This dissertation is a study of how Hong Kong and Japanese cinema constructed an imaginary of cosmopolitanism in films for a global market through co-production during the Cold War. Co-production examined in the dissertation is not limited to co-produced films. In the mid-1950s to the late 1960s, Hong Kong and Japanese cinema had frequent contact, which included co-organizing a film festival, exchanging film talents, and adapting films. Neutral terms like collaboration and cooperation describing the interchange between Japanese and Hong Kong cinema often disguised their competition in an uneven power relationship. Focusing on the two major studios in Hong Kong, i.e., Shaw Brothers and Cathay Organization, this dissertation examines their relationship with Japanese cinema by analyzing the complex negotiations inherent throughout the collaboration.;The dissertation conceptualizes the tension between Hong Kong and Japanese cinema as a spatial struggle, in which the materiality of space played a critical role. Japanese cinema's attempts to maintain its hegemony and dominance in Asia and Hong Kong cinema's endeavors to improve its position in the hierarchy of regional and global film industries contributed to the production of space. The space of production such as the cinematic space in films, in turn, influenced the dynamic between the two cinemas. Each chapter examines different forces within the production of space with common concern on the space of production that the two cinemas competed to construct a worldview beneficial to its own respective positioning in the region and the world. The forces at work are the role of technology at the Southeast Asian Film Festival, the embodiment of Hong Kong star in the co-produced films, and the border-crossing of Japanese talent to work in Hong Kong. The dissertation argues that through co-production with Japanese cinema, Hong Kong's film industry imbued its stars and films with a fantasy of cosmopolitanism for a global market, without challenging the patriarchal family ideology of Chinese society. The spatial struggle with Hong Kong cinema demonstrates that Japanese cinema attempted to define itself as a leader in Asia while confronting the West during the Cold War.

published_or_final_version / Comparative Literature / Master / Master of Philosophy

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

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

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

published_or_final_version / Comparative Literature / Doctoral / Doctor of Philosophy

This thesis explores the films produced by leftist filmmakers of the 1930s which reflect the contemporary urban life in Shanghai.

周昌龍. / Thesis (M.A.)--香港中文大學硏究院傳播學部. / Manuscript. / Includes bibliographical references (leaves 1-7 (2nd group)). / Zhou Changlong. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan chuan bo xue bu. / Chapter 第一章 --- 研究說明 / Chapter 第一節 --- 問題和界說 --- p.1 / Chapter 第二節 --- 本研究的特點及研究範圍 --- p.8 / Chapter 第三節 --- 研究方法 --- p.11 / Chapter 第四節 --- 理論和界說 --- p.15 / Chapter 第三章 --- 香港電影的發展模式 / Chapter 第一節 --- 香港電影模式的特點 --- p.21 / Chapter 第二節 --- 香港政府對電影的態度 --- p.25 / Chapter 第三節 --- 香港電影的娛樂傾向 --- p.31 / Chapter 第四節 --- 電影在本地市場上的競爭 --- p.38 / Chapter 第五節 --- 香港暴力電影的發展歷史及其特質 --- p.51 / Chapter 第三章 --- 暴力電影產生的商業背景 --- p.83 / Chapter 第一節 --- 暴力電影的製作成本 --- p.83 / Chapter 第二節 --- 暴力電影的市場及賣座情況 --- p.93 / Chapter 第三節 --- 結論 --- p.104 / Chapter 第四章 --- 暴力電影的製作技巧和吸引力 --- p.112 / Chapter 第一節 --- 技術改良和暴力電影的發展 --- p.113 / Chapter 第二節 --- 導演怎樣使暴力電影更吸引觀眾 --- p.121 / Chapter 第三節 --- 結論 --- p.137 / Chapter 第五章 --- 暴力電影的執行製作者 / Chapter 第一節 --- 執和製作者在影片製作上的地位 --- p.141 / Chapter 第二節 --- 導演製作暴力電影的客觀因素 --- p.149 / Chapter 第六章 --- 總結 / Chapter 第一節 --- 傳播者對社會的責任 --- p.187 / Chapter 第二節 --- 香港暴力電影的市場競爭力 --- p.190 / Chapter 第三節 --- 香港電影事業的特殊發展環境 --- p.197

This dissertation shows the way in which movies, as a form of popular culture and contemporary medium, can be used as a tool for facilitating an alternatively impressionable approach in understanding social history in context, which can be complementary to the purely historical approach in conducting research in the field of heritage conservation. 6 representative post-war Hong Kong movies from the 1950’s to 2000’s are selected for discussion through textual analysis of key cinematic frames based on 5 specific criteria. The ‘cinematic reality’ of each is discussed against the ‘historical reality’ of the year of its release, so as to facilitate a contextual understanding of the social-economic, architectural-geographical and ideological-political conditions of Hong Kong for the past 5 decades. / published_or_final_version / Conservation / Master / Master of Science in Conservation

在30年代主流文化界和知識界繼續熱誠地、全然地追求現代性時，一些現代傾向（modernist）的文化知識份子在電影和其他媒體中更多元地實踐着五四時期菁英知識份子的"全盤反傳統主義"(Totalistic Antitraditionalism)，他們將這種熱情訴諸于積極塑造以新興的知識女性為代表的中國"新女性"身上。 然而，在對電影這樣新興舶來品的媒介使用和對西方一些基本"電影語言"（cinematography）的效仿中，某些源于儒家的中國核心傳統價值和審美觀念，被有意識或無意識地挪用到電影人物形塑和審美韻味的建構中。這樣，不僅傳統經典的"儒家閨秀"藉着當代知識女性的新身份被重新包裝和再現，一些極具中國美學特色的電影處理技巧也在其中雛形漸現。更重要地，傳統閨秀的美學特點解釋了新的受教育女性謂之"新"的原由。本文（1）將從"美德"這一概念的傳承和模糊性入手，追溯禮教、道德之于傳統人物建構的意義和時代困境；（2）通過淺論閨秀人物與儒家美學思想的關係，以梳理多重道德審美的層次，並提煉"節"、"止"、 "制"的傳統美學建構機理；（3）通過提煉的這套可以參照施行的電影分析途徑，分析相關電影並蒐集分析證據；（4）借用銀幕內外的實踐策略來梳理和回應"傳統與現代"不同層次的矛盾衝突、協作重構，最後不僅可以進一步探究以30年代電影人為代表的人物思想矛盾，還可以辨析中國現代性的駁雜深刻之處。 In the 1930s when dominant intellectuals were cordially and overtly aspiring over modernity, a bunch of modernist intellectuals diversely practiced Totalistic Antitraditionalism inherited from MFM (May Fourth Movement) elite, on silver screen and other media. The educated women are both mediated representatives of Chinese "new" women and bearers of modernists' passion and dreams. Nevertheless, while accessing the film (as exotic and "new" medium then) and imitating western cinematography, some traditional core values and aesthetic ideologies rooted in Confucianism are consciously or unconsciously appropriated in constructing characteristic and auratic aesthetics on silver screen. Hence, not only the classic Confucian guixiu has been repacked and represented with new identity as contemporary educated women, but also some Chinese aesthetical patterns have emerged in film. More importantly, the aesthetics embedded in classic guixiu explain why new educated women are representatives of the "new". This paper (1) starts with the inheritance and ambiguity of the concept "meide (virtue)", before deploying how conventional Li (rites) and Daode (moral) contribute to both constructive significance and chronic dilemma of characters. (2) By virtue of analyzing classic guixiu and Confucius aesthetics, it is further enacted how moral aesthetics are enriched with multiple layers. Moreover, a type of constructive mechanism related to abridge (jie), stop (zhi) and restraint (zhi) is generalized. (3) Then, it deduced some framework that could be approached to filmic analysis as well as collecting data. (4) Lastly, the question about "traditional and modern" will be echoed with on and off screen strategic practices, in terms of contradiction, conflict, collaboration and reconstitution on different levels. Thus, not only the rooted dilemma in the 1930s could be revealed by means of analyzing contradictions of filmic people, but also the hybridity, heterogeneous and profundity of Chinese modernity could be further indicated.