No description available.

No description available.

Dong Dong. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 127-136). / Abstracts in English and Chinese. / Chapter I. --- Introduction --- p.5 / Chapter II. --- Youth Culture Practiced in Virtual Community --- p.10 / Chapter III. --- "Background, Research Questions and Research Design" --- p.36 / Chapter IV. --- Style of Chinese University BBS Youth Culture --- p.45 / Chapter V. --- Youth Cultural Community as Identified by Style --- p.68 / Chapter VI. --- Resistance within Contexts --- p.84 / Chapter VII. --- Conclusion --- p.108 / Appendix 1 Captions of Postings & Discussion Threads --- p.111 / Appendix 2 Style of BBS Discussion Threads --- p.114 / Appendix 3 BBS Member's Composition --- p.118 / Appendix 4 Personal Reflections on the Film --- p.120 / Appendix 5 --- p.123 / Collective Discussions in Chinese University BBSs --- p.123 / Bibliography --- p.127

Thesis (Ph. D.)--University of California, San Diego, 2004. / Accompanied by compact disc sound recording of 11 Pachuco trio songs by Lalo Guerrero with Trio Imperial. Vita. Includes bibliographical references (leaves 200-209).

Thesis (M.A.)--Queensland University of Technology, 2004. / Title from PDF title page (viewed on Mar. 25, 2006). Includes bibliographical references (p. 117) and filmography (p. 118).

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

University of Macau / Faculty of Social Sciences and Humanities / Department of Communication

This study is an exploration of the representation of masculinity in film, with particular focus on the way in which the leading male characters in a purposive sample of action genre and romantic comedy genre films represent masculinity. It is posited that masculinity is a construct, the meaning of which is dependent on the social context of the individual. Film being a social artefact could then possibly influence individuals understanding of the construct. Therefore an exploration of the kind of masculinity, the variations thereof across genres, and masculine characteristics of masculinity prevalent in each genre, is a first step in understanding possible influences of the definition of masculinity. In order to accomplish this exploration, a combination of methods is used to analyse these fictional characters according to a set of codes and „real‟ world norms. The real world norms are based on seven theoretically derived norms of masculinity developed from previous research on masculinity conducted by Levant, Hirsch, Celentano, Cozza, Hill, MacEachern, Marty and Schnedekerl (1992). The results of the findings from this study indicate that the way in which male characters are created for each genre are different, with male lead characters from the action genre having more characteristics that align with the „real‟ world norms of masculinity (Levant et al 1992). Alternatively, the male lead characters from the romantic comedy genre, have fewer characteristics that align with the seven theoretically derived norms of masculinity. The masculinity represented in the romantic comedy genre is more emotionally available and expressive, less aggressive, more compromising and reliant on others; while in the action genre masculinity is more independent, stoic, aggressive and more physically adventurous. The male lead characters in the romantic comedy genre are more about the emotional aspects of masculinity while the male lead characters in the action genre are more about the physical aspects of masculinity. / Communication Science / M.A. (Communication)

This study is an exploration of the representation of masculinity in film, with particular focus on the way in which the leading male characters in a purposive sample of action genre and romantic comedy genre films represent masculinity. It is posited that masculinity is a construct, the meaning of which is dependent on the social context of the individual. Film being a social artefact could then possibly influence individuals understanding of the construct. Therefore an exploration of the kind of masculinity, the variations thereof across genres, and masculine characteristics of masculinity prevalent in each genre, is a first step in understanding possible influences of the definition of masculinity. In order to accomplish this exploration, a combination of methods is used to analyse these fictional characters according to a set of codes and „real‟ world norms. The real world norms are based on seven theoretically derived norms of masculinity developed from previous research on masculinity conducted by Levant, Hirsch, Celentano, Cozza, Hill, MacEachern, Marty and Schnedekerl (1992). The results of the findings from this study indicate that the way in which male characters are created for each genre are different, with male lead characters from the action genre having more characteristics that align with the „real‟ world norms of masculinity (Levant et al 1992). Alternatively, the male lead characters from the romantic comedy genre, have fewer characteristics that align with the seven theoretically derived norms of masculinity. The masculinity represented in the romantic comedy genre is more emotionally available and expressive, less aggressive, more compromising and reliant on others; while in the action genre masculinity is more independent, stoic, aggressive and more physically adventurous. The male lead characters in the romantic comedy genre are more about the emotional aspects of masculinity while the male lead characters in the action genre are more about the physical aspects of masculinity. / Communication Science / M.A. (Communication)