However, from a political view, the YWCA is underestimated because it failed to lead the Chinese women to the final liberation through a revolutionary way. This dissertation attempts to represent the YWCA history in Modern Chinese from a gender perspective and emphasize its meaning to Chinese women's development which is beyond the body liberation. In addition, it is hoped to present a case study that reveals the evaluation bias that women movement and women organizations have to face up today. Recognizing the obstruction and the shackles of male hierarchy should benefit the independent construction of women's development model. / The Young Women's Christian Association originated in England and the United States in the latter half of the nineteenth century was introduced into China in 1890. Via its various works, the YWCA took root in Chinese women of different ages, different nationalities, and different religious beliefs. Equipped with the advanced achievements of western women's movement, the YWCA also focused on the Chinese women's real needs and interests. Through its professional services, the organization helped Chinese women improve their survival capabilities and life skills, inspire them to shape the national consciousness and lead the public life. It provided Chinese women with the means to work out real conception of womanhood, which was of great significance to Chinese women's emancipation and the raise of social status. / 曲宁宁. / Adviser: Ying Fuk-tsang. / Source: Dissertation Abstracts International, Volume: 73-03, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 180-201). / 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. / Qu Ningning.

As ownership of Hong Kong changed hands from the United Kingdom to the People's Republic of China in 1997, citizens and filmmakers of the city became highly aware of the political environment. Film director Wong Kar-Wai creates visually stimulating films that express the anxieties and frustrations of the citizens of Hong Kong during this period. This study provides a political reading of Days of Being Wild (1991), In the Mood for Love (2000), and 2046 (2004) through analyzing various story elements and details within the mise-en-scene. Story elements include setting, dialogue, character relationships, character identities, thematic motifs, musical references, numerology, and genre manipulation. Wong also uses details within the films' mise-en-scene, such as props and color, to express political frustrations. To provide color interpretations, various traditional aesthetic guidelines, such as those prescribed by Taoism, Cantonese and Beijing opera, and feng shui, are used to read the films' negative comments on the handover process and the governments involved. When studied together the three films illustrate how Wong Kar-Wai creates narrative and visual references to the time and atmosphere in which he works, namely pre-and-post handover Hong Kong.