Tam Wai Wan Vivian. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 231-233). / Abstracts in English and Chinese. / Chapter 1 --- Orientation to Domestication --- p.1 / Chapter ´Ø --- Literature Review and Methodology --- p.6 / Chapter ´Ø --- "Popular Culture, Cultural Identity and Discourse" --- p.7 / Chapter ´Ø --- Textual Analysis and Interview --- p.13 / Chapter ´Ø --- "Ideology, Discourses and Domestication" --- p.19 / Chapter 2 --- Introduction to the Four Discourses --- p.40 / Chapter 3 --- Chow Yun-fat's Subversive Past --- p.46 / Chapter 4 --- Domesticating Chow on TV Ads --- p.62 / Chapter 5 --- Taming Chow Yun-fat on Paper --- p.83 / Chapter 6 --- Overview to Reception Analysis --- p.105 / Chapter 7 --- Newfound Pride in Chow Yun-fat --- p.114 / Chapter ´Ø --- Upper-middle Class' Actualizing Actor --- p.114 / Chapter ´Ø --- Small Business Owners' Actor of Class --- p.127 / Chapter 8 --- Colonization or Rejuvenation of the Grassroot Chow Yun-fat --- p.141 / Chapter ´Ø --- Colonizing the Secure Working Class --- p.151 / Chapter ´Ø --- Revitalized Admiration by the Cultured Middle Class --- p.158 / Chapter 9 --- Disenchantment and Alienation of the Insecure Working Class 一 A Chow Yun-fat beyond Survival --- p.168 / Chapter 10 --- Conclusion --- p.192 / Appendix 1: Sample of Interview Questions --- p.197 / Appendix 2: Selected Frames and Shot-by-shot Analysis of Chow Yun-fat Advertisements --- p.198 / Appendix 3: Chow Yun-fat's Filmography --- p.229 / Bibliography --- p.231

published_or_final_version / Sociology / Master / Master of Philosophy

The purpose of this study is to arrive at a critical overview of politics and literature in the Chinese context. The relationship has increasingly become a "field" of studies and theoretical inquiry that most scholars in either disciplines are wary to tread. This thesis tries to venture into this problematic field by a theoretical examination as well as an empirical critique of Chinese literature and politics, where the relationship seems even more paradoxical, but adds more insight into the argument. The Introduction and Chapter One set up a framework by asking some general but fundamental questions: what literature is, and how it is to be related to politics. Chapter Two examines the historical function of literature and Chinese writers in society to establish the basis of argument in the Chinese context. Chapter Three focuses the discussion on the relationship between politics and literature during the Mao era and after. Chapters Four analyses the literary works published during the post-Mao period to establish the argument that literature, as part of our perception of the world, is most concerned with human society and social amelioration and participates in the socio-political development by contributing to it through a discourse that is otherwise inaccessible. Chapter Five explores the argument further by extending it into the field of cinema, which basically comes from the same narrative tradition of prose literature, but offers a wider and different dimension to the argument pursued. Chapter Six and the Conclusion try to draw together the argument by examining literature as both form and content to argue how and why literature is related to politics and how it has functioned in a political manner in Chinese society. To summarise, Chinese literature in this period will b& shown to be involved In a process of political reform and development by way of bringing the reader to participate in a critical and philosophical dialogue with power, history and future. In the long run, it offers emancipating visions and possibilities revealed to the reader in ways that are historical, developmental, philosophical and comparative. This study focuses on the prose fiction published in this period, for it is the leading force in China's cultural development and constitutes the major trunk of the modern Chinese canon. In addition, the research also extends to drama and films, and the way they, together with prose fiction, make up the most popular perception and intellectual discovery of contemporary Chinese society and politics and best inform the argument of the study of politics and literature.

xi, 284 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / My dissertation delves into the recent articulation of popular nationalism in Mainland China, with particular emphasis on the changes that globalization and transnationalism have brought about to the representation of the Chinese nation in sentimental terms. Complementing the rich existing literature of Chinese nationalism that focuses mainly on the pre-1949 period, my study explores the less-treaded contemporary era characterized by the new historical condition of postsocialism, which features a residual of the socialist past as well as its reinvention under new overwhelming trends of globalization. Postsocialism and its consequences-the deepening of a neoliberalist economic refonn, the state-intellectual promotion of cultural economy, the emergence of a dominant consumer culture, etc.-have produced new issues existing scholarship on Chinese nationalism has yet to address. One such issue is how the paradoxical entity of the "nation" in time and space has been fragmented by the accretion of diversified voices from a wide spectrum of Chinese society. In postsocialist China, the agents imagining the nation include not only regulars like the state and intellectuals, but also new players like mass-media elites and netizens (wangmin). I argue that these voices of different social forces that break up the hegemony of the state in representing the nation-the result of which being not that the state is excluded from this enterprise but that it now tells only part of the story-become expressed as modes of national sentiments (minzu qinggan) when the nation is imagined under the historical condition of postsocialism. My study then explores in detail the fashioning and refashioning of contemporary Chinese subjectivity, as it relates through the joining of national sentiments to the literal and figurative body of the nation and the social power structure, by analyzing these specific voices in a broad range of popular texts from TV, film, and the Internet. The detailed examination includes four chapters dealing with specific modes of national sentiments articulated by the intellectuals, the state, the mass-media elites, and the netizens, respectively. / Committee in charge: Tze-lan Sang, Co-Chairperson, East Asian Languages & Literature; David Leiwei Li, Co-Chairperson, English; Maram Epstein, Member, East Asian Languages & Literature; Bryna Goodman, Outside Member, History

"耽美"来源于日本，是以女性读者群为主要受众、描写男性与男性之间浪漫关系或性关系的文学或艺术作品，也被称为BL（Boy’s Love）。喜爱耽美的女性爱好者被称为"腐女"。耽美文化自1990 年代后期随着日本流行文化进入中国，至今已在中国网络空间中逐渐发展成为一个主要由女性网民所组成的，包含文本创作、阅读与交流的文化圈。与此同时，耽美文化的流行亦引发了中国当下种种对性与性别问题的思考。 / 本研究将耽美文化解译为"女性幻想男男之爱"的欲望结构，从精神分析幻想理论与酷儿理论的视角来考察中国网络中的耽美文化现象。论文所围绕的一个问题是，耽美文化与中国社会文化中的性/别话语产生了怎样的关系，以及如何从腐女的耽美幻想中搭建起与现实性/别政治的联系。研究首先分析了两类网络耽美小说文本，分别来看它们与1990年代以后的"男同性恋"身份话语，和2000年代以后对"中国古典文化"想象之间的吸收、挪用与再创造；其次以网络腐女圈的论坛讨论与配对狂欢为对象，研究网络耽美式恶搞对官方媒体、主流男性形象和异性恋规范的权威所潜在的颠覆性；最后以2011年一桩"腐女被抓案"新闻报道为契机，来观察耽美文化与网络淫秽色情审查的纠葛、冲突与可能的出路。 / 欲望幻想的流动性决定着它边界的模糊与开放，以及它承载、影响乃至侵扰"现实"秩序的功能。因此，作为一种女性的男性同性情欲幻想，本研究视耽美文化最引人注目的地方不在于其本身的出现与流行程度，而在于它与各种性/别话语的相互建构与矛盾冲突。此外，在对幻想文本、网络话语以及腐女群体的调查中，本研究也期待探索某种"酷儿"政治在中国网络文化中生产的可能性。 / Boy’s love (BL in short; danmei in Chinese) is a Japanese term for female-oriented fictional media, which focuses on love, sex and romance between beautiful androgynous boys or young men. Apart from the gay self-representations, BL is a genre of male homoeroticism by and for mostly heterosexual women. In China, the BL fans call themselves "Fu Nu", which means "rotten girl", to describe their enthusiasm for fantasizing male homosexuality. BL originated from Japanese amine, comic and game youth culture, and has since become a transnational phenomenon all over the world with a global fan base. As such, the phenomenon of boy’s love had already aroused a lot of discussions in relation to ideologies of gender and sexuality from different cultural and social perspectives. BL fandom in China’s culture context with its "Chinese characteristics" also deserves particular attention, when it opens up a fantastic space for Chinese woman to practice their sexuality beyond non-heterosexual norms. / However there is limited work that considers the queer sexuality of female BL fans in China, in relation to the queer texts and queer discourses they create. There is also little research that explores the capacity of boy’s love netizens to resist the on-going internet surveillance by the Chinese government of information deemed ‘sexually inappropriate’ and outside the heterosexual norm. Therefore there remains a paucity of studies that examine the political potentialities of anti-homophobic and queer discourses of sexuality as manoeuvred by the Chinese BL fan base that continue to populate online communities. Based on previous studies about the phenomenon of boy’s Love in China, this paper analyses the queer politics of the online BL fandom in terms of the interactions between BL and the other gender and sexuality discourses on the Chinese Internet. It will be argued that the online BL fandom opens up a virtual space for girls and young women to author practice their male homosexual fantasies. Moreover, it will be maintained that boy’s love appropriates the queerness from the different sides of cyber culture into its narrative fantasies, thus forming a queer continuum made up with the conflicts, complicities and political potentialities of the gender and sexuality on the Chinese internet. This paper concludes with an analysis of the ambiguous relation of BL with Chinese Internet censorship, and traces the capacities of boy’s love netizens in subverting and resisting government surveillance of what it terms ‘obscene’ information. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 周舒燕. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 151-162). / Abstracts also in English. / Zhou Shuyan.

by Wong Yan Chau, Christina. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 175-186). / Chapter I. --- Introduction --- p.2 / Chapter II. --- Historical Background --- p.5 / Chapter III. --- A Review of the Related Literature --- p.14 / Chapter A. --- The Culture Industry Approach --- p.15 / Chapter B. --- The Liberal-Pluralist Approach --- p.26 / Chapter C. --- The Technological Approach --- p.31 / Chapter IV. --- The Theoretical Perspective --- p.36 / Chapter V. --- Methodological Approach to Study --- p.42 / Chapter A. --- Content Analysis of Lyrical Messages --- p.42 / Chapter 1. --- Method --- p.42 / Chapter 2. --- Data --- p.43 / Chapter 3. --- Analytic Framework of the Textual Analysis --- p.45 / Chapter B. --- Analysis of Rock Music within Hegemony --- p.48 / Chapter 1. --- Method --- p.48 / Chapter 2. --- Data --- p.50 / Chapter VI. --- Meanings in Rock Music --- p.52 / Chapter A. --- Themes in each fictional mode --- p.52 / Chapter B. --- Thematic content of Rock Music --- p.54 / Chapter 1. --- The Ironic Mode --- p.54 / Chapter 2. --- The Mimetic Mode --- p.64 / Chapter a. --- Phenomena of Identity Crisis --- p.64 / Chapter i. --- Loss of direction --- p.65 / Chapter ii. --- Roots-seeking --- p.68 / Chapter iii. --- Alternating identity --- p.69 / Chapter iv. --- Alienation --- p.71 / Breakaway --- p.71 / A Stranger in the City --- p.74 / Chapter b. --- Outlook on Life --- p.76 / Chapter c. --- Social Problems --- p.79 / Chapter i. --- War --- p.79 / Chapter ii. --- Incivility --- p.81 / Chapter d. --- The Experience of Growing Up --- p.82 / Chapter i. --- Anti-patriarchism --- p.82 / Chapter ii. --- Wandering --- p.83 / Chapter iii. --- The Loss of Childhood --- p.84 / Chapter e. --- Love --- p.85 / Chapter i. --- Yearning for love --- p.85 / Chapter ii. --- Frustrations with love --- p.86 / Chapter iii. --- Wild love --- p.88 / Chapter iv. --- Inauthentic love --- p.90 / Chapter 3. --- The Leadership Mode --- p.93 / Chapter a. --- The Exploratory Spirit --- p.93 / Chapter b. --- Individuality and Non-Conformity --- p.96 / Chapter c. --- The Authentic Self --- p.98 / Chapter 4. --- The Romantic Mode --- p.102 / Chapter a. --- Nostalgia for a Glorious Past --- p.102 / Chapter b. --- Anarchy in the Demonic World --- p.105 / Chapter c. --- Union with nature --- p.107 / Chapter d. --- The Pastoral Utopia --- p.111 / Chapter e. --- Fictional Characters and Objects Speaking --- p.112 / Chapter 5. --- The Mythic Mode --- p.117 / Chapter C. --- The World View of Rock Music --- p.120 / Chapter VII. --- The Relations of Rock Music to Hegemony --- p.125 / Chapter A. --- Messages of Rock and the Hegemony --- p.125 / Chapter B. --- Music as a Contested Terrain --- p.130 / Chapter 1. --- The Hegemonic Power: Cooptation and Marginalization --- p.130 / Chapter 2. --- The Deviant Culture: Struggle by Means of adaptation and negotiation --- p.140 / Chapter VIII. --- Conclusion --- p.155 / Chapter IX. --- Limitations of the Study --- p.158 / Chapter X. --- Future Studies on Rock Music --- p.161 / Notes --- p.165 / Bibliography --- p.175 / Discography --- p.185 / Appendix 1. The Sample of Rock Songs --- p.187

Lam Wai Chiu Thomas. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1999-2000, design report." / Includes bibliographical references (p. 111-112). / ACKNOWLEDGEMENT --- p.1 / PREFACE --- p.2 / SYNOPSIS +OBJECTIVES --- p.3 / INTRODUCTION --- p.4 / Definitions --- p.4 / media transmission model (semiotics anlysis) / multiplicity Nature of Pop Culture in Hong Kong / Background --- p.7 / Hybrid Culture in Hong Kong / Pop Music & Society / Emergence of Visual Music (music+text+image) / Karaoke Culture / Issues --- p.21 / Passive Role in absorbing messages & information / Existing States & Potentials --- p.22 / Lack of physical sign & identity to foster the growth / of public participation & real understanding / Insufficient adaptation & spatial requirements for Production / Social values & norms / Economic in transformation / Conceptual framework --- p.25 / Transient events / A Mode of Mutation - programmatic dissociation / Architecture as a Medium for Communication / Media Art Therapy Workshop- Public Atelier / PROJECT BRIEF --- p.29 / Broadcast media Market in Asia --- p.29 / Regionalism / Regional Hub / Regional Headquarters / Broadcast Media in Hong Kong / Emergence of Cross-Discipline Business --- p.33 / Clients Profile --- p.34 / Clients structure establishment / URA / Background & establishment / Roles & Goals / Hutchison Whampoa Limited (HWL) / Background & establishment / Ideology & Goals / The News Corporated Ltd (Channel[V)) / Background & establishment / Ideology & Goals / Existing Deficiencies / Sony(HK) Company Ltd. / History & establishment / Mission / Strategy& Goals / Existing Deficiencies / Project Finance Viability --- p.42 / Major user types & activities --- p.44 / Project Significance to Soceity --- p.45 / PROGRAMME --- p.46 / Design Considerations for broadcasting studio --- p.46 / Multi-purpose performance space / MTV production & Broadcasting Studio / Components/Schedule of Activities --- p.47 / Functional & Spatial Relationship --- p.48 / Schedule of Accommodation --- p.51 / SITE SELECTION & DETAIL ANALYSIS --- p.58 / Criteria for site options selection --- p.58 / Site selection evaluation --- p.59 / large pedestrian flow & density / site accessibility / close to mass transportation node / adjacent to public space for performance / existing relevant activities / site character & image / low environmental image / high development potential / Final Decision & Site Study --- p.66 / Development Control --- p.75 / RESEARCH & FIELD WORKS --- p.76 / Pop Art Culture & Society --- p.76 / Popular Culture Effects on Society and Its Audience --- p.78 / Media Art of the Electronic Age --- p.80 / Concept of Mediarchitecture --- p.82 / Concept of Publicity/Privacy --- p.85 / Publicity & Media Arts / Privacy Vs Publicity / Virtual Space / Spatial Publicity / Visual/Audio Publicity / Degree of Public Participation & Involvement~ --- p.91 / Accessibility and Degree of Transparency --- p.93 / CASE STUDIES --- p.96 / IRCAM --- p.96 / Event Zone in building as Communication / La Cite de la Museique --- p.99 / An architecture of Music / Channel 4 Headquarter --- p.102 / Movement of building / Pompidou Center --- p.104 / How a building creates urban space / SONY Tower --- p.107 / Building as Sign / Center for Art & Media Technology --- p.109 / Public events as Medium for Communication / BIBLIOGRAPHY --- p.111 / APPENDIX --- p.113 / Interviews Report --- p.113 / Newspaper Cutting --- p.117

Sin Sui Fan. / Thesis (M.A.)--Chinese University of Hong Kong, 1995. / Includes bibliographical references (leaves 53-62). / Acknowledgments / Abstract / Page / Chapter Chapter 1 --- Introduction --- p.1 / Chapter Chapter 2 --- Literature Review / Chapter 2.1 --- Reading Processes / Chapter 2.1.1 --- Bottom-up Processing --- p.3 / Chapter 2.1.2 --- Top-down Processing --- p.4 / Chapter 2.1.3 --- Schema Processing --- p.6 / Chapter 2.2 --- Cultural Schemata --- p.10 / Chapter 2.3 --- Pop Culture and Secondary School ESL Learners / Chapter 2.3.1 --- Pop Culture and Adolescents --- p.14 / Chapter 2.3.2 --- Academic Performance and Pop Music --- p.18 / Chapter 2.3.3 --- The Hong Kong Phenomenon / Chapter (i) --- Pop Singers and. Secondary School Learners --- p.21 / Chapter (ii) --- A Potential Aid to ESL Reading --- p.24 / Chapter Chapter 3 --- Design of the Study / Chapter 3.1 --- Objective --- p.26 / Chapter 3.2 --- Methodology --- p.27 / Chapter 3.3 --- The Pilot Study / Chapter 3.3.1 --- Subjects --- p.29 / Chapter 3.3.2 --- Procedure --- p.29 / Chapter 3.3.3 --- Results --- p.30 / Chapter 3.3.4 --- Proposed Refinement for the Main Study --- p.32 / Chapter 3.4 --- The Main Study / Chapter 3.4.1 --- Subjects --- p.34 / Chapter 3.4.2 --- Procedure --- p.34 / Chapter 3.4.3 --- Data Analysis --- p.34 / Chapter 3.5 --- Limitations of the Study --- p.36 / Chapter Chapter 4 --- Results --- p.37 / Chapter Chapter 5 --- Discussion and Suggestions / Chapter 5.1 --- Discussion --- p.44 / Chapter 5.2 --- Pedagogical Suggestions --- p.49 / Chapter 5.3 --- Suggestions for Further Studies --- p.52 / References --- p.53 / Appendices / Chapter IA. --- Reading passages in the pilot study --- p.63 / Chapter B. --- Questionnaire on pop culture in the pilot study --- p.65 / Chapter C. --- Administration Procedure in the pilot study --- p.66 / Chapter IIA. --- Reading passages in the main study --- p.67 / Chapter B. --- Questionnaire on pop culture in the main study --- p.69 / Chapter C. --- Administration Procedure in the main study --- p.70 / Chapter IIIA. --- Statistical results for the whole group --- p.71 / Chapter B. --- Statistical results for subgroup A --- p.76 / Chapter C. --- Statistical results for subgroup B --- p.78

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

by Ku Ho Kwan Lisbeth. / Thesis submitted in: September 1997. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1998. / Filmography: leaves 117-119. / Includes bibliographical references (leaves 109-116). / List of illustrations --- p.vii / Chapter I. --- Introduction --- p.1 / Chapter 1. 1 --- Articulating Hong Kong History / Identity --- p.1 / Chapter 1.2 --- Identity through Mass-Cultural Mediation --- p.10 / Chapter 1. 3 --- Using Popular Culture --- p.18 / Chapter II. --- The Locality of Culture: A Contextual Analysis of Cantonese Cinema in Hong Kong --- p.32 / Chapter 2.1 --- The Emergence of Local Consciousness through Three Decades of Cantonese Cinema (From the 30s to the 50s) --- p.32 / Chapter 2. 2 --- Youth Film and Its Historically Specific Audience --- p.38 / Chapter 2. 3 --- Reading Youth Film -- A Purple Stormy Night (紫色風雨夜) --- p.55 / Chapter III. --- Mass Mediated Images of Women --- p.64 / Chapter 3. 1 --- Connie Chan Po Chu and Josephine Siao Fong Fong as Desired Cultural Images --- p.66 / Chapter 3. 2 --- Identification and Commodification --- p.81 / Chapter IV. --- Conclusion --- p.92 / Chapter 4.1 --- The Ordinary and the Extraordinary-- Siao Fong Fong and the Self-Image of Hong Kong People in the 90s --- p.92 / Chapter 4.2 --- Mediating Cultural Identity with Cultural History of Hong Kong --- p.102 / Bibliography --- p.109 / 中文電影目錄 --- p.117 / Appendix --- p.120