As the twentieth century ended with globalization and commercialization, popular culture begins to challenge the dominance of national culture. The Chinese intellectual community tries to defend national culture against the incoming global culture and local cultures. The conflicts between localism and nationalism, and also between globalism and nationalism, are clearly demonstrated in the Hero phenomenon, which basically concerns the unanimous disparagement on director Zhang Yimou's debut martial arts film Hero within the Chinese critics' circle. Through a discursive analysis of the phenomenon, we can see how the conflicts between modernism and postmodernism, between elitism and commercialism shape the landscape of contemporary Chinese culture. In this article, I first seek to understand how modernism evolved into nationalism in China during the last century and what role the intelligentsia played in the process of such evolvement. I further seek to understand why the intellectual community has distaste for popular culture and commercialism. Other research on this topic has linked nationalism to national culture, and localism and globalism to popular culture.

No description available.

This thesis examines variations of the Chinese ‘combat film’, from its origins within cinema in 1949, through to the contemporary period. My argument transposes the critical approach of ‘genre’, as a popular style within conventional film criticism, to a specific Chinese form. In particular, this study investigates the ‘combat film’ as a prevailing mode in Chinese cinema, with a particular history, form of progression and set of aesthetics. The argument initially applies the ‘war film’ and ‘combat genre’ categorisations to Chinese forms. Consequently three major variants emerge, manifest in the ‘regulated’ (1949-1966), ‘reformed’ (1980s) and ‘renewed’ (1990s) styles, respectively. These modes are subsequently examined in rigorous narratological and cinematic contexts, resulting in an expanded conception of the Chinese ‘combat’ film. This thesis offers an integrative appreciation of variegations of the Chinese ‘combat film’ since 1949, sutured to wider discursive and socio-political changes within the country. Moreover, this argument produces a framework for a more expansive and complex comprehension of Chinese cinema, one undergoing continual modes of re-negotiation as the medium progresses into the Twenty First Century.

No description available.

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

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

Loi, Ho Man. / "August 2011." / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references. / Abstracts in English and Chinese. / Acknowledgement --- p.iii / Abstract (English and Chinese) --- p.iv / Note on Transcription --- p.vi / Table of Contents --- p.vii / Introduction --- p.1 / Chapter Chapter One: --- National Allegory of Aesthetics? Narrative Cinema as a Standstill Image in Hong Kong Film Scholarship --- p.11-54 / Chapter ´ؤ --- Hong Kong Narrative Cinema as Allegory and Aesthetics --- p.15 / Chapter ´ؤ --- Ringo Lam and Crisis Cinema Revisited --- p.44 / Chapter Chapter Two: --- "Mobilization of Narrative and Spectacle in Hong Kong Cinema: The Image of the ""Depressive Hero"" in the Work of Ringo Lam" --- p.55-99 / Chapter ´ؤ --- Narrative and Spectacle in Hong Kong Film Studies --- p.56 / Chapter ´ؤ --- "Ringo Lam and the Screening of ""Depressive Heroes"" in Cinema" --- p.68 / Chapter Chapter Three: --- "Jerking Tear, Shedding Blood: The Genre of ""Heroic Bloodshed"" as Melodrama in Hong Kong Cinema" --- p.100-133 / Chapter ´ؤ --- Melodrama and Its Vicissitudes in Film Studies --- p.102 / Chapter ´ؤ --- "The Mystery of Yi: The Melodramatic Nature of the Genre of ""Heroic Bloodshed""" --- p.116 / Chapter Chapter Four: --- Thou Shalt Love Thy Neighbour as Thy Son: Prison on Fire (1987) below the Lion Rock --- p.134-163 / Chapter ´ؤ --- Let There be Friendship as Light in Prison --- p.135 / Chapter ´ؤ --- "Visualities as Biopolitics in the Genre of ""Heroic Bloodshed""" --- p.148 / Chapter Chapter Five: --- No Bloodshed after Tiananmen: Full Alert (1997) and the Postmodern Dialectic of Stability and Prosperity --- p.164-198 / Chapter ´ؤ --- Melodramatic Pathos and Action Revisited in Full Alert --- p.166 / Chapter ´ؤ --- Full Alert as False Alarm: The Stable Prosperity of Postmodern Hong Kong --- p.180 / Chapter ´ؤ --- "Excursus/Excursion: Hong Kong Cinema after ""Heroic Bloodshed""" --- p.191 / Conclusion --- p.199 / Bibliography --- p.229 / Filmography --- p.247

published_or_final_version / Urban Planning / Master / Master of Science in Urban Planning

Dominic Yuk-Yu Yung. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1991. / Bibliography: leaves 105-6. / Chapter 1. --- Focus of The Study --- p.3 / Chapter 2. --- Theoretical Perspectives --- p.16 / Chapter 2.1 --- On Cultural Studies --- p.18 / Chapter 2.2 --- On Culture Indicators --- p.21 / Chapter 2.3 --- On Synbolic Interactionism --- p.22 / Chapter 2.4 --- Realism/Formalism in Film Studies --- p.24 / Chapter 3. --- Hypotheses --- p.30 / Chapter 4. --- Research Method And Its Operationization --- p.35 / Chapter 4.1 --- Target Films and Data-sheet --- p.38 / Chapter 4.2 --- Interviews --- p.43 / Chapter 5. --- Findings --- p.47 / Chapter 5.1 --- Describing Background and Storyline Data --- p.48 / Chapter 5.2 --- Testing Hypothesis --- p.55 / Chapter 5.21 --- Testing Hypothesis H[1] --- p.55 / Chapter 5.22 --- Testing Hypothesis H[2] --- p.57 / Chapter 5.3 --- Adaptation/Acceptance by Sex --- p.60 / Chapter 6. --- Discussions And Observations --- p.64 / Chapter 6.1 --- """From Rivalry to Accomodation"" - A Necessary Passage to Integration" --- p.65 / Chapter 6.2 --- Adaptation and Acceptance of Female Samples --- p.69 / Chapter 6.3 --- Overall Remarks For Each Character --- p.72 / Chapter 7. --- Conclusion --- p.75 / Chapter Appendix I --- Research Papers & Studies on New Immigrants in HK since1982 --- p.80 / Chapter Appendix II --- 53 Target Films on Mainlanders Between1980-1990 --- p.82 / Chapter Appendix III --- Data-Sheet --- p.85 / Chapter Appendix IV --- Coding Sheet (Answers to Data-Sheet) --- p.92 / Chapter Appendix V --- 40 Target Films as Sample Films for the Study --- p.95 / Chapter Appendix VI --- 32 Sample Films --- p.98 / Chapter Appendix VII --- Box-Office Records Comparison: Sample Films & Top5 --- p.100 / Bibliography --- p.105 / Acknowledgement --- p.107

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