自1989 年以来，中国独立电影在国家电影体制的管控之下，已经发展二十余年。随着数字摄影、非线性编辑、互联网应用等技术的不断提升，今天的独立电影与以往相比，拍摄成本更低、制作方式更便捷、影像质量更高、传播手段多样化；但其创作力和艺术水准并没有大幅提升，反而呈现停滞，甚至下降趋势。究其原因，当然包括官方压制、国内电影市场冲击、海外影展关注度降低等多方面外界因素的影响，但中国独立电影内部环境和中国独立电影人自身所存在的问题则往往被人们忽略掉了。本研究正是通过对中国独立电影二十余年历史的梳理，力图描述其内部生态环境的变化，提出中国独立电影在原有国家电影体制之外建构了一个新的体制--"亚体制"，并分析"亚体制"对于当前独立电影创作和独立电影评论的影响。 / 国家电影体制对中国独立电影的管控由来已久，尤其表现在对其传播、发行、放映的控制上。在此情况下，"前DV 时代（1989-2000 年）的独立电影人经历了从体制中逃离、与体制合作、回归体制的路线。而同时，一些民间电影放映社团逐渐搭建起了自己的独立电影放映管道，并培养了一批帮助独立作者进行影片推广的"中间人"。在"后DV 时代"（2000 至今），各地放映社团发展壮大，开始举办独立电影节，"中间人"也由此获得了更多的权力和威信，变为具有较强话语权的“关键人。就这样，以民间放映社团为单位，独立电影节为支柱，"关键人"为核心，独立电影基金、学校、资料馆、公司为分支的独立电影"亚体制"框架基本形成。本研究主要通过人物采访、田野考察、影像文本分析等方法，结合布迪厄（Pierre Bourdieu）"场域"的相关理论分析这一"亚体制"的结构关系、经济链条和体制化表象。 / 经过论证，本研究认为在独立电影"亚体制"的场域中，"关键人"通过积累文化资本、经济资本和社会资本的方式来获得权力，并在此基础之上建立其评价体系，形成“非主流"中的主流标准。如果这种状况得不到改善，"阶级"、"霸权"、"垄断"等问题将会愈演愈烈，独立电影界也会重蹈原有体制的覆辙，其内部会逐渐丧失"独立性"，最终导致抑制独立电影多元化发展的结果。 / Since 1989, the independent film in China, under the control of national cinema institution, has already had a history of more than 20-year development. With the continuous improvement of technology in the fields of photography, editing and internet application, today's Chinese independent film has lower producing cost, quicker production methods, higher image quality, and more diversified transmission methods. However, instead of a substantial improvement, the creativity and theartistic criteria of the films tend to stagnate and even have a tendency to decline, for which the main reasons might be government control, the impact of the domestic film market, the reduced attention of abroad film festivals and other external factors, but we cannot ignore the internal problems in the ecosystems of the independent film and the filmmaker themselves. This study, through sorting the over-20-year development history of independent films in China, strives to describe the changes of the internal ecological environment and put forward institutionalization of the independent film outside the national institution. / The national cinema institution has a long-time control over the Chinese independent film, especially over its distribution and exhibition. Under such a circumstance, the independent filmmakers in the "former DV era" (1989-2000) have shifted from the paths of fleeing from the national institution, cooperating and returning. In the meantime, some "film viewing social organizations" (we call them "film clubs") gradually have set up their own exhibition channel of films and have cultivated a group of “intermediator" who could help promote the independent film. In the "later DV era" (2000 up to the present), film clubs in various regions developed and expanded to hold some independent film festivals. Consequently, while gained more power and prestige, the "intermediator" became the "key person" who has a greater discourse power. In this way, with the film club as the unit, independent film festival the pillar, the "key person" the centre, the independent film fund, school, archive and company the branch, the frame of institution was basically formed. This study, mainly through interview, field observation, analysis of image and text and other methods, and by combining with the related "field" theory of Pierre Bourdieu, analyzes the structural relation, economic chain and the representation of institutionalization in the independent film. / Through the demonstration, the study concludes that, in the field of independent film, if the situation ("the key person" gains power through accumulating cultural capital, economical capital and social capital, and on this base establishes a review system to form a mainstream standard among the "non mainstream") cannot be improved, the problems, like "social classes", "hegemony" and "monopoly" will become more and more serious. As a result, the Chinese independent film will follow the same road of national cinema institution, and the films will gradually lose its "independence", which eventually would restrain the diversified development of the film. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 李铁成. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 242-265). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Li Tiecheng. / 摘要 --- p.i / Abstract of thesis entitled: --- p.iii / 致谢 --- p.v / 目录 --- p.vii / 绪论 --- p.1 / 中国独立电影评论回顾 --- p.2 / 体制与独立电影 --- p.16 / 亚体制 --- p.26 / Chapter 第一章 --- “体制"vs.“独立" / 独立剧情片──被迫逃离体制 --- p.32 / 独立纪录片──与体制的合作 --- p.40 / 影视体制市场化 --- p.52 / Chapter 第二章 --- “前DV时代"独立电影的去向 --- p.60 / 香港──最早的“中间人" --- p.61 / 贾樟柯的香港经历 --- p.69 / 民间放映社团学习期（1996-2000） --- p.77 / 本土中间人的身份及成长 --- p.87 / Chapter 第三章 --- 亚体制独立影展的创办 --- p.94 / “后DV时代"初期──爆发后的困惑 --- p.94 / 影展试探期（2000-2002） --- p.101 / 影展创办期（2003-2007） --- p.115 / 云之南人类学影像展 --- p.116 / 中国独立纪录片交流周 --- p.122 / 中国独立影像年度展 --- p.127 / Chapter 第四章 --- 关键人与独立电影的生态链条 --- p.136 / “关键人"和“场域" --- p.137 / “资本生态链条" --- p.143 / “生态链条"的经济命脉 --- p.145 / 放映联盟 --- p.157 / 独立电影学校 --- p.160 / Chapter 第五章 --- “亚体制"vs.“独立" --- p.164 / “独立性"的选择 --- p.165 / 2011年CIFF“萨满·动物宣言" --- p.185 / 话语权不断失衡 --- p.187 / 独立作者受到的影响 --- p.193 / Chapter 第六章 --- 个案分析 --- p.196 / 创作路程原初与现状 --- p.199 / 亚体制的主流美学 --- p.204 / 自媚与猎奇 --- p.214 / 结论 --- p.219 / Chapter 附文一： --- 贾樟柯娄烨王小帅等联名上书电影局（全文） --- p.227 / Chapter 附文二： --- “萨满 动物"（南京宣言） --- p.229 / Chapter 附表一： --- 1990-2011年 柏林电影节展映之中国大陆影片 --- p.232 / Chapter 附图一： --- 中国独立电影生态图 --- p.235 / Chapter 附图二： --- 2010年 国际青年艺术电影高峰论坛 宣传手册封面 --- p.236 / Chapter 附图三： --- 2010年 国际青年艺术电影高峰论坛 第1页 --- p.237 / Chapter 附图四： --- 2010年 国际青年艺术电影高峰论坛 第2页 --- p.238 / 采访记录： --- p.239 / 英文文献： --- p.242 / 中文文献： --- p.246 / 网络文献： --- p.251 / 电影（本文中涉及到的）： --- p.259

published_or_final_version / Comparative Literature / Doctoral / Doctor of Philosophy

published_or_final_version / Comparative Literature / Master / Master of Philosophy

Ho Wing Shan. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 112-117). / Abstracts in English and Chinese. / Chapter One: --- Introduction --- p.1 / Chapter Two: --- Cross-dressing and Gender/ Sexuality Conscious Hong Kong Cinema --- p.18 / Chapter Three: --- "A Queer Sexualized Subject ´ؤWing in He ´ةs a Woman, She ´ةs a Man and Who ´ةs the Woman, Who´ة s the Man" --- p.45 / Chapter Four: --- A Queer Transsexual Subject~Asia the Invincible in Swordsman 2 --- p.77 / Chapter Five: --- Conclusion --- p.108 / Bibliography --- p.112

Tsang, Chung-yan. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2003. / Filmography: p. 182-183. / Includes bibliographical references (leaves 184-189). / Abstracts in English and Chinese ; appendix also in Chinese. / ABSTRACT --- p.2 / 論文摘要 --- p.3 / ACKNOWLEDGEMENTS --- p.4 / CONTENTS --- p.6 / Chapter Chapter 1 --- Introduction / Chapter 1.1 --- Empirical Puzzles and Theoretical Concerns --- p.10 / Chapter 1.2 --- Overview of The Thesis --- p.17 / Chapter 1.3 --- Literature Review --- p.17 / Chapter 1.3.1 --- Understanding the Image Construction of the Minorities through Films / Chapter 1.3.2 --- How the Images of the Blacks Get Represented - Blacks' Imagesin Films / Chapter 1.3.3 --- How Women Get Represented under the Male Gaze 一 Gender Representations in Films / Chapter 1.3.4 --- Childhood ´ؤ A Socially Constructed Concept / Chapter 1.3.5 --- How the Child Images are Constructed? - Literature Related to the Construction of Child Images / Chapter 1.4 --- Theoretical Framework - Foucauldian Concepts in Understanding Child Images --- p.33 / Chapter 1.4.1 --- Double Marginalization - Children as Victims / Chapter 1.4.2 --- Disciplinary Power over Children - Children as Moral Agents / Chapter 1.4.3 --- The Multiple Network of Power - Children as Anonymous Objects / Chapter 1.4.4 --- Care of the Children - Children as Protagonists / Chapter CHAPTER 2 --- Methodological Design and An Overview of the Hong Kong Film Industry / Chapter 2.1 --- Casing the Films ´ؤ Introduction to Methodological Design --- p.44 / Chapter 2.1.1 --- Content Analysis / Chapter 2.1.2 --- Ideological Approach / Chapter 2.2 --- The Development of the Hong Kong Film Industry and Its Relatedness with the Changes of the Child Images --- p.51 / Chapter 2.2.1 --- Formative and Developing 50s Film Industry - Time for Exploration / Chapter 2.2.2 --- The Golden Year of the 60s Film Industry - Time for Early Harvest / Chapter 2.2.3 --- Discontinuity of the Prosperity of the Film Industry in the 70s - Time for Reconstruction / Chapter 2.2.4 --- Golden Years in Both 80s to 90s - Time For Innovation and Globalization / Chapter CHAPTER 3 --- Double Marginalization - Children as Victims / Chapter 3.1 --- Subordinating to the Adults ´ؤ Child Images as Sufferers in the Social Margin --- p.59 / Chapter 3.1.1 --- Great Devotion (1961) - Children in Extreme Poverty / Chapter 3.1.2 --- Father is Back (1962) -Two Siblings Struggled for Survival without Parental Care / Chapter 3.1.3 --- A Lily in the Storm (1962) ´ؤ A Boy Who was Mistreated by His Stepmother / Chapter 3.2 --- Acceptance for Children as a Separate Entity? ´ؤ An analysis of the Child Images in the Subordinating Context in Films --- p.66 / Chapter 3.3 --- Absence of Child Images in the 70s - A Turn of the Child Images --- p.74 / Chapter 3.4 --- Concluding Remarks --- p.78 / Chapter CHAPTER 4 --- Disciplinary Power over Children - Children as Moral Agents / Chapter 4.1 --- Sacrifice and Respect - The Typical Child Images in the1960s Melodramas --- p.81 / Chapter 4.1.1 --- Filial Piety (1960) - Children Sacrificing Themselves for the Family / Chapter 4.1.2 --- Filial Piety that Moves Heaven (1960) 一 Children Saved Their Parents through Adventurous Experience / Chapter 4.1.3 --- The Seven Kids (1961) - Appropriate Training for the Children to Become Independent / Chapter 4.1.4 --- Little Artists (1962) - Showing Respect and Gratitude to the Teacher / Chapter 4.2 --- Child Images as Moral Agents under the Influence of the Disciplinary Power --- p.87 / Chapter 4.3 --- "The Recurrence in the 1980s and Unapparent ""Moral Occult"" in the 90´ةs" --- p.94 / Chapter 4.3.1 --- Daughter and Father (1981) - Repaying the Indebtedness to the Adoptive Father / Chapter 4.4 --- Social Context for the Rise of the Child Image as Moral Agents --- p.98 / Chapter CHAPTER 5 --- Victimization and Objectification - Children as Anonymous Objects / Chapter 5.1 --- "Defining Objectification - Children were Objects Portrayed as ""Something""" --- p.101 / Chapter 5.1.1 --- Goodbye Mammie (1986) - How Orphans Led Their Life in the Orphanage / Chapter 5.1.2 --- All about Ah Long (1989) - An Dilemma for Children who were Placed between Parents / Chapter 5.1.3 --- The Story of my Son (1990) 一 To Show the Extreme Suffering of the Children / Chapter 5.1.4 --- The Son on the Run (1991) - A Child was Born without Father or Mother / Chapter 5.2 --- Objectification of Child Images 一 Hidden Power over the Fate of Children --- p.114 / Chapter 5.3 --- Concluding Remarks --- p.122 / Chapter CHAPTER 6 --- Weapons of the Weak - Children as Protagonists / Chapter 6.1 --- Introduction to the Films Selected --- p.124 / Chapter 6.1.1 --- Siu Chong Yuen (1961 - The Child who Judged the Critical Moment / Chapter 6.1.2 --- "Little Detective (1963) - Adult Mind, Child Body" / Chapter 6.1.3 --- "Daddy, Father, Papa (1991) - The Hong Kong Version of Home Alone" / Chapter 6.2 --- How Children Empower Themselves? --- p.135 / Chapter 6.2.1 --- Sporadic Show Time for Children / Chapter 6.3 --- "Room for Having Dialogue, Resistance and Subversion ´ؤ How Children were Portrayed as Protagonists" --- p.140 / Chapter 6.3.1 --- A Protagonist - Direct Dialogue and Resistance to Redefine the Boundary / Chapter 6.4 --- Concluding Remarks - Complex Relational Network of Power --- p.144 / Chapter CHAPTER 7 --- Conclusion / Chapter 7.1 --- Four Categories - How Children were Getting Represented in the Hong Kong Films --- p.147 / Chapter 7.1.1 --- Children as Victims / Chapter 7.1.2 --- Children as Moral Agents / Chapter 7.1.3 --- Children as Anonymous Objects / Chapter 7.1.4 --- Children as Protagonists / Chapter 7.2 --- What is More? --- p.151 / Chapter 7.2.1 --- A Possible Supplement for the Foucauldian Framework / Chapter 7.2.2 --- Theorizing the Construction of Child Images ´ؤ A Reconsideration of the Hong Kong Cultural Studies for Adding in the Age Dimension / Chapter 7.2.3 --- A Call for Reconsideration - The Predicament of the Current Hong Kong Cultural Studies / Chapter 7.2.4 --- The Need for Inserting the Age Dimension in Cultural Studies / APPENDICE --- p.162 / FILMOGRAPHY --- p.181 / REFERENCES --- p.183

Gao Yang. / Thesis submitted in: June 2005. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 123-133). / Abstracts in English and Chinese. / GENDER AND NATIONALISM IN CHINESE FILMS BETWEEN 1949 AND 1989 --- p.I / 摘要 --- p.III / ABBREVIATIONS --- p.VIII / Chapter CHAPTER 1 --- INTRODUCTION --- p.1 / Chapter 1.1 --- Literature Review --- p.2 / Chapter 1.1.1 --- "Nation, State and Nationalism" --- p.2 / Chapter 1.1.2 --- Gender and Nation in Chinese Cinematic Narration --- p.6 / Chapter 1.2 --- Methodology --- p.10 / Chapter 1.2.1 --- Typology --- p.10 / Chapter 1.2.2 --- Film Analysis as Method --- p.11 / Chapter 1.2.3 --- Case Selection --- p.16 / Chapter CHAPTER 2 --- SOCIAL BACKGROUND OF CHINA: 1949-1989 --- p.22 / Chapter 2.1 --- Background of the First Period:1949-1978 --- p.22 / Chapter 2.1.1 --- "New China, New Women" --- p.22 / Chapter 2.1.2 --- The Cooperative Movement and the Communization Movement:1952- --- p.24 / Chapter 2.1.3 --- The Great Leap Forward and the Suppression of Individualism:1958-1960 --- p.26 / Chapter 2.1.4 --- The Magnification of Class Struggle and the Cultural Revolution --- p.28 / Chapter 2.1.5 --- The Unchanged Philosophy behind the Changing Policies: the Strategic Opening Up of Public Domain for Women --- p.30 / Chapter 2.2 --- Economic and Political Landscape after the Cultural Revolution: 1979-1989 --- p.31 / Chapter 2.2.1 --- Economic Reform and the Concomitant Social Problems --- p.31 / Chapter 2.2.2 --- Political Liberalization and the Backlashes --- p.32 / Chapter 2.2.3 --- "The ""Cultural Fever"" and the ""Fifth Generation"" Filmmakers" --- p.33 / Chapter 2.2.3.1 --- Collective Frustration: The Social Sentiment after the National Trauma --- p.33 / Chapter 2.2.3.1.1 --- Traumatic Experiences during the Cultural Revolution --- p.33 / Chapter 2.2.3.1.2 --- The Lost Past --- p.36 / Chapter 2.2.3.1.3 --- The Meaningless Present --- p.36 / Chapter 2.2.3.2 --- The Specter of Westernization --- p.37 / Chapter 2.2.3.2.1 --- "The ""Anti-Wholesale Westernization"" Campaign" --- p.37 / Chapter 2.2.3.2.2 --- "New Social Crisis and the Nationalism behind ""Anti- Wholesale Westernization""" --- p.38 / Chapter 2.2.3.3 --- The Fifth Generation in the Cultural Fever and the Root-Searching Movement --- p.40 / Chapter 2.2.4 --- Shifts of Women's Issues in the Reform Era --- p.44 / Chapter 2.2.4.1 --- Women and Labor under the Economic Reform --- p.44 / Chapter 2.2.4.2 --- Femininity in Flux --- p.45 / Chapter 2.2.4.3 --- The Representation of Women --- p.46 / Chapter 2.2.4.3.1 --- Women in the Public Space ´ؤ Discourse and Visuality --- p.46 / Chapter 2.2.4.3.2 --- Women and the Nation in Representation --- p.47 / Chapter CHAPTER 3 --- CLASSIC REVOLUTIONARY FILMS --- p.49 / Chapter 3.1 --- "Ghost of the Old Society, Master of the New State, a Case Study of The White- Haired Girl" --- p.50 / Chapter 3.1.1 --- Gender Conflicts in the Form of Class Confrontations --- p.51 / Chapter 3.1.2 --- The Fading Female Sexuality in the Evolving Adaptations of the Story --- p.52 / Chapter 3.1.3 --- Male Desire and Male Sexuality --- p.53 / Chapter 3.1.4 --- The Reason behind the Desexualization of both Sexes --- p.54 / Chapter 3.1.5 --- State Feminism: Where Will Women's Liberation Led to? --- p.55 / Chapter 3.2 --- Gender Dynamics and Socialist Discourse in Xie Jin's The Red Detachment of Women --- p.56 / Chapter 3.2.1 --- "Sexuality, Body and the Inscription of Class Struggle" --- p.57 / Chapter 3.2.2 --- The Myth of Class and Class Struggle in the Construction of Nationalism --- p.58 / Chapter 3.2.3 --- Constructing Class and Nation in Collective Memories --- p.61 / Chapter 3.2.4 --- "The Interpellation of Individuals by “Ideological State Apparatus""" --- p.62 / Chapter 3.3 --- A Comparison between The White-Haired Girl and The Red Detachment of Women --- p.64 / Chapter 3.3.1 --- The Representation of the Daughterhood --- p.64 / Chapter 3.3.2 --- The Representation of the Wifehood --- p.65 / Chapter 3.3.3 --- The Representation of the Motherhood --- p.66 / Chapter 3.3.4 --- Understanding the Differences between the Two Films --- p.67 / Chapter CHAPTER 4 --- THE FIFTH GENERATION'S FILMS --- p.71 / Chapter 4.1 --- Case Study of Yellow Earth --- p.72 / Chapter 4.1.1 --- "Reading the Reviews, Reading the Film" --- p.72 / Chapter 4.1.2 --- "Class, Gender and Nation in Yellow Earth" --- p.74 / Chapter 4.1.2.1 --- Class and Gender in the Characterization --- p.75 / Chapter 4.1.2.1.1 --- The Invisible and the Visible: Departing from the Socialist Rhetoric of Class Struggle --- p.75 / Chapter 4.1.2.1.1.1 --- No Villain --- p.75 / Chapter 4.1.2.1.1.2 --- No Hero --- p.77 / Chapter 4.1.2.1.1.3 --- The Party's Folksong-Collection and the Peasants' Taciturnity --- p.78 / Chapter 4.1.2.1.1.4 --- The Estrangement between the Party and the Peasantry --- p.80 / Chapter 4.1.2.1.2 --- Gender Images in a Gendered Narration --- p.81 / Chapter 4.1.2.1.2.1 --- The Gender Separation --- p.82 / Chapter 4.1.2.1.2.2 --- The Impossible Romance --- p.83 / Chapter 4.1.2.1.2.3 --- The Refusal and the Death --- p.85 / Chapter 4.1.2.2 --- The Significant Setting in a National Allegory --- p.86 / Chapter 4.1.2.2.1 --- The Natural Landscape --- p.86 / Chapter 4.1.2.2.2 --- The Rituals --- p.87 / Chapter 4.1.3 --- Debates and Awards --- p.89 / Chapter 4.1.3.1 --- Debates --- p.89 / Chapter 4.1.3.2 --- Awards --- p.91 / Chapter 4.2 --- Case Study of Red Sorghum --- p.93 / Chapter 4.2.1 --- An Egalitarian Myth of National Heroes --- p.93 / Chapter 4.2.1.1 --- The Villains --- p.93 / Chapter 4.2.1.2 --- The Heroes --- p.94 / Chapter 4.2.1.3 --- The Ideology of the Body --- p.96 / Chapter 4.2.1.4 --- Carnivals ´ؤ Festive Rituals that Connect the Personal with the National --- p.98 / Chapter 4.2.2 --- Rebuilding Desirable Masculinity through Female Sexuality --- p.100 / Chapter 4.2.3 --- Red Sorghum ´ؤ Searching Root in a National Allegory --- p.106 / Chapter 4.2.4 --- Debates and Awards --- p.108 / Chapter 4.3 --- Comparing Yellow Earth and Red Sorghum --- p.110 / Chapter CHAPTER 5 --- CONCLUSION --- p.114 / Chapter 5.1 --- Before the Cultural Revolution --- p.114 / Chapter 5.2 --- The Cultural Revolution --- p.116 / Chapter 5.3 --- After the Cultural Revolution --- p.117 / Chapter 5.4 --- Conclusion --- p.120

Huang, Guanxiong. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 125-134). / Abstracts in English and Chinese. / Chapter 1. --- Introduction --- p.1 / Chapter 1.1 --- Tourism --- p.1 / Chapter 1.2 --- Film/TV-induced tourism --- p.2 / Chapter 1.3 --- Research questions --- p.4 / Chapter 1.4 --- Significance --- p.7 / Chapter 1.5 --- Organization of thesis --- p.9 / Chapter 2. --- Literature Review --- p.11 / Chapter 2.1 --- Studies of film/TV-induced tourism --- p.11 / Chapter 2.2 --- lace-myth --- p.16 / Chapter 2.3 --- Gaze --- p.20 / Chapter 2.4 --- Analytical framework --- p.28 / Chapter 3. --- Methodology --- p.32 / Chapter 3.1 --- Qualitative inquiry --- p.32 / Chapter 3.2 --- Case study --- p.33 / Chapter 3.3 --- Textual analysis --- p.36 / Chapter 3.4 --- Ethnography --- p.36 / Chapter 4. --- Mythic Television Drama and Mythic Landscape --- p.41 / Chapter 4.1 --- Myth in Flowing Time --- p.41 / Chapter 4.2 --- lace-myth in Black Town. --- p.59 / Chapter 4.3 --- Conclusion --- p.77 / Chapter 5. --- How Gaze Works? --- p.81 / Chapter 5.1 --- resent approach of gaze --- p.81 / Chapter 5.2 --- Tourists --- p.84 / Chapter 5.3 --- Tourism industry --- p.86 / Chapter 5.4 --- Localeople --- p.94 / Chapter 5.5 --- Conclusion --- p.109 / Chapter 6. --- Conclusion and Discussion --- p.116 / Chapter 6.1 --- Summary of findings --- p.116 / Chapter 6.2 --- Media effects revisited --- p.119 / Chapter 6.3 --- Tourist gaze revisited --- p.123 / Chapter 6.4 --- Limitations and suggestions --- p.124 / Bibliography --- p.126

published_or_final_version / English / Doctoral / Doctor of Philosophy

The dissertation attempted to study Yingxi Fiction, a genre of fiction, which emerged and prevailed in Shanghai during the early two decades of the twentieth century. The majority of writers of Yingxi fiction at that time were literati of the Mandarin Duck and Butterfly School. After watching the imported silent movies, they recorded the contents and adapted them as fictional texts for the purpose of introducing the stories to those who could not afford to watch the films. This type of genre was named Yingxi fiction and had been welcomed by public readers at leisure. In fact Yingxi fiction had implied how traditional literati received and absorbed western cultural elements on their way to pursue Chinese modernity. This study would like to conduct a close examination of Yingxi fiction, which has been previously ignored, through in-depth analysis of the texts and investigation of its social as well as cultural significance. This dissertation consisted of five chapters. Chapter One was an introduction of the popular fiction, movie and Yingxi fiction in Early Republican China. Previous studies on Yingxi fiction were briefly presented as well. Chapter Two dealt with the emergence of Yingxi fiction. The prefaces and peer reviews of some works of this genre would be especially studied in order to explore the motivations of the writers and their approaches to compose the Yingxi fiction. Three Yingxi fiction writers, Zhou Shoujuan (1895-1968), Bao Tianxiao (1875-1973) and Lu Dan’an(1894-1980), were comprehensively illustrated as case studies. Chapter Three focused on the application of “Paradigm” in textual analyses of Yingxi fiction. Serving as an unusual spectacle, paradigm provided a thorough understanding of the hybrid narrative style of the stories. By discussing the narrative pause, redundancy, story modes and language usage, the way in which the paradigm of Chinese fiction influenced by western literature would been exposed. Chapter Four discussed the graph-text conversion in Yingxi fiction. It was suggested that writers’ failure in identifying the moral issues and female images in western movies could be explained and might be regarded as the writers’ skills of adaptation of the stories for the sake of Chinese representations. Lastly, the conclusion chapter summed up the distinctive features of Yingxi fiction, the prominence of the genre and its significance in modern Chinese literature. Besides, the limitations and reasons of fading away of Yingxi fiction would also be expounded. / published_or_final_version / Chinese / Master / Master of Philosophy

published_or_final_version / Comparative Literature / Master / Master of Philosophy