本論文旨在以「作者論」來觀察導演蔡明亮作品，進而發現其電影中所隱含的「現代性」。在進入導演所經營的電影場域之前，先行從文獻中了解現代性起源與特質，由於現代性經驗範圍十分廣泛，為免後續分析過於零散，在此將現代性經驗侷限於現代化後對於「環境」、「時空」、「人際關係」、「家庭倫理」、「個人情欲」等影響。 緊接著現代性經驗與特質之後，再從現代主義等文藝活動，說明「現代性」與現代主義電影關係，並思考蔡明亮作品在台灣現代主義所處版圖位置。從現代性起源，現代主義、一直到現代主義電影，論文主體建構在社會學基礎上，並旁及當代現代性文藝創作。 理論基礎確立後，旋進入以「作者論」為主的論述。在蔡明亮成長過程中，馬來西亞故鄉生長經驗與台北異鄉漂泊經驗均對其作品產生某種程度影響，而他大學時期的劇場演出更預示日後創作；了解導演個人的生平事略後，再回歸電影文本，從「環境」、「時空」、「人際關係」、「家庭倫理」、「個人情欲」等之前探討的現代性議題著手，從中探討蔡明亮電影中隱含的現代性議題。 在「環境」、「時空」兩節中發現，在蔡明亮影片中不時出現劇中人以「漫遊」穿梭過城市，而這□的城市也如同黑色電影般呈現出陰鬱不明。兩者互相搭配下，漫遊者在漫遊間讓己身與城市脫軌，在「不存在」中進而感受到城市的存在，而這樣的存在又建立在蔡明亮以燈光、聲音、影像所建立的陰鬱城市。 「人際關係」、「家庭倫理」、「個人情欲」等後續分析，觀察到其作品中三者關係密切，個人情欲的壓抑與人際疏離有關，而這一切卻又和家庭變革不可分離，交互影響下進而呈現出現代人面臨無助與寂寞。 研究結果發現，自《青少年哪吒》（Rebels of the Neon God）以來，蔡明亮的作品，外在時空總是支離破碎；而在內在的情感表達上，家庭內部則是充滿紛爭、人與人之間無法真正溝通，而藉著多元的情欲表達，更呈現出個人存在的荒謬。 而在電影語言上則可歸納敘事薄弱（poor narrate）、不重視電影配樂及強調長鏡頭跟拍（long shot）等特點，綜合以上種種特質。他電影呈現類似安東尼奧尼（Michelangelo Antonioni）等現代主義電影風格，更表現出急速現代化下，人與人之間無助的疏離感。 / The present paper aims to survey the films directed by Ming-Liang Tsai from the perspective of auteur theory, and to explore the modernity concealed in the films. The research will introduce the auteur theory first in the first chapter. Before entering the discussion on Tsai’s films, the second chapter will examine the origin and specialties of the modernity from the literatures. To avoid the following discussions being too fragmentary, the experiences of the modernity in this paper are emphasized on the analyses of “the environment”, “time and space”, “interpersonal relation”, “the family ethics”, and “the private sex”. Next, the paper explains the relationship between modernity and modernism film with modernism and other art activities, and tries to locate Ming-Liang Tsai’s films on the domain of modernism. The explanation is based on the sociology theory, modernity literature and art activities, stretching from the origin of the modernity, the modernism, to the modernism films. The third chapter will focus on Tsai’s growing-up in Malaysia and most of the adulthood in Taipei. The special experience has exerted some degree of influences on his films. Tsai’s participation in theater performance in college also helps his later creative works. With these understandings of the director, this paper traces back to the context of Tsai’s films and attempts to explore the modernity in his films from the points of “the environment “, “time and space”, “interpersonal relation”, “the family ethics”, and “the private sex” respectively. In analyses of “the environment” and “time and space” in Tsai’s films, the characters are found to wander all the time through the city as gloomy as in film noir. Such a wandering makes these characters deviate from the city and further aware of the city – a typical Tsai’s city that is designated to be so dim and depressing by stage light, sound and images. The following chapter will analyze “interpersonal relation”, “the family ethics”, and “the private sex” in Tsai’s films – It starts with the relevance of the alienation from the society and the depression of the private sex. Such relevance can in turn be attributed to the reform of modern household. – With these interactive elements, Ming-Ling Tsai expresses the helpless and loneliness of modern people. In the final chapter, the research has a summary about Tsai’s works. Most of his films can be characterized by an external appearance of incoherent time lines and environmental settings and an internal expression of struggles inside the family as well as failures of the connection to other people since the movie “Rebels of the Neon God”. Moreover, the complicated sensual encounters running through the movies demonstrate the absurdity of individual existence. In addition, poor narrations, an ignorance of incidental music and an emphasis of long shots can be seen as a common language employed in his movies. The integration of these elements in his movies manifests a modernist style like those films directed by Michelangelo Antonioni and further displays the desperate alienation between people in the speeding modernization.

作為本論文的研究對象，許鞍華在電影界成就無容置疑。惟有關她的學術研究和著作，在數量上寥可所涉攝範圍亦未見全面；後現代語境對主體的抗拒下，許鞍華的電影作者(auteur)往在研究中遭忽略或迴避，抺殺她作為女性電影者的可能 。這反映出女性導演在主流電影建制和論述中長期被邊緣化的現象。本論文目標，是冀在填補「許鞍華研究」上的空白， 並推進女性電影作者之討論。 / 本論文借用晚期傅柯的倫理主體概念和生存美學作為思考工具，嘗試走出傳統電影作者論和女性電影作者論對主體乃座落於電影作品或觀影者中的的觀點， 運用新主體工具帶動思考的轉向， 在建立女性電影作品中，對女性主體規範、性道德及國族身份的真理遊戲予以問題化，進行反思、批判挑戰以至顛覆自我技術 （technologes of the self ）力圖塑造出一個歷史的、在地流動和停存活於構成狀態中倫理主體。在這個脈絡下，許鞍華電影作品中的延續性和差異，成為了她這倫理電影作者當下的、在地歷史和文化結構中， 於電影實踐這場域所進行修工夫，在宏大的權力和知識網絡中，轉化自我與我的主體關係，邁向傅柯式的自我實踐生存美學。 / Being one of the most renowned and established film directors in Hong Kong, film critics and researchers often show ambivalence in recognizing Ann Hui as an Auteur, which is usually based on the lack a consistent body of themes, techniques and genres observed in Ann Hui’s work. To further complicate the recognition of Ann Hui as an Auteur, more specifically a female auteur, are the tensions between anti-essentialism and naïve humanism on one hand, and the advent of postmodernism’s critique against the Subject on the other. This study sets out to address the marginalization of Ann Hui as a female director in both the film industry and film studies, and seeks to provide theoretical tools for the constitution of agency of a female auteur from the perspective of the Foucauldian thoughts on ethical subjectivity and aesthetics of existence. / With a view of achieving a historical rather than ahistorical, a multiple rather than unified, and both as a constituted as well as constituting subject in light of Foucault’s ethical subjectivity, this study challenges the beliefs held by contemporary Auteur theory and feminist auteur theories that film authorship is only located within the repertoire of a film director as signature, or as the reading strategy of the audience. By drawing on the idea of ascesis (askēsis) - a work on oneself which aims at intensifying and transforming one’s relation to oneself - discussions are highlighted in how Ann Hui makes use of film productions as self-practices to reconstitute her own relation with film authorship. This study argues that Ann Hui problematizes the game of truth (jeux de verité) of the hegemonic Auteur that she has been subjugated to, and actively makes herself the subject of an alternative female authorship, with an emphasis on her own personal visions. Through analyzing how this evasive stance further drives Ann Hui's problematization in rethinking, criticizing, challenging or even subverting other games of truth, especially in her ongoing interrogations of the female subject, sexual subject and national identity through the technologies of the self, this study establishes the ways Ann Hui seeks to progress towards the “art of existence by transforming her relations with these rules of conduct, and making her life as a work of art that carries specific aesthetic values and meets distinctive stylistic criteria. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 林婉雯. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 358-385). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Lin Wanwen. / Chapter 第一章 --- 緒論 / Chapter 第一節 --- 研究動機：為什麼在乎女性電影作者？為什麼是許鞍華 --- p.1 / Chapter 第二節 --- 研究背景：電影作者主體的問題化用及思考客體成形 --- p.11 / Chapter 第三節 --- 研究方法及論文架構 --- p.36 / Chapter 第二章 --- 晚期傅柯 「倫理主體 」的啟示 / Chapter 第一節 --- 傅柯的主體觀：不是回歸，從來就是主體 --- p.47 / Chapter 第二節 --- 主體和真理遊戲 ：「知識」、 「治理 」和「主體化過程」 --- p.54 / Chapter 第三節 --- 自我技術和自我關懷：主體與生存美學 --- p.63 / Chapter 第四節 --- 小結 --- p.77 / Chapter 第三章 --- 許鞍華的女性電影作者倫理主體（一）：「我（不）是電影作者」 --- p.84 / Chapter 第一節 --- 重拾遺落的碎片：電影作者論在香港構成條件 --- p.85 / Chapter 第二節 --- 「電影作者 」的真理 遊戲 ：許鞍華電影作者身份論述 --- p.118 / Chapter 第三節 --- 集體創作中的自主創造： 《得閒炒飯》的實地觀察 --- p.140 / Chapter 第四節 --- 小結 --- p.166 / Chapter 第四章 --- 許鞍華的女性電影作者倫理主體（二）：電影實踐作為自我技術的工夫場域 --- p.170 / Chapter 第一節 --- 「我她是誰？」：女性主體的真理遊戲 --- p.175 / Chapter 第二節 --- 馴服與抵抗：性道德規範的真理遊戲 --- p.250 / Chapter 第三節 --- 何處是吾家：民族和家國的真理遊戲 --- p.281 / Chapter 第四節 --- 小結 --- p.328 / Chapter 第五章 --- 結論 / Chapter 第一節 --- 「屈從」下的不服從：許鞍華女性作者倫理主體 --- p.335 / Chapter 第二節 --- 研究特色與貢獻 --- p.340 / Chapter 第三節 --- 前瞻：未完成的方案和可持續發展 --- p.349 / 附錄 --- p.351 / 參考文獻 --- p.358

Music video is an intriguing genre of television due to the fact that music drives the images and ideas found in numerous and varied examples of the form. Pre-recorded pieces of pop music are visually written upon in a palimpsest manner, resulting in an immediate and entertaining synchronisation of sound and vision. Ever since the popularity of MTV in the early 1980s, music video has been a persistent fixture in academic discussion, most notably in the work of writers like E. Ann Kaplan, Simon Frith and Andrew Goodwin. What has been of major interest to such cultural scholars is the fact that music video was designed as a promotional tool in their inception, supporting album sales and increasing the stardom of the featured recording artists. Authorship in music video studies has been traditionally kept to the representation of music stars, how they incorporate post-modern references and touch upon wider cultural themes (the Marilyn Monroe pastiche for the Madonna video, Material Girl (1985) for instance). What has not been greatly discussed is the contribution of music video directors, and the reason for that is the target audience for music videos are teenagers, who respond more to the presence of the singer or the band than the unknown figure of the director, a view that is also adhered to by music television channels like MTV.

The theme Point of View: David Lynch and intertextuality of this master thesis deals with the work of American film director David Lynch, which we view in terms of intertextuality. The aim is to show how David Lynch manipulates with intertextuality in his films Wild at Heart and Lost Highway and what other means he uses to achieve the specific atmosphere of his films. We say that it is impossible to unambiguously interpret Lynch's work and we will try to show that every of various points of view can be correct.

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The thesis proposes the New Queer Cinema chapter of film history as a paradigm of queer film's subversive practices. The theoretically and historically focused first part establishes the term queer, expounds its possible applications to film in the realm of queer film studies and in the third chapter critically introduces the 'new wave' of queer film New Queer Cinema. The analytical part assigns queer and its possible functions as its basis for inquiry. It consists of two parts: the first performs the formal-content analysis of the pivotal film Swoon (1992); the final chapter builds on its conclusions and examines the corpus of New Queer Cinema films along four analytical cuts in order to describe how they produce the queer discourse. The final output of the thesis is an open model of prospective approaches to queer film.

This essay deals with the idea of women as the ”the other sex” within the field of authorship, and aims to bring to together feminist, film and auteur theory with analysis of historic documentations of reception as well as context for academic treatments of Mai Zetterling as an auteur/director. This, in attempt to, through intertwined discussion, catch a glimpse of better understanding how gender specificity may have influenced and continue to influnce perceptions of auteurs of female gender and their works, yet keeping focus on the case of Mai Zetterling and hers in specific.

雅絲敏•阿莫（Yasmin Ahmad），是馬來西亞已故的電影及廣告女導演。其電影最大特色是反映出馬來西亞族群與文化多元性，賦予了馬來西亞電影真正的意義，除了受國內各族群觀眾的喜愛，也在許多國際影展上獲得殊榮。 雅絲敏的電影中有許多的情節，是在指涉馬來西亞社會中特定的情境與文化現象，有其獨特意義，極具研究價值。因此，本論文將以作者論態度和文本分析法探究雅絲敏的六部作品，包括《愛到眼茫茫》、《我愛單眼皮》、《花開總有時》、《木星的初戀》、《愛從心開始》和《戀戀茉莉香》，主要在於了解雅絲敏在電影中對於馬來西亞族群關係的再現。文獻方面，將對作者論、文本分析法以及族群相關概念及理論進行梳理與探討。另外，也將整理出雅絲敏六部作品的共通性，以確認雅絲敏的電影風格以及她在馬來西亞電影發展脈絡中所作出的貢獻與代表意義。 / The late Yasmin Ahmad is one of the most outstanding film directors from Malaysia. Yasmin’ films always depict the multiethnic and multicultural society of Malaysia, which not only attracted audiences from different ethnic within the country but also won many awards in the international film festival. It is important to think and understand the messages Yasmin trying to convey through her films. Therefore by using the auteur theory and textual analysis, this research will study the representation of ethnic relationship in all her six films, Rabun(2003), Sepet(2004), Gubra(2006), Mukhsin(2007), Muallaf(2008) and Talentime(2009). In order to provide background knowledge regarding the circumstances of Malaysia multiethnic society, this research also involves the theory of pluralism, ethnic identity, ethnic boundary, and stereotypes as part of the literature review. And also, this research will analyses mise-en-scène that was used to appear in Yasmin’ films to prove that Yasmin is truly a film auteur. Lastly, this research will conclude the unique film style which solely belongs to Yasmin and her contribution towards Malaysia film industry.

Treasure is a feature-length narrative fictional film directed by Chris Williamson as part of the requirements for earning a Master of Fine Arts in Entrepreneurial Digital Cinema from the School of Visual Arts and Design at the University of Central Florida. This thesis is a documentary record of the film production from concept to completion. In this thesis the concerns of authorship are explored from the perspective of the author as the executive producer, writer, and director of the film.

This study examines African American stereotypes in film. I studied six directors, Kathryn Bigelow, Spike Lee, the Russo Brothers, Ryan Coogler, Tate Taylor, and Dee Rees; and six films Detroit, BlacKkKlansman, Captain America: The Winter Soldier, The Help, and Mudbound. Using the framework of critical race theory and auteur theory, I compared the common themes between the films and directors. The main purpose of my study is to see if White or Black directors predominantly used African American stereotypes. I found that both races of directors rely on stereotypes for different purposes. With Black directors, the stereotype was explained further through character development, while the White directors used the stereotype at face value with no further explanation.