheng King-hung. / Bibliography: leaves 205-211 / Thesis (M.Ph.)--Chinese University of Hong Kong, 1986

No description available.

Chan, Siu-han. / Thesis submitted in: July 2004. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 184-193). / Abstracts in English and Chinese. / ABSTRACT --- p.i / 論文摘要 --- p.ii / ACKNOWLEDGEMENTS --- p.iii / CONTENTS --- p.v / INTRODUCTION / Chapter 1.1 --- Empirical Puzzles and Theoretical Concern --- p.1 / Chapter 1.2 --- The Cultural Scene in Hong Kong --- p.5 / Chapter 1.3 --- Defining the New Wave Cinema --- p.8 / Chapter 1.4 --- The Objectives of the Thesis --- p.12 / Chapter Chapter 2 --- In Quest of Theoretical Perspective and Analytical Framework / Chapter 2.1 --- Existing Studies of the New Wave Cinema --- p.13 / Chapter 2.2 --- The Study of Popular Culture in Hong Kong --- p.21 / Chapter 2.3 --- Culture Industry: The Approach of the Frankfurt School --- p.28 / Chapter 2.4 --- The Elective Affinity of Culture Industry with Hong Kong Society --- p.33 / Chapter 2.5 --- Analytical Framework --- p.36 / Chapter Chapter 3 --- The Anxiety of Political Subjectivity / Chapter 3.1 --- Prelude --- p.45 / Chapter 3.2 --- The Perturbed Hong Kong People --- p.50 / Chapter 3.3 --- The Hong Kong Diaspora --- p.57 / Chapter 3.4 --- The Negative Projection on the Colonizers --- p.60 / Chapter 3.5 --- The Ambivalence Towards the Motherland´ؤChina --- p.66 / Chapter 3.6 --- Discourse on Political Modernization: The Anxiety of Political Subjectivity --- p.86 / Chapter Chapter 4 --- The Contradiction of Societal Modernization / Chapter 4.1 --- Prelude --- p.89 / Chapter 4.2 --- Looking back at the Pre-modernized Social Order --- p.91 / Chapter 4.3 --- Rethinking the Entanglement of the Old and the New --- p.102 / Chapter 4.4 --- Representing the Modernized New Social Order --- p.110 / Chapter 4.5 --- Discourse on Societal Modernization: The Contradiction of Societal Modernization --- p.123 / Chapter Chapter 5 --- The Fragility of Hong Kong Cultural Identity / Chapter 5.1 --- Prelude --- p.126 / Chapter 5.2 --- Historical Memories as Cultural Receptacles --- p.128 / Chapter 5.3 --- The Spatialized Cultural Consciousness --- p.136 / Chapter 5.4 --- Urbanism as the Quality of Hong Kong society --- p.144 / Chapter 5.5 --- The Chinese Tradition in Present Day Hong Kong --- p.151 / Chapter 5.6 --- The Hybridized Everyday Popular Culture --- p.157 / Chapter 5.7 --- Discourse on Cultural Modernization: The Fragility of Hong Kong Cultural Identity --- p.164 / CONCLUSION / Chapter 6.1 --- The Planned Tragic Vision in Culture Industry --- p.167 / Chapter 6.2 --- The Aestheticization of Social Reality in Culture Industry --- p.171 / Chapter 6.3 --- The Demise of the New Wave Cinema in Hong Kong Culture Industry --- p.178 / New Wave Cinema: A Listing --- p.182 / REFERERNCES --- p.184

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

Tam Wai Wan Vivian. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 231-233). / Abstracts in English and Chinese. / Chapter 1 --- Orientation to Domestication --- p.1 / Chapter ´Ø --- Literature Review and Methodology --- p.6 / Chapter ´Ø --- "Popular Culture, Cultural Identity and Discourse" --- p.7 / Chapter ´Ø --- Textual Analysis and Interview --- p.13 / Chapter ´Ø --- "Ideology, Discourses and Domestication" --- p.19 / Chapter 2 --- Introduction to the Four Discourses --- p.40 / Chapter 3 --- Chow Yun-fat's Subversive Past --- p.46 / Chapter 4 --- Domesticating Chow on TV Ads --- p.62 / Chapter 5 --- Taming Chow Yun-fat on Paper --- p.83 / Chapter 6 --- Overview to Reception Analysis --- p.105 / Chapter 7 --- Newfound Pride in Chow Yun-fat --- p.114 / Chapter ´Ø --- Upper-middle Class' Actualizing Actor --- p.114 / Chapter ´Ø --- Small Business Owners' Actor of Class --- p.127 / Chapter 8 --- Colonization or Rejuvenation of the Grassroot Chow Yun-fat --- p.141 / Chapter ´Ø --- Colonizing the Secure Working Class --- p.151 / Chapter ´Ø --- Revitalized Admiration by the Cultured Middle Class --- p.158 / Chapter 9 --- Disenchantment and Alienation of the Insecure Working Class 一 A Chow Yun-fat beyond Survival --- p.168 / Chapter 10 --- Conclusion --- p.192 / Appendix 1: Sample of Interview Questions --- p.197 / Appendix 2: Selected Frames and Shot-by-shot Analysis of Chow Yun-fat Advertisements --- p.198 / Appendix 3: Chow Yun-fat's Filmography --- p.229 / Bibliography --- p.231

published_or_final_version / Comparative Literature / Master / Master of Philosophy

published_or_final_version / Comparative Literature / Master / Master of Philosophy

This dissertation considers Hollywood film locales rhetorically, as the site of many different kinds of community activities and perspectives. In particular, my focus will be on locales and mise-en-scene elements that replicate certain "chronotopic" patterns of time and space organized by our culture in its literature. These special patterns, along with their signifying functions, were first outlined by Mikhail Bakhtin during the period 1937-1938. As a first step, I begin with a broad survey, outlining the salient features of Bakhtin's individual chronotopes ancient and modern, and considering fundamental connections between these chronotopes and classical Hollywood genres of the 1940s. I devote my second chapter to the exploration of other important theoretical bases of Bakhtin's work; in particular, to the belief in the rejuvenating power of folk language and the carnivalesque. My argument is that the "idyllic chronotope" is given the same position of centrality in Bakhtin's discussions of space and time as carnivalesque speech genres are in his discussions of language. The appearance of an "idyllic interlude" in a work of literature or in a film can suddenly throw the rest of the represented world into moralizing "perspective" just as a carnivalesque insult or quip can "degrade" a high-sounding speech. My third theoretical problem will be the reception and processing of the film text. How does the audience of a film apply their socially-formed schema and knowledge of the characters' "situations" to a film text in order to construct meaning? Here I demonstrate how the "high-lighting" of a film text with recognizable chronotopes can help an audience to form judgments about characters and to construct analogies between character situations and situations arising in their own communities. In my fourth and final chapter, I branch out from Bakhtin's models to consider new chronotopes as they may develop during a particular historical decade. Specifically, I examine the representation of the "shopping mall" as it appears throughout a dozen or so 1980s films in order to show how the spatiotemporal worlds suggested by these films can be "opened out" into a study of teen culture and social mores across the decade as a whole.