Yong Wai Ting. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 100-103). / Abstracts in English and Chinese. / Abstract --- p.i / 論文摘要 --- p.iii / Acknowledgements --- p.iv / Introduction --- p.1 / Chapter Chapter One: --- Literary Language Versus Film Language --- p.17 / Chapter Chapter Two: --- Cinematic Novels Versus Novelistic Cinema --- p.46 / Chapter Chapter Three: --- Film Adaptation: Transfer Versus Cinematic Reshaping --- p.73 / Work Cited --- p.100

by Chu Wing Ki. / Thesis submitted in: July 1997. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1998. / Filmography: leaves 216-219. / Includes bibliographical references (leaves 204-215). / Chapter Chapter 1. --- Introduction: Contemporary Nostalgia Films Understood in the Colonial Context of Hong Kong / Chapter I. --- opular Culture as an Arena ofublicarticipation --- p.2 / Chapter II. --- opular Culture and Colonialism --- p.14 / The Ambivalence of Colonialism --- p.14 / """Status-quo Imaginary"" as the Manifestation of Colonial Ambivalence" --- p.17 / Chapter i. --- Hong Kong in the late 60s --- p.21 / Chapter ii. --- Hong Kong in the 70s --- p.24 / Chapter iii. --- Hong Kong in the 80s and 90s --- p.30 / Popular Culture Understood in the Colonial Context of Hong Kong --- p.35 / Chapter III --- The Contemporary Mode of Nostalgia as Mediation of Colonialrocess --- p.38 / Nostalgia Films Understood inost-Colonial Context -- The Ambivalence of History --- p.38 / Chapter i. --- Nostalgia Films not Targetted towards the Rediscovery of History --- p.40 / "The Appropriation of History as a ""Laughable"" Other" --- p.43 / "The Substitution of History by ""Style""" --- p.47 / Chapter ii. --- Nostalgia Films' Evocation of a Free-Floating Signifier of Hong Kong Historical Identity --- p.50 / Nostalgia Films as a Context-Specific Articulation --- p.56 / Nostalgia Films as a Form of Disavowal --- p.59 / Outline of the Coming Chapters --- p.61 / Chapter Chapter2. --- Nostalgia and History --- p.66 / Chapter I. --- Rouge --- p.66 / The Construction of Nostalgic Effects --- p.67 / "“Sense of Loss"" as Identity Formation" --- p.72 / "Theast as a ""Split Object"" of Identification" --- p.75 / Pessimism as a Collective Empowerment --- p.84 / Chapter II. --- Center Stage --- p.88 / Interrogation of History --- p.89 / Pessimism as Empowerment -- Reification of History --- p.93 / The Ambivalence of History --- p.100 / Chapter III. --- Days of Being Wild --- p.103 / Interrogation of History:History and Subject Formation --- p.103 / """Internal Colonization"" and Fatalism" --- p.113 / "The Image of “Innocence""" --- p.116 / Conclusion --- p.121 / Chapter Chapter 3. --- Nostalgia and Urban Space --- p.124 / Chapter I. --- Nostalgia as a Critique of Urban Space --- p.124 / Chapter II --- Chungking Express --- p.131 / "Old Chinese Apartment as Site of “Re-enchantment""" --- p.133 / "The “Urban Spectacle"" -- Old Chinese Apartment as Reified Spatial Construct" --- p.140 / Chapter i. --- "The Traversed Space of ""Contemporariness"" and ""Pastness""" --- p.140 / Chapter ii. --- "The ""Openness"" of Old Chinese Apartment" --- p.147 / Old Chinese Apartment -- An Expression of Nostalgia? --- p.155 / Chapter III. --- "He ´ةs a Woman and She ´ةs a Man, C'est La Vie Mon Cheri，He and She" --- p.158 / "The “ Urban Spectacle""" --- p.158 / Chapter i. --- ositive Human Qualities --- p.158 / Chapter ii. --- A Historical Sense oflace --- p.163 / Chapter iii. --- Interior Design -- The Assertion of Urban Spirit of Change --- p.165 / Chapter iv. --- "Socially and Culturally ""Marginal"" Characters" --- p.167 / Urban Status-quo Imaginary and Cultural Identificationin Hong Kong --- p.170 / Old Chinese Apartment as Reified Spatial Construct --- p.174 / Chapter i. --- Thearadox of Attraction and Anxiety A Discourse ofrogress --- p.174 / Chapter ii. --- The Inscription of the Imperative of Advancement intohysical Surrounding --- p.179 / Chapter iii. --- "The “Urban Spectacle"" of Social Differences ""Cloaked"" Gestures of ´ب´بSubversion""" --- p.181 / Conclusion --- p.191 / Chapter Chapter 4. --- Conclusion: Nostalgia -- The Ambivalence of History --- p.194 / Chapter I. --- Optimism andessimism as Identity Formation --- p.194 / Chapter II --- The Commercialization of Nostalgia --- p.197 / Bibliography --- p.208 / Filmography --- p.220 / Appendix I-IX

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

Si l’œuvre littéraire de Maurice Maeterlinck suscite nombre de recherches, ses activités dans le domaine du cinéma sont moins connues et moins étudiées. La présente thèse, qui s’appuie sur les concepts de la sociologie de Pierre Bourdieu, entend combler une lacune en analysant la trajectoire de l’auteur dans le champ cinématographique pendant les années 1910 et 1920, c’est-à-dire la période où il manifeste le plus d’intérêt pour le cinéma. L’étude comprend trois analyses. La première concerne le point de vue de Maurice Maeterlinck, son entrée et son déplacement dans le champ cinématographique. L’auteur consacré dans son champ d’origine développe, dans le nouveau champ investi, des produits dérivés orientés vers le public élargi et diversifié. La deuxième analyse concerne les transformations du champ cinématographique et le point de vue des autres agents, en particulier celui des maisons de production et de distribution. Celles-ci insèrent les adaptations de l’auteur dans une série de produits plus ou moins standardisés, qui leur permettent de se situer dans le champ. La troisième analyse concerne quelques films et projets de films datant des années 1910 et 1920, liés aux œuvres littéraires de Maurice Maeterlinck, comme The Blue Bird (Maurice Tourneur, 1918). Aussi bien les composantes externes (par exemple, la mise en place du projet, la production ou l’exploitation) que les composantes internes (par exemple, la mise en scène ou l’éclairage) sont les indicateurs de la position de l’auteur et les indicateurs du fonctionnement du champ dans son ensemble. / The researches on the literary works of Maurice Maeterlinck are numerous but his activity in the cinema is less known and less studied. The PhD thesis is based on the concepts of the sociology of Pierre Bourdieu ;its purpose is to bring new information by analyzing the trajectory of the author in the cinematic field during the 1910s and the 1920s, when he is the most interested in the cinema. The study includes three analyses. The first one concerns Maurice Maeterlinck's point of view, his entrance and his movement in the cinematic field. The author who is recognized in his first field develops in the new invested field several products who are directed to the widened and diversified public. The second analysis concerns the transformations of the cinematic field and the point of view of the other agents, e.g. the houses of production and distribution. These houses insert the adaptations of the author into a series of more or less standardized products, which allow them to be situated in the field. The third analysis concerns some films and projects of films of the 1910s and the 1920s, adapted from the literary works of Maurice Maeterlinck (e.g. The Blue Bird, Maurice Tourneur, 1918). The external components (the organization of the project, the production or the exploitation) and the internal components (the direction or the lighting) indicate how the author is situated and how the field is organized. / Doctorat en Information et communication / info:eu-repo/semantics/nonPublished