Tam, Wai Fung. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Filmography: p. 133-136. / Includes bibliographical references (leaves 123-129). / Abstracts in English and Chinese. / Acknowledgements --- p.iii / Abstract --- p.iv-vi / Table of Contents --- p.vi-viii / Introduction --- p.1 / Chapter Chapter 1: --- Background´ؤMembership of the Chinese “Sixth Generation´ح Directors --- p.7-23 / Chapter -- --- The Early Stage of the “Sixth Generation´ح Cinema --- p.7 / Chapter -- --- Current Commercial Turn among the “Sixth Generation´ح Directors --- p.14 / Chapter Chapter 2: --- Discourses on Chinese “Sixth Generation´ح Cinema --- p.24-61 / Chapter -- --- Analytical Framework --- p.24 / Chapter -- --- Scholastic Discourse on “Sixth Generation´ح Cinema --- p.27 / Chapter -- --- The Differences between Western Political Interpretations and the Chinese Populist Discourse on “Sixth Generation´ح Cinema --- p.35 / Chapter -- --- The Western Discourse´ؤA Liberal Political Definition --- p.36 / Chapter -- --- Chinese Populist Discourse on “Sixth Generation´ح Cinema --- p.43 / Chapter -- --- New Bom Generation --- p.52 / Chapter -- --- Independent Filmmaking´ؤDirectors' Views on the Naming of “Sixth Generation´ح --- p.55 / Chapter Chapter 3: --- "The Interrelationship between the Filmmakers, Discourses and Social Context" --- p.62-86 / Chapter -- --- Evaluations on the Discourses of “Sixth Generation´ح --- p.62 / Chapter -- --- The Dominant Features of the “Sixth Generation´ح Cinema --- p.65 / Chapter -- --- Relationship between the “Sixth Generation´ح Cinema and Chinese Socio-political Context --- p.70 / Chapter -- --- How “Independent´ح the “Sixth Generation´ح Filmmakers are? --- p.82 / Chapter Chapter 4: --- Examining the Subversive Functions of the Naming of “Sixth Generation´ح --- p.86-114 / Chapter -- --- Political Subjectivity of the “Sixth Generation´ح Directors and its Relation with the Event --- p.86 / Chapter -- --- The Split Subject of the “Sixth Generation´ح Directors --- p.97 / Conclusion --- p.115-122 / Bibliography --- p.123-132 / Filmogarphy --- p.133-136

published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

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

Ho Wing Ki. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 128-135). / Abstracts in English and Chinese. / Chapter CHAPTER 1 --- INTRODUCTION --- p.1 / Chapter CHAPTER 2 --- LITERATURE REVIEW / Convergence of Religion and Media --- p.4 / Three Conventional Approaches to the Media of Popular Piety / Current Trend of Religion --- p.7 / Characteristics of Film --- p.9 / Rich Resources --- p.10 / Liminoid Consciousness --- p.11 / Transcendence --- p.12 / Engaging the World Through Images --- p.13 / An Interdisciplinary Endeavor --- p.15 / Understanding Audiences --- p.20 / Applying Generic Film Analysis --- p.22 / Chapter CHAPTER 3 --- OBJECTIVE OF STUDY / Objective of Study --- p.23 / Background / Local Christian Visual Media Before / Evangelistic Films --- p.24 / Evangelistic Feature Films --- p.25 / Research Methods --- p.32 / Outline of The Miracle Box --- p.36 / Chapter CHAPTER 4 --- "THE G.P.A. OF EVANGELSITIC FILMS: THE GOAL, THE PERCEPTIONS, AND THE ADVANCE" / Establishing the Goal of Evangelistic Films --- p.44 / Conventional Perception about Evangelistic Films --- p.47 / Advance: Narrowing the Gap --- p.48 / Watching for Leisure --- p.53 / Chapter CHAPTER 5 --- THREE DEVICES FOR RELIGIOUS MEANING GENERATION / Device 1: Genre --- p.55 / Chapter (1) --- Genre Label and Sensitization --- p.58 / Chapter (2) --- Docudrama and Testification --- p.62 / Chapter (3) --- Melodrama and Toning --- p.65 / Summary --- p.69 / Device 2: Symbols --- p.70 / The Box and Hand Over --- p.71 / Suggested Meaning --- p.73 / Compatible Meaning --- p.75 / Ignorance or Opposite Meaning --- p.79 / Nature and God With Us --- p.81 / Summary --- p.84 / Device 3: Critical Moments --- p.86 / Christian Viewers --- p.90 / Non-Christian Viewers --- p.94 / Projection from a Distance --- p.98 / Summary --- p.99 / Chapter CHAPTER 6 --- CONCLUSION / Conclusion --- p.106 / Limitations and Further Research --- p.112 / APPENDIX I Informants Profile --- p.115 / "APPENDIX II Excerpts Where ""The Box"" is Featured in The Miracle Box" --- p.116 / "APPENDIX III Excerpts Where ""Nature"" is Featured in The Miracle Box" --- p.125 / BIBLIOGRAPHY --- p.128

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

My thesis is dedicated to the study of popular, commercial cinema as a force within the discourse of national and personal identity in the rapidly changing mega-economies of India and China, and their diasporas, since the watershed year of 1990. Its purpose is to reveal the unique pattern of like and unlike that exists between the "Social Representations" (Serge Moscovici 2000) of contemporary India and China on screen through a juxtapositional comparative approach, close visual analysis, and the development of original theoretical tools. Tense networks of fantasy and anxiety emerge as popular culture actively circulates their shared experiences of changing global status, uneven economic growth (Gong Haomin 2012), and social change. Transnational subjects, Hua and Desi, arrive on screen ready to carve out culturally inflected modernities, in search of "tradition" and "values" to suit contemporary cultural-nations-beyond-borders. I treat film as consumer product, diegetic entity, and text: hence narrative, visual, linguistic and contextual aspects of over fourteen popular commercial films ("Bollywood" and "Yulepian"), are explored. My analysis comprises two interlocking halves: the first two chapters focus chiefly on identities - Hua and Desi, and diasporic persons. The former, conduits for the cultural nation to re-think modernity, the latter a dreamed vanguard of "claim-staking" ethnicised global consumers, defenders of the cultural nation in the "host" country. Chapters Three and Four focus on genres - comedy and history films. Through comedy, these films create state-serving heterotopias or challenge the status quo; perhaps they build cultural nationalist mythos, or lace cynical questions through lavish history film. To understand internecine relationships between economics, society and the imagination, entertainment film cannot be dismissed - in India and China, where change has had intended and unintended consequences unfolding even as uncertainty looms, I show that fresh study, especially in comparison, is absolutely essential.

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

In part three 'Women·Song and Dance-Vernacular' (chapter 5), I deploy film textual analysis, focused on one female image--the sing-song girl, and in this part, I try to identify the differences and similarities of soft film and Li's soft songs and dances. From the perspective of women and on the basis of comparison, I try to study the hybridity of Chinese vernacular in left-wing films. / In the first part 'Poems·Music·Vernacular' (chapters 1&2), I draw upon intermediary and interdisciplinary research methods, to analyse the interrelationship between Hu Shi's vernacular poems and Li Jinhui's popular songs. Focusing on Li Jinhui's musical practices from the May Fourth to the 1920s and the 1930s, I try to analyse and summarize the two key features of Chinese vernacular modernism: intertextuality and hybridity, characterised by the mixture of different cultures and discourses (including urban popular culture, intellectual high culture, official culture, traditional folk culture and so on), and the dialectical relations between body and sense and enlightenment and education ('Entertainment with Enlightenment', Yu Jiao Yu Le). / In the second part 'Vernacular·Songs·Sound films' consisting of two chapters (3&4) , I will analyse film magazines, such as Film Magazine (Yingxi zazhi), Movie Magazine (Dianying zazhi) and Modern Cinema (Xiandai dianying), film texts, such as Street Angel (Malu tianshi, Yuan Muzhi, 1937) The Big Road (Dalu, Sun Yu, 1934), Children of Trouble Time (fengyun er nuˇ, Xu Xingzhi, 1935), The New Year's Coin (Yasui qian, Xia Yan, 1937), etc., and I draw a picture of Chinese early cinema's vernacular scene, before and after the arrival of sound. Specifically, from the perspective of the musical tune and lyrics of film songs, I attempt to analyse the hybridity of Chinese vernacular embodied especially in left-wing films. / The dissertation has three main sections. / This dissertation is focused on analysing the film culture of Chinese early cinema from the perspective of sound, from 1930 to 1937. The theoretical development of this dissertation is based around the concept of vernacular modernism, proposed by Miriam Bratu Hansen and developed by Zhang Zhen. I will not simply borrow this theory but use it within a critical framework. I attempt to rethink its meanings in the Chinese context, and on this basis, I will propose a new account of early Chinese sound film's vernacular modern history. / 魏萍. / Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 262-267). / 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. / Abstracts in Chinese and English. / Wei Ping.

胡霽榮. / "2007年8月". / 論文(哲學碩士)--香港中文大學, 2007. / 參考文獻(leaves 185-197). / "2007 nian 8 yue". / Abstract also in English. / Hu Jirong. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (leaves 185-197). / Chapter 第一章 --- 引言 --- p.1 / Chapter 一、 --- 上海一一乍爲媒介的城市 --- p.1 / Chapter 二、 --- 上海電影史硏究的意義與新的角度 --- p.4 / Chapter 三、 --- 文章結構與行文思路 --- p.7 / Chapter 第二章 --- 電影院的建立與電影放映空間的更替 --- p.11 / Chapter 一、 --- 傳統娛樂場所裏的影戲“演´ح映 --- p.11 / Chapter 1 ´Ø --- 電影最初放映的時間與地點問題 --- p.11 / Chapter 2 ´Ø --- 寄居傳統娛樂場所與影戲“演´ح映 --- p.13 / Chapter 二、 --- 電影院的建立與影院放映電影的開始 --- p.20 / Chapter 1 ´Ø --- 上海第一家影戲院建立 --- p.21 / Chapter 2 ´Ø --- 影院電影放映與觀影規則 --- p.22 / Chapter 三、 --- 電影院與都市社會文化的變遷 --- p.28 / Chapter 1 ´Ø --- 電影院的建立與都市空間建築風格的變遷 --- p.28 / Chapter 2 ´Ø --- 電影院的規模化與都市新文化區域的産生 --- p.31 / Chapter 3 ´Ø --- 都市新文化消費與市民摩登心境 --- p.33 / Chapter 第三章 --- 中國電影製片業的興起與電影審查之濫觴 --- p.39 / Chapter 一、 --- 中國影業公司與中國電影的興起 --- p.39 / Chapter 1 ´Ø --- 上海電影活動之端倪 --- p.39 / Chapter 2 ´Ø --- 中國影業公司的勃興 --- p.41 / Chapter 3 ´Ø --- 中國影片的興起 --- p.46 / Chapter 4 ´Ø --- 早期電影觀：“影戲´ح觀 --- p.50 / Chapter 二、 --- 上海電影審查制度之濫觴 --- p.55 / Chapter 1 ´Ø --- 民國電影檢查之初始 --- p.55 / Chapter 2 ´Ø --- 上海電影審查制度的雛形 --- p.56 / Chapter 第四章 --- 中國電影的主體性建構與中國電影制度的建立 --- p.65 / Chapter 一、 --- 中國左翼電影運動與中國電影觀念的確立 --- p.65 / Chapter 1 ´Ø --- 中國左翼電影運動的剪影 --- p.65 / Chapter 2 ´Ø --- 電影觀念的變革與中國電影定位的確立 --- p.69 / Chapter 二、 --- 左翼電影的傳播革命：市場阻力與博 弈 --- p.77 / Chapter 1 ´Ø --- 好萊塢電影與觀眾口味 --- p.78 / Chapter 2 ´Ø --- 左翼電影的傳播策略與觀眾主體的培育 --- p.85 / Chapter 三、 --- 國民政府電影審查與電影制度的建立與影 響 --- p.96 / Chapter 1 ´Ø --- 中央電影檢查委員會的成立與對左翼電影的嚴禁 --- p.96 / Chapter 2 ´Ø --- 繼續打壓神怪武俠片與外國辱華片 --- p.100 / Chapter 3 ´Ø --- 電影審查與中國電影制度建立的意義 --- p.103 / Chapter 第五章 --- 印刷媒介與電影的傳播 --- p.106 / Chapter 一、 --- 印刷媒介在上海的發 展 --- p.106 / Chapter 1 ´Ø --- 印刷與攝影技術的傳入 --- p.106 / Chapter 2 ´Ø --- 近代上海印刷出版業的發展 --- p.108 / Chapter 二、 --- 印刷媒介對電影發展的影 響 --- p.110 / Chapter 1 ´Ø --- 上海早期電影報刊業掃描 --- p.110 / Chapter 2 ´Ø --- 上海早期電影刊物槪述 --- p.117 / Chapter 第六章 --- 圖像與影像之間：都市形象與都會現代性建構 --- p.133 / Chapter 一、 --- 《良友畫報》與電影：圖像上海的營 造 --- p.133 / Chapter 1 ´Ø --- 《良友》的代表性 --- p.133 / Chapter 2 ´Ø --- 電影對於《良友》的影響 --- p.135 / Chapter 3 ´Ø --- 現代都市圖景的建構 --- p.142 / Chapter 二、 --- 早期電影中的“上海´ح --- p.155 / Chapter 1 ´Ø --- 都市經驗的上海模式 --- p.155 / Chapter 2 ´Ø --- 對於“上海´ح的影像批判 --- p.159 / Chapter 三、 --- 上海的記憶與想 像 --- p.167 / Chapter 1 ´Ø --- 今日“上海´ح的歷史鏡像 --- p.167 / Chapter 2 ´Ø --- 結語：今日影像“上海´ح的懷舊製造 --- p.169 / Chapter 第七章 --- 總結 --- p.172 / 圖表目錄： / Chapter 圖1: --- 〈做影戲〉（《圖畫日報》） --- p.18 / Chapter 圖2: --- 〈虹口影戲院〉（《良友》） --- p.21 / Chapter 圖3: --- 〈四馬路影戲之喧嘩〉(《圖畫日報》） --- p.25 / Chapter 圖4: --- 〈大光明電影院〉（《上海檔案資訊網》） --- p.29 / Chapter 圖5: --- 〈徐園〉(《圖畫日報》） --- p.29 / Chapter 圖6: --- 〈國泰大戲院之外牆廣告〉（《良友》） --- p.33 / Chapter 圖7: --- 〈大學生之電影熱〉（《電影月刊》） --- p.84 / Chapter 圖8: --- 《影戲雜誌》創刊號 --- p.119 / Chapter 圖9: --- 《良友畫報》第一期封面 --- p.137 / Chapter 圖10: --- 〈范朋克、黃柳霜與伍聯德的合照〉(《良友》） --- p.139 / Chapter 圖11: --- 「電影專刊」封面，（《良友》） --- p.140 / Chapter 圖12: --- 〈阮玲玉〉（《良友》第30期封面） --- p.144 / Chapter 圖13: --- 〈阮玲玉〉（《良友》第99期封面） --- p.144 / Chapter 圖14: --- 〈女人女人女人〉（《良友》） --- p.145 / Chapter 圖15: --- 〈美的佈景〉（《良友》） --- p.147 / Chapter 圖16: --- 〈體育皇后〉與醫藥廣告（《良友》） --- p.148 / Chapter 圖17: --- 〈上海的聲.光.電〉(《良友》） --- p.150 / Chapter 圖18: --- 〈都會的刺激〉（《良友》） --- p.151 / Chapter 表1: --- 1920 ´ؤ1930年代美國影片公司發行機構 --- p.40 / Chapter 表2: --- 1909年至1937年上海各電影製片公司出品數量 --- p.49 / Chapter 表3: --- 1933年1月至6月上海各影院映片出品國別統計（《明星月刊》） --- p.78 / Chapter 表4: --- 1931年上海規模大的影戲院列表(《影戲雜誌》) --- p.80 / Chapter 表5: --- “到電影院去的目的´ح（〈大學生與電影〉，《電影月刊》） --- p.83 / Chapter 表6: --- 1920-1937年上海出版的主要電影期刊 --- p.111 / Chapter 表7: --- 1930年代上海主要電影副刊與專欄 --- p.115 / 附錄： / 附表1 ： 1935年放映外國影片之上海電影院 / 附表2:1935年放映國片之上海電影院 --- p.179 / 附表3:1909-1937年上海各電影公司出品數量統計表 --- p.180 / 附表4:1926-1937年《良友畫報》之部分電影內容列表 --- p.181 / 附表5 ： 1926-1937年《良友畫報》刊載的上海地方素描 --- p.184 / 參考資料 --- p.185

by Chu Wing Ki. / Thesis submitted in: July 1997. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1998. / Filmography: leaves 216-219. / Includes bibliographical references (leaves 204-215). / Chapter Chapter 1. --- Introduction: Contemporary Nostalgia Films Understood in the Colonial Context of Hong Kong / Chapter I. --- opular Culture as an Arena ofublicarticipation --- p.2 / Chapter II. --- opular Culture and Colonialism --- p.14 / The Ambivalence of Colonialism --- p.14 / """Status-quo Imaginary"" as the Manifestation of Colonial Ambivalence" --- p.17 / Chapter i. --- Hong Kong in the late 60s --- p.21 / Chapter ii. --- Hong Kong in the 70s --- p.24 / Chapter iii. --- Hong Kong in the 80s and 90s --- p.30 / Popular Culture Understood in the Colonial Context of Hong Kong --- p.35 / Chapter III --- The Contemporary Mode of Nostalgia as Mediation of Colonialrocess --- p.38 / Nostalgia Films Understood inost-Colonial Context -- The Ambivalence of History --- p.38 / Chapter i. --- Nostalgia Films not Targetted towards the Rediscovery of History --- p.40 / "The Appropriation of History as a ""Laughable"" Other" --- p.43 / "The Substitution of History by ""Style""" --- p.47 / Chapter ii. --- Nostalgia Films' Evocation of a Free-Floating Signifier of Hong Kong Historical Identity --- p.50 / Nostalgia Films as a Context-Specific Articulation --- p.56 / Nostalgia Films as a Form of Disavowal --- p.59 / Outline of the Coming Chapters --- p.61 / Chapter Chapter2. --- Nostalgia and History --- p.66 / Chapter I. --- Rouge --- p.66 / The Construction of Nostalgic Effects --- p.67 / "“Sense of Loss"" as Identity Formation" --- p.72 / "Theast as a ""Split Object"" of Identification" --- p.75 / Pessimism as a Collective Empowerment --- p.84 / Chapter II. --- Center Stage --- p.88 / Interrogation of History --- p.89 / Pessimism as Empowerment -- Reification of History --- p.93 / The Ambivalence of History --- p.100 / Chapter III. --- Days of Being Wild --- p.103 / Interrogation of History:History and Subject Formation --- p.103 / """Internal Colonization"" and Fatalism" --- p.113 / "The Image of “Innocence""" --- p.116 / Conclusion --- p.121 / Chapter Chapter 3. --- Nostalgia and Urban Space --- p.124 / Chapter I. --- Nostalgia as a Critique of Urban Space --- p.124 / Chapter II --- Chungking Express --- p.131 / "Old Chinese Apartment as Site of “Re-enchantment""" --- p.133 / "The “Urban Spectacle"" -- Old Chinese Apartment as Reified Spatial Construct" --- p.140 / Chapter i. --- "The Traversed Space of ""Contemporariness"" and ""Pastness""" --- p.140 / Chapter ii. --- "The ""Openness"" of Old Chinese Apartment" --- p.147 / Old Chinese Apartment -- An Expression of Nostalgia? --- p.155 / Chapter III. --- "He ´ةs a Woman and She ´ةs a Man, C'est La Vie Mon Cheri，He and She" --- p.158 / "The “ Urban Spectacle""" --- p.158 / Chapter i. --- ositive Human Qualities --- p.158 / Chapter ii. --- A Historical Sense oflace --- p.163 / Chapter iii. --- Interior Design -- The Assertion of Urban Spirit of Change --- p.165 / Chapter iv. --- "Socially and Culturally ""Marginal"" Characters" --- p.167 / Urban Status-quo Imaginary and Cultural Identificationin Hong Kong --- p.170 / Old Chinese Apartment as Reified Spatial Construct --- p.174 / Chapter i. --- Thearadox of Attraction and Anxiety A Discourse ofrogress --- p.174 / Chapter ii. --- The Inscription of the Imperative of Advancement intohysical Surrounding --- p.179 / Chapter iii. --- "The “Urban Spectacle"" of Social Differences ""Cloaked"" Gestures of ´ب´بSubversion""" --- p.181 / Conclusion --- p.191 / Chapter Chapter 4. --- Conclusion: Nostalgia -- The Ambivalence of History --- p.194 / Chapter I. --- Optimism andessimism as Identity Formation --- p.194 / Chapter II --- The Commercialization of Nostalgia --- p.197 / Bibliography --- p.208 / Filmography --- p.220 / Appendix I-IX