Thesis (Ph.D.)--Murdoch University, 2005. / Thesis submitted to the Division of Arts. Bibliography: leaves 325-368.

台灣自2002年的電影《藍色大門》後，兼以青春成長和同性戀為主題的商業電影相繼出現。從相關電影文本分析可見，這類電影脫離以往媒體再現同性戀者的刻板印象，明朗清新的電影基調亦有別歷年華語同志電影的悲情和政治色彩，對華語同志電影類型作出了翻新。本論文採取導演深入訪談的研究方法，從電影工業及創作角度切入，指出台灣當時已然崩潰的電影工業環境、輔導金制度、同性戀題材不構成籌資困難，以及青春成長電影類型低成本的特性，均是這類華語同志電影特例出現的原因。由於電影強調同性戀和異性戀者的共同性，對同志的再現反而有所局限，本文認為，更恰當的同性戀再現應包含正面肯定性差異的態度。台灣青春同志電影的個案，讓我們了解作者在商業電影創作中注入個性遇到的各種困難，亦提供了認識「後新電影」重尋生存策略的視角，檢示和整理台灣走出新電影運動後長達二十年的低谷的經驗。 / Blue Gate Crossing (2002) marked the beginning of a series of coming-of-age films that dealt with homosexual subject matter in commercial Taiwanese cinema. Using the method of textual analysis, it is found that the basic tone of these films is light and refreshing, in contrast to the sad and political tone in previous generations of homosexual films. These coming-of-age films formed a new genre of Chinese-language homosexual cinema and a divergence from previous media representation of homosexual stereotypes. By conducting in-depth interviews with directors of these films and dissecting the creative process of production, it is found that the reasons for the appearance of this new genre include the collapse of Taiwanese cinema, the policy of government subsidies, the ease of securing funding and the low cost of producing coming-of-age films. It is also found that by emphasizing the similarities between homosexual and heterosexual relationships, these films created limitations for the representation of homosexuality. A more appropriate representation of homosexuality should include affirmation of sexuality differences.This special case of a coming-of-age homosexual genre reveals the difficulties faced by directors when they tried to add creative elements to commercial cinema, and provides insights into strategies for Post-New Cinema to survive. This study thus stands as an overview of how New Taiwan Cinema rebounded after its 20-year-long trough. / Detailed summary in vernacular field only. / 鍾嘉瑩. / Thesis (M.Phil.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 110-116). / Abstracts in English and Chinese. / Zhong Jiaying.

Thesis (Ph. D.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 302-317).

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

Teen films from the 1980s are a part of the zeitgeist, but there is very little we actually understand about how they can be qualified and defined, and about the phenomenon of their prolific production, box office success, and cultural relevance. Gaining greater insights about these issues is essential for recognizing the significance of a specific group of films and the ways they address concerns of how teens come of age, but is also important for learning about the films’ historical and industrial contexts of production. Asking the questions why these kinds of films, why at this time, and what do they mean, leads to an awareness and identification of the phenomenon, but additionally, these lines of inquiry explore how the films and their success are tied to changing Hollywood industrial conditions, and to the shifting political, economic, social, and cultural climate of the U.S. in the 1980s. While previous scholars have studied the industrial context of production of teen films in the 1950s, and some have looked at the different types of films produced in the 1980s, the matter remains as to whether teen films actually constitute their own genre. Examining this question of genre is necessary for clarifying a number of issues: how the films relate to the culture at large; how representations of youth on screen can help us understand and reevaluate Generation X, the demographic group coming of age at the time; and how an assessment of these films contributes to a re-conceptualization of the ways films are produced, marketed, and categorized in the New Hollywood. Using primary data consisting of textual analysis and contextual analysis, and applying both qualitative and quantitative methodologies, the study builds on and adds to previous approaches to genre. The contributions of this research are multifaceted. By gaining insights about these films, we can begin to appreciate more fully a maligned generation, the changing landscape of the entertainment industry, and a cultural phenomenon. / text

Chan, Pui Shan. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 113-118). / Abstracts in English and Chinese; appendixes includes Chinese. / Acknowledgements --- p.ii / Abstract --- p.iii / Chapter Chapter 1: --- The Political and Social Influence on the Development of Hong Kong Film Industry and the Cantonese Cinema in the 1950s and the 1960s --- p.1 / Chapter Chapter 2: --- Defining the Genre: Three Characteristics of Hong Kong Cantonese Youth Film --- p.24 / Chapter Chapter 3: --- The Functions and Characteristics of Song in Cantonese Youth Film --- p.53 / Chapter Chapter 4: --- The Modernity of Cantonese Cinema and the City (Hong Kong) --- p.87 / Chapter Conclusion: --- Hong Kong Cantonese Youth Film and the Construction of Identity --- p.104 / Appendix 1 --- p.107 / Appendix 2 --- p.109 / Appendix 3 --- p.111 / Bibliography --- p.112