Dissertationen zum Thema „Hong Kong films“
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Wong, Wai-kit, und 黃蔚潔. „Macau in Hong Kong films“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952872.
Der volle Inhalt der QuelleWong, Wai-kit. „Macau in Hong Kong films“. Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22199974.
Der volle Inhalt der QuelleYung, Wai-kei, und 戎偉基. „Pictorial representations of "Hong Kong": a study of 1980s and 90s Hong Kong films“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951788.
Der volle Inhalt der QuelleYung, Wai-kei. „Pictorial representations of "Hong Kong" : a study of 1980s and 90s Hong Kong films /“. Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20059760.
Der volle Inhalt der QuelleLee, Sin-man, und 李善雯. „Adaptation of Hong Kong films in 1990's“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952689.
Der volle Inhalt der QuelleLee, Sin-man. „Adaptation of Hong Kong films in 1990's“. Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22199172.
Der volle Inhalt der QuelleRobertson, Robert Philip. „Ghostwriting Hong Kong : post-colonial documentary and the western tradition /“. Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20007450.
Der volle Inhalt der QuelleCastillo, Gilbert Gerard. „Gender, Identity, and Influence: Hong Kong Martial Arts Films“. Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3354/.
Der volle Inhalt der QuelleWONG, Nga Man. „Images of older persons in Hong Kong popular films“. Digital Commons @ Lingnan University, 2003. https://commons.ln.edu.hk/soc_etd/25.
Der volle Inhalt der QuelleLuk, Siu-leng. „The dialogics of representation : Shanghai in contemporary Hong Kong films /“. Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628752.
Der volle Inhalt der QuelleSiu, Heng. „The representation of Hong Kong identity in Fruit Chan's films“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29949105.
Der volle Inhalt der QuelleLuk, Siu-leng, und 陸小玲. „The dialogics of representation: Shanghai in contemporary Hong Kong films“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38628752.
Der volle Inhalt der QuelleHess, Nicole A. „Imagining independence the circulation and thematic concerns of independent film from Hong Kong and China /“. Thesis, Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36726102.
Der volle Inhalt der QuelleLeung, Nim-ming, und 梁念明. „A study of marginality in Ann Hui's films“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952719.
Der volle Inhalt der QuellePoon, Man-wai. „Cultural globalization? : the contemporary influence of Japanese animation on Hong Kong teenagers /“. Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B24872970.
Der volle Inhalt der QuelleWong, Yee-ling, und 黃綺玲. „Cyborgs, capitalism, hope: a study of Hong Kong and Hollywood science fiction films“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50900146.
Der volle Inhalt der Quellepublished_or_final_version
Comparative Literature
Master
Master of Philosophy
余嘉欣 und Ka-yan Florence Yu. „Learning English through films: a case study of a Hong Kong class“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43241244.
Der volle Inhalt der QuelleWaller, Kathleen Clare. „Mise-en-abyme in Wayne Wang's New York and Hong Kong films“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46631203.
Der volle Inhalt der QuelleYu, Ka-yan Florence. „Learning English through films a case study of a Hong Kong class /“. Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B43241244.
Der volle Inhalt der QuelleLiu, Ka-wang Angus, und 廖家泓. „Popular culture in Hong Kong: discourse of law and order in the gangster movies of the 1990s“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952756.
Der volle Inhalt der QuelleLim, Song Hwee. „Male homosexuality in films from China, Taiwan and Hong Kong of the 1990s“. Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444729.
Der volle Inhalt der Quelle潘文慧 und Man-wai Poon. „Cultural globalization?: the contemporary influence of Japanese animation on Hong Kong teenagers“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31226620.
Der volle Inhalt der QuelleLam, Nga Li. „The poetics and sexual politics of the Shaws' huangmeidiao films“. HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/699.
Der volle Inhalt der QuelleLiu, Ka-wang Angus. „Popular culture in Hong Kong : discourse of law and order in the gangster movies of the 1990s /“. Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22198969.
Der volle Inhalt der QuelleAu-Yeung, Shing, und 歐陽檉. „Hong Kong's Alternative Film and Video movement as an agent for socialchange“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36243693.
Der volle Inhalt der QuelleTan, Jeffery. „The Shaw Brothers' exploitation of sex in Hong Kong films of the early 1970s“. Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609580.
Der volle Inhalt der QuelleWong, Bik-wan Flora, und 黃碧雲. „Criminality of women in Hong Kong films: fromthe 1960's to the 1990's“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31977960.
Der volle Inhalt der QuelleWong, Yat-kwong, und 黃日光. „Postmodernity in Wong Kar Wai's films: a postmodern and postcolonial discourse in Hong Kong“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31951120.
Der volle Inhalt der QuelleWong, Yat-kwong. „Postmodernity in Wong Kar Wai's films : a postmodern and postcolonial discourse in Hong Kong /“. Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B17983435.
Der volle Inhalt der QuelleYau, Suk-ying Shirley, und 邱淑瑩. „Where has all the horror gone?: a study of horror in contemporary cinema“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B42575175.
Der volle Inhalt der QuelleWalters, Mark. „Hong Kong New Wave wuxia pian films and their contribution to Hong Kong's national agency during the 1980s and early 1990s“. Auburn, Ala., 2007. http://repo.lib.auburn.edu/07M%20Theses/WALTERS_MARK_59.pdf.
Der volle Inhalt der QuelleYu, Julia. „Translating the Language of Film: East Asian Films and Their Hollywood Remakes“. Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/138.
Der volle Inhalt der QuelleWong, Bik-wan Flora. „Criminality of women in Hong Kong films : from the 1960's to the 1990's /“. [Hong Kong] : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14763850.
Der volle Inhalt der QuelleLam, Shue-fung, und 林澍峰. „(Un)making Chineseness: gender and cultural politics in Clara Law's films“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37754191.
Der volle Inhalt der Quelle李雅詩 und Nga-sze Sabrina Li. „Postmodernism and globalization in Wong Kar Wai's films“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B42576349.
Der volle Inhalt der QuelleWalters, Mark. „Cinematic Accounts of a Neoliberal Hong Kong: Post-1997 Urban Cinema and the Human Cost of Neoliberalization“. OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/860.
Der volle Inhalt der QuelleMeachem, Dhugal. „Virtual worlds, non humans and power beams : a neoformalist analysis of the digital animation aesthetic in Hong Kong's mythical martial arts films“. HKBU Institutional Repository, 2003. http://repository.hkbu.edu.hk/etd_ra/513.
Der volle Inhalt der QuelleKwok, Lai-yung, und 郭麗容. „The politics of memory: in search of imaginary homes in films by Clara Law and Ann Hui“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31227454.
Der volle Inhalt der QuelleCHEANG, Ka Ian Justina. „Domesticating translation can make a difference : a case study of foreign film-title translation in Hong Kong and Taiwan“. Digital Commons @ Lingnan University, 2005. https://commons.ln.edu.hk/tran_etd/12.
Der volle Inhalt der QuelleHo, Ka-hang Jason, und 何家珩. „Reinterpreting a queer experience: a study ofStanley Kwan's films and their reception“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B34877642.
Der volle Inhalt der QuelleLaw, Yuk-wa, und 羅玉華. „On time and festivity: a study of Chinese newyear films“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38301155.
Der volle Inhalt der QuelleShen, Chen. „Stephen Chow : the king of comedy in Hong Kong laughter in disguise and seeing beyond believing“. Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2525519.
Der volle Inhalt der QuellePieri, Jean-Etienne. „Hollywood et Hong Kong : transferts culturels, de 1979 à nos jours“. Paris 3, 2008. http://www.theses.fr/2008PA030070.
Der volle Inhalt der QuelleThis thesis examines the exchanges between Hong Kong cinema and Hollywood. Since the beginning of the 1990s, several Hong Kong directors, actors and fight scenes choreographers have indeed emigrated to the United States. But the movies made in Hollywood by these filmmakers and stars from Hong Kong only represent the most obvious part of the transfers between the two film industries. These transfers have actually constantly increased since the emergence, in 1979, of what have been called the “New Wave” of Hong Kong (a movement of young directors, mostly educated in North America and England). In this thesis are studied the attempts to create hybrid works (especially on a generic level), the remakes and the different kinds of narrative and stylistic borrowings which contributed to the circulation of forms between the two film industries
Ip, Wing Cheung. „Shaw in blue, women in nude : Li Han-Hsiang's fengyue films in 1970s“. HKBU Institutional Repository, 2007. http://repository.hkbu.edu.hk/etd_ra/872.
Der volle Inhalt der Quelle陳家樂. „光影中的政治 : 香港電影的政治表述 = Politics on the silver screen : political representation in Hong Kong films“. HKBU Institutional Repository, 2005. http://repository.hkbu.edu.hk/etd_ra/625.
Der volle Inhalt der QuelleYam, Chi-Keung. „Study of popular Hong Kong cinema from 2001 to 2004 as resource for a contextual approach to expressions of Christian faith in the public realm after the reversion to Chinese sovereignty in 1997“. Thesis, University of Edinburgh, 2008. http://hdl.handle.net/1842/4015.
Der volle Inhalt der QuelleNg, Stephanie Yuet Wah. „Modes of production in post-war cantonese cinema : bricolage and sing-song comedy“. HKBU Institutional Repository, 2013. http://repository.hkbu.edu.hk/etd_ra/1532.
Der volle Inhalt der QuelleLam, Suk-yin, und 林淑燕. „The construct of masculinity and femininity in John Woo and Stanley Kwan's films“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31951144.
Der volle Inhalt der QuelleLau, Wai-sim, und 劉慧嬋. „Chinese martial arts stardom in participatory cyberculture“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50533824.
Der volle Inhalt der Quellepublished_or_final_version
Comparative Literature
Doctoral
Doctor of Philosophy
陸姿恆 und Chi-hang Yvonne Luk. „Hong Kong film centre“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984757.
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