by Grace Leung Lai-kuen. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1993. / Includes bibliographical references (leaves 120-124). / Preface --- p.ii / Abstract --- p.iii / Contents --- p.iv / Chapter Chapter 1. --- Introduction --- p.1 / Chapter Chapter 2. --- Theoretical Review and Method of Study --- p.5 / Chapter i) --- An Anomaly to Media Imperialism / Chapter ii) --- Inadequacies of Non-Marxists Theories / Chapter iii) --- Analytical Framework / Chapter iv) --- Research Questions and Research Design / Chapter Chapter 3. --- Hong Kong as a Regional Movie Production & Export Centre -- a Statistical Review --- p.19 / Chapter i) --- Hong Kong as a Movie Production Centre / Chapter ii) --- Hong Kong as a Movie Export Centre / Chapter Chapter 4. --- Evolution of the Movie Industry in Hong Kong -- a socio-historical analysis --- p.44 / Chapter i) --- An Overview / Chapter ii) --- Stages of Development / Chapter 1) --- Initial Period / Chapter 2) --- Nascent Period / Chapter 3) --- Growing Period / Chapter 4) --- Developing Period / Chapter 5) --- Quiescent Period / Chapter 6) --- Reconstruction Period / Chapter 7) --- Prosperity Period / Chapter 8) --- Declining Period / Chapter 9) --- Revival Period / Chapter Chapter 5. --- In Search of an Explanatory Framework --- p.77 / Chapter Chapter 6. --- Conclusion --- p.111 / Appendices --- p.118 / Reference --- p.120

Wu Huaiting. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 122-130). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Introduction and Analytical Framework --- p.1 / Chapter Chapter 2 --- Local Agents and Global Alliance --- p.28 / Chapter Chapter 3 --- Particularization and Universalization --- p.51 / Chapter Chapter 4 --- "Distribution, Marketing and Exhibition" --- p.75 / Chapter Chapter 5 --- The Globalization of a Local Culture --- p.94 / "Appendix 1 Awards for Crouching Tiger, Hidden Dragon" --- p.104 / "Appendix 2 Credits for Crouching Tiger, Hidden Dragon" --- p.106 / Appendix 3 Ang Lee's Features --- p.108 / Appendix 4 Source List for Database --- p.110 / "Appendix 5 The Story of Crouching Tiger, Hidden Dragon" --- p.113 / "Appendix 6 Release dates for Crouching Tiger, Hidden Dragon" --- p.119 / Bibliography --- p.122

by Chu Lui. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1997. / Includes bibliographical references (leaves 351-354). / ABSTRACT --- p.ii-iv / ACKNOWLEDGEMENT --- p.v / LIST OF FIGURES --- p.vi-vii / LIST OF ILLUSTRATIONS --- p.viii / CHAPTERS / Chapter PART I --- Introduction --- p.1 / Chapter PART II --- Theoretical formulation on exhibitors' structuration of movie-going activity --- p.30 / Chapter 2 --- Approaches from existing film studies --- p.31 / Chapter 3 --- Structuration: social practices and social structure --- p.49 / Chapter 4 --- An analytical application of the structuration theory in Cinema --- p.73 / Chapter 5 --- An analytical application of structuarion theory in exhibitors' restructuration of movie-going activity --- p.91 / Chapter PART III --- The reflector's self-reflection --- p.105 / Chapter 6 --- "My general knowledge of Chinese Cinema's development in ""reform""" --- p.109 / Chapter 7 --- Procedures of data collection and analysis PART IV Redefining what cinema is --- p.127 / Chapter PART IV --- Redefing what cinema is --- p.149 / Chapter 8 --- Confusion over a simple matter --- p.150 / Chapter 9 --- Delineating a new landscape of the cinema --- p.165 / Chapter 10 --- "In name, in language, in ""affairs""" --- p.195 / Chapter PART V --- Redefining what movie-viewing is --- p.224 / Chapter 11 --- A comparison on two kinds of movie-viewing --- p.225 / Chapter 12 --- Reconstructing movie-viewing space --- p.249 / Chapter 13 --- Reconstructing movie-viewing time --- p.281 / Chapter PART VI --- Conclusions: on exhibitors' shadow land --- p.303 / REFERENCES --- p.351

More certified-Canadian feature films were shot in Canada in 1979 than in any other year. The height of what has become known as the "tax-shelter boom," 1979 stands as a remarkable moment in the history of the Canadian cinema, with 70 features shot in a year in which Hollywood produced only 99 films. The extant history of the Canadian cinema has largely ignored this moment, and in this thesis I argue that the slim treatment of the period by critics represents a "received wisdom," consistently repeated, but seldom scrutinized, and that this received wisdom is representative of the culturally nationalist impulse which has coloured the entire historiography of the Canadian cinema. Because many of the films produced during the boom were in the style of Hollywood genres, the "received wisdom" presents the entirety of the tax-shelter boom as a cultural and industrial near-disaster for the Canadian cinema, and this thesis, partly a revisionist history, explores not only those conclusions, but also provides critical discussion of them. / I begin by presenting the received wisdom, the existing account, on the period. This is followed by a chapter which situates the tax-shelter boom in a history of state intervention in the feature film industry. Following this, I provide analysis of the contexts surrounding the tax-shelter boom, including critical discussion of articles and reviews from the contemporaneous popular press, and of the industry discourse. I then turn my attention to the texts themselves, which the received wisdom more or less ignores, and provide three thematically-organized chapters of textual analysis: the first organized around readings of gender and genre in the films, the second on the prevalent theme of "selling out," which is central to numerous films of the period, and a third chapter which explores the place of Quebec in the films of the period. / The thesis concludes with an analysis of the material effects of the government policies which led to the boom, and concludes that in this respect too, the received account of the period---once again, as a failure---needs to be reexamined.

Thesis (M. Phil.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 240-250).

No description available.

姜玢. / "2000年8月" / 論文 (哲學碩士)--香港中文大學, 2000. / 參考文獻 (leaves 104-108) / 附中英文摘要. / "2000 nian 8 yue" / Jiang Fen. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2000. / Can kao wen xian (leaves 104-108) / Fu Zhong Ying wen zhai yao. / Chapter ´ؤ --- 引言 --- p.10 / Chapter 1.1 --- 上海特殊環境的.形成 --- p.11 / Chapter 1.2 --- 文化中心的形成與電影事業的發展 --- p.13 / Chapter 1.3 --- 好萊塢的優勢 --- p.16 / Chapter 1.4 --- 上海好萊塢電影硏究的重要性 --- p.17 / Chapter 二 --- 電影院分佈與歷史意義 --- p.21 / Chapter 2.1 --- 上海電影院歷史 --- p.21 / Chapter 2.2 --- 電影院與影片級別 --- p.24 / Chapter 2.3 --- 電影院地點與階級傾向 --- p.29 / Chapter 2.4 --- 娛樂場所現代性更替的意義 --- p.30 / Chapter 三 --- 電影雜誌 --- p.34 / Chapter 3.1 --- 《電影週刊》與.《好萊塢》 --- p.35 / Chapter 3.2 --- 批評的角度 --- p.38 / Chapter 3.3 --- 中美電影關係 --- p.40 / Chapter 3.4 --- 對市場的認識 --- p.44 / Chapter 3.5 --- 《好萊塢》現象 --- p.48 / Chapter 四 --- 影片種類分析 --- p.51 / Chapter 4.1 --- 娛樂傾向與片種調查 --- p.51 / Chapter 4.2 --- 文化想象與雙向凝視關係 --- p.59 / Chapter 4.3 --- 國產片的好萊塢因素 --- p.60 / Chapter 4.4 --- 好萊塢意識與中國價値的接合點 --- p.64 / Chapter 4.5 --- 片名繙譯與價値投射 --- p.68 / Chapter 五 --- 城市情境與摩登心態 --- p.70 / Chapter 5.1 --- 現代性社會結構 --- p.70 / Chapter 5.2 --- 新型消費心態與文化需求 --- p.74 / Chapter 5.3 --- 城市情境與現代現象 --- p.76 / Chapter 六 --- 總結 --- p.83 / 附錄 --- p.86 / 參考書目 --- p.101 / 圓表目錄 / Chapter 1. --- 美國八大電影公司在上海發行處地址 --- p.25 / Chapter 2. --- 放映外國影片的電影院 --- p.26 / Chapter 3. --- 放映國產影片的電影院 --- p.28 / Chapter 4. --- 《電影週刊》關於好萊塢新聞的比例 --- p.36 / Chapter 5. --- 最喜歡娛樂項目評選 --- p.52 / Chapter 6. --- 最喜歡影片類型評選 --- p.52 / Chapter 7. --- 《電影週刊》之“新片批評´ح統計表 --- p.53

Taking co-production as a dominant development of Hong Kong's film industry, this study examines the transnationality of different trends of co-production: Hong Kong China co-production, Hong Kong - Asia co-production, and individuals working for overseas productions, and the production cultures in these varied contexts are analyzed. By crossing production culture, policy, film business and the work of individual practitioners with the concept and practices of transnationality, this study outlines the possibilities and limitations of developing transnational co-production in Hong Kong cinema. Focusing on its varied manifestations, this thesis emphasizes the plurality of transnationality and suggests that "transnationalities" are a result of the development of Hong Kong cinema. The influences and infiltration of Hong Kong cinema into the other cinemas of the world reflects its ways of survival, and the simple claiming of "the death of Hong Kong" should be questioned. Although there are many constraints in co-production, and some practitioners of valuable skills, like action choreography, are privileged to others, the thesis reveals that Hong Kong cinema is transforming in a direction that provides a foundation for sustainable development. The different co-production projects in which Hong Kong cinema is now engaging demonstrate how this cinema will be able to incorporate itself into the production process in China, Asia and the overseas contexts. / Chan, Ka Ming. / Adviser: Lai-Kwan Pang. / Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 317-338). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese.

Shin, Kei-Wah Victor. / "November 2010." / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 177-198). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgments --- p.iv / Table of Contents --- p.vi / List of Tables --- p.ix / List of Figures --- p.xii / Chapter Chapter 1: --- Framing the Puzzles --- p.1 / "INTRODUCING: ""The Curious Case of... a Fallen 'Asian Hollywood'""" --- p.3 / METHOD AND DATA --- p.6 / STRUCTURE OF THE THESIS --- p.12 / Chapter Chapter 2: --- "“The Blind Side"" of Existing Explanations" --- p.15 / CONVENTIONAL EXPLANATIONS --- p.17 / Triad Intrusion and Piracy --- p.17 / Hasty and Unpolished Productions --- p.19 / EXPLANATIONS DERIVED FROM THEORETICAL PERSPECTIVES --- p.21 / The Cultural Imperialism approach --- p.22 / The Cultural-flows/ Network approach --- p.27 / Suppositions related to the Cultural-flows/ Network approach --- p.32 / The Reception approach --- p.36 / The Cultural Policy and Strategies approach --- p.41 / What about the Receiving Countries? --- p.46 / THE POLITICAL-CULTURAL APPROACH --- p.48 / Chapter Chapter 3: --- The “Bloom´ح in the 1970s and the 1980s --- p.53 / "THE ""BLOOM""" --- p.53 / BRINGING IN THE POLITICAL-CULTURAL APPROACH --- p.57 / THE INDUSTRIAL SETTING OF THE HONG KONG FILM MARKET VIS-A-VIS HOLLYWOOD --- p.59 / THE SOCIAL STRUCTURE OF THE HONG KONG FILM MARKET --- p.62 / From Studio System to Independent Production System since the 1970s --- p.63 / The Revenue-sharing Structure --- p.68 / """CONCEPTIONS OF CONTROL"" IN THE HONG KONG FILM MARKET (1970s - 1980s)" --- p.70 / Distributor-driven Exhibition --- p.72 / Distributor-driven Production --- p.75 / HONG KONG FILM INDUSTRY AT ITS PEAK IN THE LATE 1980s --- p.81 / SUMMARY --- p.88 / Chapter Chapter 4: --- "The ""Twilight"" since the mid-1990s" --- p.91 / WHAT HAPPENED DURING THE 1990s? --- p.91 / The Plot in Brief --- p.92 / THE KEY TO SUCCESS TURNS INTO A SOURCE OF STRESS --- p.97 / "Conventional Practices inscribed in the ""Conceptions of Control""" --- p.99 / The Entwined Financial Practice --- p.99 / The Exclusive Exhibition Practice --- p.101 / What caused a Turn in the late 1980s? --- p.102 / "The ""Meteor Shower"" of Taiwan Capital" --- p.102 / China's Cinematic Reform --- p.104 / "The Resultant Cross-Strait “Industrial Complex""" --- p.106 / The Exogenous Shock Induced --- p.108 / Reduction of Theatres in each Theatre Chain and its Impact --- p.110 / The Consequence of Exclusive Exhibition Practice --- p.113 / The Consequence of Entwined Financial Practice --- p.114 / A REVERSAL OF FORTUNE IN 1993 --- p.117 / "The Short-lived ""Newcomers""" --- p.119 / The Rising Land Price --- p.122 / The Ebb Tide of the Taiwan Capital Flood --- p.128 / The Last Samurai and the Finale of the Distributor-led Production System --- p.134 / Summary --- p.138 / TRANSFORMATION IN THE HONG KONG FILM MARKET --- p.139 / The Return of the Challengers: Distributors of Foreign Movies --- p.143 / "The Emergence of New ""Conceptions of Control""" --- p.147 / The Impact on Film Companies producing Local Movies --- p.151 / Chapter Chapter 5: --- "A ""Revolutionary Road"" to the Peak and Drop" --- p.156 / A BRIEF REPRISE --- p.156 / "The ""Bloom"" in Retrospect" --- p.158 / "The ""Twilight"" in Retrospect" --- p.161 / IMPLICATIONS OF THIS STUDY FOR EXISTING APPROACHES --- p.168 / Implications for the Cultural Imperialism approach --- p.168 / Implications for the Cultural-flows/ Network approach --- p.169 / Implications for the Reception approach --- p.172 / AN INTEGRATIVE APPROACH TO CURRENT THEORIES --- p.174 / LIMITATIONS OF THE RESEARCH AND SUGGESTIONS FOR FUTURE DIRECTIONS --- p.175 / REFERENCES --- p.177

published_or_final_version / Architecture / Master / Master of Architecture