No description available.

acase@tulane.edu / 1 / XOSÉ PEREIRA BOÁN

No description available.

No description available.

No description available.

This thesis has two interrelated research objectives. First, to understand the circulation of Chinese cinema in Britain through the cultural authorities and gatekeepers responsible for the canonisation of international film. Second, to use Chinese-language films as case studies through which to deconstruct and better understand the mechanisms that make up British film cultures and their tastemaking practices. English-language Chinese film studies has long been preoccupied with the semantic issue of how to define such a loaded and diverse concept as “Chinese cinema”, with investigations generally focusing on film form and production contexts. This thesis extends these studies to include considerations of the role played by film circulation, to observe how the parameters of these analyses and the films of their focus are defined in the first instance. This thesis traces the lineage of Chinese cinema as it has appeared in Britain's film cultures from 1954 through to 2014 when this project began. Taking emblematic moments of this history as case studies to anchor the investigation, each chapter contextualises the cultures into which Chinese-language films arrived. Using the sociological theories of Pierre Bourdieu and others, these investigations note how, in addition to their negotiation of international trends, domestic skirmishes for cultural authority within Britain have had significant effects on the perceived value of Chinese cinema. This thesis considers the various social, cultural, and class contexts that support Britain's key tastemakers in the circulation of Chinese cinema. It shows not only the ways modes of evaluation and film availability are cultivated through these contexts, but that the activities therein result also from, and curate, assumptions toward Chinese as a cultural, political and ethnic signifier. Those commanding the discourse around Chinese cinema in Britain have done so with conceptions about Chineseness that result from and contribute to domestic conflicts of taste, class and social standing. The inevitable intersections between film tastes and cultural assumptions have worked to curate a parochial definition of Chinese cinema that prioritises certain kinds of films at the expense of others, dependent more on the idiosyncrasies of British film cultures than the activities of Chinese film industries.

No / With films such as Crouching Tiger, Hidden Dragon (2000), Oldboy (2003), Goodbye Lenin! (2003) and The Motorcycle Diaries (2004), the state and popularity of world cinema has rarely been healthier. Through 16 chapters contributed by leading international film scholars, including Dudley Andrew, Lucia Nagib and Michael Chanan, Remapping World Cinema: Identity, Culture and Politics in Film explores many of the key critical and theoretical approaches and debates to this fluid and ever-increasing field of study, including race, stardom, post-colonialism as well as national cinemas¿ relationship with Hollywood. Covering a broad scope, this collection examines the cinemas of Europe, East Asia, India, Africa and Latin America. It will thus be of interest to scholars and students of film studies, cultural studies and post-colonial studies, as well as to film enthusiasts keen to explore a wider range of world cinema.

This thesis reveals and explores contemporary relationships between film education, film industry and film culture within a UK context through a series of interviews, data analysis, historical research and international case studies. It highlights what appear to be binary oppositions within film such as divisions between theory and practice, industry and academia or art and entertainment and interrogates how they have permeated film education to the point where the relationship between film studies and film practice is polemical. Also, the thesis investigates how a relationship between two binary areas might be re-­engaged and it is within this context that this thesis addresses contemporary issues within UK higher education and national provision of film education. There is detailed analysis of UK film policy alongside the philosophies and practicalities of filmmaking to establish how connected the practice of filmmaking is to the film industry and national strategy. An international perspective is provided through the analysis of the film school systems in Denmark and the U.S. and this postulates potential future directions for UK film education, particularly within the university sector. A main focus of the thesis is to question film education by engaging with the voices of actual filmmakers and also via data analysis of the educational background of filmmakers as a way of developing film education. The thesis is undertaken at a time of major changes across film and higher education. Film production, distribution and consumption have undergone major technological evolution and the structures that were once in place to facilitate graduate movement into the workplace are changing and shifting. Simultaneously the identity of the university as a place of skills training or critical development is under consistent scrutiny. With this in mind this thesis seeks to engage with the potential future for film education.

Thesis (Ph.D.)--Murdoch University, 2008. / Thesis submitted to the Faculty of Sustainability, Environmental and Life Sciences. Includes bibliographical references (leaves 118-134)

No description available.