Thesis (Ph.D.) - University of St Andrews, June 2008.

A research report submitted to the faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts, Wits University, Johannesburg, 2017 / In blackface colonial history, “amusing” white blackface performances that depicted black people as the “natural born fool” were popular with white audiences during a time when whites perceived their racial superiority to be threatened. In Post-1994 South Africa, white supremacy is no longer an uncontested “fact”. As a result, white identities that are premised on “old” legislated notions of racial superiority are made insecure by perceived threats posed against whiteness. The previously disenfranchised and excluded black is now the central focus of South African power and politics and the loss of white centrality creates the “victim” perception that all post-apartheid societal pressures and changes are put on, and against whites. Their power has been “confiscated” and thereby no longer unique to white identity. Blackface is utilised by Leon Schuster in the post-apartheid film, Mama Jack (2005) to reproduce old ideologies of whiteness that remind viewers of its presence, privilege and power. As in the colonial past, it is through the principle white character Jack Theron and his mobilisation of blackface that white supremacy remains intact throughout the film. / XL2018

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

Thesis (Ph. D.)--University of Chicago, Dept. of English Language and Literature, August 2001. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--Open University. BLDSC no. DX213068.

Thesis (Ph.D.)--University of Wollongong, 2005. / Typescript. Includes bibliographical references: p. 351-380.

Bollywood cinema continues to evolve. As a result, it has become a transnational/cultural role player for Indian audiences worldwide. There has always been a strong link between Bollywood cinema and Indian society. Over the years, it has contributed to the dialogue on women’s roles and position in Indian society. In the past, Bollywood filmmakers were faithful to representations of women who were bound by patriarchal structures in the sense that they were expected to be loyal to ancient Indian traditions and belief-systems. Based on the increase in Indian migration, contemporary Bollywood filmmakers are now catering to the demands of the Indian diaspora and therefore, a more global market. The impact of transnationalism on the representation of women in many Bollywood films has further added to the creation of open spaces for the Bollywood heroine. In this regard, the films of auteur director Karan Johar are valuable because they provide audiences with material that suggests re-thinking patriarchal structures in a transnational world. This study will examine the representation of women in three selected films of Johar within the framework of feminist theory (Indian context). The impact that transnationalism has had on the Indian diaspora and the manner in which this translates into the narratives and representations of female characters in Bollywood films will be discussed. / Afrikaans & Theory of Literature / D. Litt. et Phil. (Theory of Literature)

This thesis seeks to interpret the cinematic representations of Hong Kongers’ identity quest during a transitional state/stage related to the sovereignty transfer. The Handover transition considered is an ideological one, rather than the overnight polity change on the Handover day. This research approaches contemporary Hong Kong cinema on two fronts and the thesis is structured accordingly: Upon an initial review of the existing Hong Kong film scholarship in the Introduction, and its 1997-related allegorical readings, Part I sees new angles (previously undeveloped or underdeveloped) for researching Hong Kong films made during 1982-2002. Arguments are built along the ideas of Hong Kongers’ situational, diasporic consciousness, and transformed ‘Chineseness’ because Hong Kong has lacked a cultural/national centrality. This part of research is informed by the ideas of Jacques Derrida, Homi Bhabha and Stuart Hall, and the diasporic experiences of Ien Ang, Rey Chow and Ackbar Abbas. With these new research angles and references to the circumstances, Part II reads critically the text of eight Hong Kong films made during the Handover transition. In chronological order, they are Boat People (Hui, 1982), Song of the Exile (Hui, 1990), Days of Being Wild (Wong, 1990), Happy Together (Wong, 1997), Made in Hong Kong (Chan, 1997), Ordinary Heroes (Hui, 1999), Durian Durian (Chan, 2000), and Hollywood Hong Kong (Chan, 2002). They meet several criteria related to the undeveloped / underdeveloped areas in the existing Hong Kong film scholarship. Hamid Naficy’s ‘accented cinema’ paradigm gives the guidelines to the film analysis in Part II. This part shows that Hong Kongers’ self-transformation during transition is alterable, indeterminate, and interminable, due to the people’s situational, diasporic consciousness, and transformed ‘Chineseness’. This thesis thus contributes to Hong Kong cinema scholarship in interpreting films with new research angles, and generating new insights into this cinematic tradition and its wider context.

Bollywood cinema continues to evolve. As a result, it has become a transnational/cultural role player for Indian audiences worldwide. There has always been a strong link between Bollywood cinema and Indian society. Over the years, it has contributed to the dialogue on women’s roles and position in Indian society. In the past, Bollywood filmmakers were faithful to representations of women who were bound by patriarchal structures in the sense that they were expected to be loyal to ancient Indian traditions and belief-systems. Based on the increase in Indian migration, contemporary Bollywood filmmakers are now catering to the demands of the Indian diaspora and therefore, a more global market. The impact of transnationalism on the representation of women in many Bollywood films has further added to the creation of open spaces for the Bollywood heroine. In this regard, the films of auteur director Karan Johar are valuable because they provide audiences with material that suggests re-thinking patriarchal structures in a transnational world. This study will examine the representation of women in three selected films of Johar within the framework of feminist theory (Indian context). The impact that transnationalism has had on the Indian diaspora and the manner in which this translates into the narratives and representations of female characters in Bollywood films will be discussed. / Afrikaans and Theory of Literature / D. Litt. et Phil. (Theory of Literature)

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