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Dissertations / Theses on the topic 'Asian Motion pictures'

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Published: 26 July 2024

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1

Tateishi, Ramie. "Film genre and the Asian subject /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9992385.

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2

Liu, Zhan. "Communicating race and culture in media appropriating the Asian in American martial arts films /." Pullman, Wash. : Washington State University, 2008. http://www.dissertations.wsu.edu/Thesis/Fall2008/l_zhan_091108.pdf.

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Thesis (M.A. in communication)--Washington State University, December 2008.
Title from PDF title page (viewed on Dec. 31, 2008). "Edward R. Murrow College of Communication." Includes bibliographical references (p. 72-85).

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3

Bae, Juyeon. "The representation of Asian others in Korean cinema since 2003 : multiculturalism, nationalism and sub-imperialism." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/33610/.

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This thesis elucidates current industrial and representational tendencies in South Korean films that depict Asian others. Asian others such as migrant workers, marriage migrants, overseas ethnic Koreans and North Korean defectors have become increasingly important in South Korean filmic discourse and practice since 2003. This thesis examines how contemporary Korean cinema has responded to the multicultural society and how it seeks to articulate Korean nationalism in the globalised era through the appropriation of Asian others. Such films are intertwined with governmental policies of multiculturalism and discourses on globalisation and thus reflect historical formations both inside and outside South Korean cinema. In particular, this thesis places the celebration of multicultural identity in Korean cinema into dialogue with existing debates on nationalism and sub-imperialism. Through case studies of selected films, this thesis investigates the tension between a changing society and emerging sub-imperial perspectives. The specific interest of this thesis lies in the examination of historical, geopolitical and socio-cultural trajectory in the representation of Asian others, since this discursive structure has been formed around Asia and its regional socio-political history. In doing so, this thesis aims to shift the discursive sphere of these films, which is limited to the discussion of multiculturalism and globalisation, to an expanded sphere which embraces historical and regional perspectives.

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4

Kumar, Priya Haryant. "Ruptured nations, collective memory & religious violence : mapping a secularist ethics in post-partition South Asian literature and film." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37904.

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This dissertation maps the emergence of a 'secularist ethics' in post-independence South Asian literature and film, an ethics which is a deeply felt poetic response to particular historical conjunctures marked by religio-nationalist conflict in the Indian subcontinent. It is my argument that literary and cultural productions, in striving to dream and envision a world free of violence, terror and religious intolerance, have some central contributions to make to contemporary intellectual and political debates on secularism. Through close readings of fictions by Salman Rushdie, Amitav Ghosh, Mukul Kesavan, Bapsi Sidhwa, Saadat Hasan Manto, Khwaja Ahmad Abbas, Rajinder Singh Bedi, Jamila Hashmi, Jyotirmoyee Devi, and Lalithambika Antherjanam, as well as films by M. S. Sathyu, Saeed Akhtar Mirza, Khalid Mohamed and Shyam Benegal, which are concerned to address the issue of peaceful co-existence between different religious communities and nations in the Indian subcontinent, I argue that literary and imaginative endeavors by way of their alternative secularist imaginaries enable us to begin to imagine the possibilities of more habitable futures. Significantly, the 'secularist' fictions and films I invite attention to in my project enable a revisioning of the secular in terms quite different from normative understandings of liberal secularism. Such a renewed secularism seeks to make visible the normalization and neutralization of majoritarian religious beliefs and practices as constitutive of the representative secular-nationalist self in post-Partition India; it also emerges, significantly, from a gendered critique of the deep-seated patriarchal norms underlying most religious communities. Responding to different moments of crisis, predominantly the Partition of India in 1947, the 1984 anti-Sikh riots, and the destruction of the Babri Masjid in 1992, the radical secularist poetics of these works call attention to the fundamentalist agenda of Hindu nationalism, the limit

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5

Khor, Denise. "Asian Americans at the movies race, labor, and migration in the Transpacific West, 1900-1945 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291752.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed March 17, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 297-213).

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6

Huang, Tsung-yi Michelle. "Amidst slums and skyscrapers the politics of walking and the ideology of open space in East Asian global cities /." online access from Digital dissertation consortium, 2001. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3051067.

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7

Hurlstone, Lise Danielle. "Performing Marginal Identities: Understanding the Cultural Significance of Tawa'if and Rudali Through the Language of the Body in South Asian Cinema." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/154.

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This thesis examines the representation of the lives and performances of tawa'if and rudali in South Asian cinema to understand their marginalization as performers, and their significance in the collective consciousness of the producers and consumers of Indian cultural artifacts. The critical textual analysis of six South Asian films reveals these women as caste-amorphous within the system of social stratification in India, and therefore captivating in the potential they present to achieve a complex and multi-faceted definition of culture. Qualitative interviews with 4 Indian classical dance instructors in Portland, Oregon and performative observations of dance events indicate the importance of these performers in perpetuating and developing Indian cultural artifacts, and illustrate the value of a multi-layered, performative methodological approach. These findings suggest that marginality in performance is a useful and dynamic site from which to investigate the processes of cultural communication, producing findings that augment sole textual analysis.

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8

Arora, Kulvinder. "Assimilation and its counter-narratives twentieth-century European and South Asian immigrant narratives to the United States /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3200730.

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Thesis (Ph. D.)--University of California, San Diego, 2006.
Title from first page of PDF file (viewed March 1, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 240-248).

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9

Bao, Ying. "In Search Of Laughter In Maoist China: Chinese Comedy Film 1949-1966." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1218342529.

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10

Terry, Patrick Alan 1984. "Space In-Between: Masumura Yasuzo, Japanese New Wave, and Mass Culture Cinema." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11477.

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viii, 111 p. : ill. (some col.)
During the early stage of Japan's High Economic Growth Period (1955-1970), a group of directors and films, labeled the Japanese New Wave, emerged to strong critical acclaim and scholarly pursuit. Over time, Japanese New Wave Cinema has come to occupy a central position within the narrative history of Japanese film studies. This position has helped introduce many significant films while inadvertently ostracizing or ignoring the much broader landscape of film at this time. This thesis seeks to complexify the New Wave's central position through the career of Daiei Studios' director, Masumura Yasuzo. Masumura signifies a "space in-between" the cultural elite represented by the New Wave and the box office focus of mass culture cinema. Utilizing available English language and rare Japanese sources, this thesis will re-examine Masumura's position on the periphery of film studies while highlighting the larger film environment of this dynamic period.
Committee in charge: Prof. Steven Brown, Chair; Dr. Daisuke Miyao, Advisor

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11

Murphree, Hyon Joo Yoo. "Toward an "accented" critique of culture theorizing postcolonial East Asia /." Related electronic resource:, 2007. http://proquest.umi.com/pqdweb?did=1342729001&sid=1&Fmt=2&clientId=3739&RQT=309&VName=PQD.

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12

Aponte, Elena M. "Either 'Shining White or Blackest Black': Grey Morality of the Colonized Subject in Postwar Japanese Cinema and Contemporary Manga." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1491495352122861.

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13

Li, Chun-hoi Benjamin. "Madame butterfly and orientalism." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B22535305.

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14

Chang, Ellen Y. "Cinematic Remapping of the Taiwanese Sense of Self: On the Transitions in Treatments of History and Memory from "The Taiwanese Experience" to "The Taipei Experience"." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1345130562.

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15

de, Feo-Giet Danielle Karanjeet J. "Fantasies of authenticity, anxieties of culture : global capital, entertainment and cultural nationalism in the contemporary popular cinemas of India and China since 1990." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:39cbae3c-354c-4ebc-be09-386af42f78d0.

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My thesis is dedicated to the study of popular, commercial cinema as a force within the discourse of national and personal identity in the rapidly changing mega-economies of India and China, and their diasporas, since the watershed year of 1990. Its purpose is to reveal the unique pattern of like and unlike that exists between the "Social Representations" (Serge Moscovici 2000) of contemporary India and China on screen through a juxtapositional comparative approach, close visual analysis, and the development of original theoretical tools. Tense networks of fantasy and anxiety emerge as popular culture actively circulates their shared experiences of changing global status, uneven economic growth (Gong Haomin 2012), and social change. Transnational subjects, Hua and Desi, arrive on screen ready to carve out culturally inflected modernities, in search of "tradition" and "values" to suit contemporary cultural-nations-beyond-borders. I treat film as consumer product, diegetic entity, and text: hence narrative, visual, linguistic and contextual aspects of over fourteen popular commercial films ("Bollywood" and "Yulepian"), are explored. My analysis comprises two interlocking halves: the first two chapters focus chiefly on identities - Hua and Desi, and diasporic persons. The former, conduits for the cultural nation to re-think modernity, the latter a dreamed vanguard of "claim-staking" ethnicised global consumers, defenders of the cultural nation in the "host" country. Chapters Three and Four focus on genres - comedy and history films. Through comedy, these films create state-serving heterotopias or challenge the status quo; perhaps they build cultural nationalist mythos, or lace cynical questions through lavish history film. To understand internecine relationships between economics, society and the imagination, entertainment film cannot be dismissed - in India and China, where change has had intended and unintended consequences unfolding even as uncertainty looms, I show that fresh study, especially in comparison, is absolutely essential.

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16

Yuan, Yilei. "Subtitling Chinese cinema : a case study of Zhang Yimou's films." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7724/.

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In recent years, more and more Chinese films have been exported abroad. This thesis intends to explore the subtitling of Chinese cinema into English, with Zhang Yimou’s films as a case study. Zhang Yimou is arguably the most critically and internationally acclaimed Chinese filmmaker, who has experimented with a variety of genres of films. I argue that in the subtitling of his films, there is an obvious adoption of the domestication translation strategy that reduces or even omits Chinese cultural references. I try to discover what cultural categories or perspectives of China are prone to the domestication of translation and have formulated five categories: humour, politeness, dialect, history and songs and the Peking Opera. My methodology is that I compare the source Chinese dialogue lines with the existing English subtitles by providing literal translations of the source lines, and I will also give my alternative translations that tend to retain the source cultural references better. I also speculate that the domestication strategy is frequently employed by subtitlers possibly because the subtitlers assume the source cultural references are difficult for target language subtitle readers to comprehend, even if they are translated into a target language. However, subtitle readers are very likely to understand more than what the dialogue lines and the target language subtitles express, because films are multimodal entities and verbal information is not the only source of information for subtitle readers. The image and the sound are also significant sources of information for subtitle readers who are constantly involved in a dynamic film-watching experience. They are also expected to grasp visual and acoustic information. The complete omission or domestication of source cultural references might also affect their interpretation of the non-verbal cues. I also contemplate that the translation, which frequently domesticates the source culture carried out by a translator who is also a native speaker of the source language, is ‘submissive translation’.

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17

Brown, James, and katsuben@internode on net. "South Korean Film Since 1986: The Domestic and Regional Formulation of East Asias Most Recent Commercial Entertainment Cinema." Flinders University. School of Humanities (Screen Studies), 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071122.143238.

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This thesis investigates the historically composed political and economic contexts that contributed to the late 1990s commercial renaissance of Korean national cinema and that have sustained the popularity of Korean films among local and regional audiences ever since. Unlike existing approaches to the topic, which emphasise the textual characteristics of national film production, this thesis considers relations between film production, distribution, exhibition, and ancillary markets, as well as Korean cinemas engagement with international cinemas such as Hollywood, Hong Kong, China and Japan. I argue that following the relaxation of restrictive film policy towards the importation and distribution of foreign films between 1986 and 1988, the subsequent failure of the domestic film industry to compete against international competition precipitated a remarkable shift in consensus regarding the industrys structure and functions. Due to the loss of distribution rights to foreign films and the rapid decline in ticket sales for Korean films, the continued economic viability of local film companies was under enormous threat by the early 1990s. The government reacted by permitting conglomerates to seize control of the industry and pursue vertical and horizontal integration. During the rest of the decade, Korean cinema was transformed from an art cinema to a commercial entertainment cinema. The 1997/98 economic crisis led to the exit of conglomerate finance, but streamlined film companies were able to withstand the monetary meltdown, continue the domestic revitalisation, and, since the late 1990s, build media empires based on the expansion of Korean cinema throughout the Asian region.

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18

Lim, Kevin. "Asian North American film : images, reactions and criticisms /." 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR38801.

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Thesis (M.A.)--York University, 2008. Graduate Programme in Film.
Typescript. Includes bibliographical references (leaves 86-91). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR38801

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19

Park, Chi Hyun. "Orientalism in U.S. cyberpunk cinema from Blade runner to the Matrix." Thesis, 2004. http://hdl.handle.net/2152/2159.

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20

Park, Chi Hyun Watkins S. Craig Downing John. "Orientalism in U.S. cyberpunk cinema from Blade runner to the Matrix." 2004. http://repositories.lib.utexas.edu/bitstream/handle/2152/2159/parkch042.pdf.

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21

Dong, Lan. "Cross -cultural palimpsest of Mulan: Iconography of the woman warrior from premodern China to Asian America." 2006. https://scholarworks.umass.edu/dissertations/AAI3242314.

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This dissertation centers on the theme of "the woman warrior," historically grounded in premodern Chinese culture and represented in contemporary Asian American literature as well as in visual art forms. I apply a historical perspective to this interdisciplinary project in order to examine the global evolvement of one particular woman warrior, Mulan's legend, starting from the Northern Dynasties (386-581 A.D.) until the beginning of the twentieth-first century. This work conceptualizes the transmission and transformation of Mulan's story as a palimpsest, thereby highlighting the enduring interplay of continuity and erasure in the construction of her tale in China and the United States. The thesis investigates what the development of her tale reveals to us not only about womanhood, heroism, filial piety, and loyalty in premodern China but also about the construction of female agency, ethnic identity, and cultural origin in contemporary Asian America. Contextualizing Mulan alongside other heroines in premodern China my discussion considers the woman warrior as a paradigm of women warriors at large, thereby addressing Mulan as a culturally and historically rooted image coming out of a fascinating typology rather than as a singular character. Through the phenomenal example of Mulan this dissertation explores representations of female identity in the complex and frequent negotiation between womanhood and warrior value in premodern Chinese society, thus contributing to the current discussion on transnational feminism. By way of scrutinizing the multiplicity and complexity characterizing the "origin" of this particular figure, my research complicates the debate on cultural authenticity in the context of Asian America and the Asian diaspora. By looking at Mulan as a character claimed by various regions in China as their local heroine, the discussion deconstructs the monolithic "China" in Chinese America, and by extension, that of the "Asia" in Asian America. Through examining Mulan as a cross-cultural palimpsest, I hope to broaden our understanding of the interrelations between cultural heritage, gender politics, and ethnicity as exemplified by the global journey of her story and to inspire further scholarly engagement with her warrior sisters in Chinese as well as other cultures.

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22

Koh, Alvin Kok-yong. "Asian scopic modernities: alternative visibilities of transnational Chinese masculinity in global cinema." 2006. http://repository.unimelb.edu.au/10187/2360.

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This thesis examines transnational Chinese masculinity as the articulation of Asian scopic modernities in contemporary Hong Kong, Hollywood and mainland Chinese films. Transnational Chinese masculinity is a transborder formation of Chinese male representations that occurs across national boundaries via dispersed networks of production, distribution, and consumption. These representations constitute the modernity of transnational Chinese masculinity. This thesis investigates significant cinematic events that contribute to these new conditions of visibility: the popularity of Hong Kong actors Leslie Cheung and Tony Leung who embody marginalised paradigms of masculinity in Asia; the crossovers of Hong Kong stars into Hollywood; and the advent of Zhang Yimou's alternative blockbuster films and Quentin Tarantino's trans-Asian films. These cinematic events form part of a mosaic of visual modernities in Asia - what is herein defined as Asian scopic modernities.

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23

Westfall, Mandy R. K. "An elegy to Charlie Chan : Chang Apana, Earl Derr Biggers and Asian America." Thesis, 2007. http://hdl.handle.net/10125/20390.

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24

Hua, Anh. "Memory and cultural trauma : women of color in literature and film /." 2005. http://wwwlib.umi.com/cr/yorku/fullcit?pNR11579.

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Thesis (Ph.D.)--York University, 2005. Graduate Programme in Women's Studies.
Typescript. Includes bibliographical references (leaves 192-201). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNR11579

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25

Bhrugubanda, Uma Maheswari. "Genealogies of the Citizen-Devotee: Popular Cinema, Religion and Politics in South India." Thesis, 2011. https://doi.org/10.7916/D8ZS33KN.

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This dissertation is a genealogical study of the intersections between popular cinema, popular religion and politics in South India. It proceeds with a particular focus on the discursive field of Telugu cinema as well as religion and politics in the state of Andhra Pradesh from roughly the 1950s to the 2000s. By discursive field of cinema, I refer to not only filmic texts, but also disciplines of film making, practices of publicity, modes of film criticism as well as practices of viewership all of which are an inalienable part of the institution of cinema. Telugu cinema continued to produce mythological and devotional films based mostly on Hindu myths and legends many decades after they ceased to be major genres in Hindi and many other Indian languages. This was initially seen simply as an example of the insufficiently modernized and secularized nature of the South Indian public, and of the enduring nature of Indian religiosity. However, these films acquired an even greater notoriety later. In 1982, N.T. Rama Rao, a film star who starred in the roles of Hindu gods like Rama and Krishna in many mythologicals set up a political party, contested and won elections, and became the Chief Minister of the state, all in the space of a year. For many political and social commentators this whirlwind success could only be explained by the power of his cinematic image as god and hero! The films thus came to be seen as major contributing factors in the unusual and undesirable alliance between cinema, religion and politics. This dissertation does not seek to refute the links between these different fields; on the contrary it argues that the cinema is a highly influential and popular cultural institution in India and as such plays a very significant role in mediating both popular religion and politics. Hence, we need a fuller critical exploration of the intersections and overlaps between these realms that we normally think ought to exist in independent spheres. This dissertation contributes to such an exploration. A central argument this dissertation makes is about the production of the figure of the citizen-devotee through cinema and other media discourses. Through the use of this hyphenated word, citizen-devotee, this study points to the mutual and fundamental imbrication of the two ideas and concepts. In our times, the citizen and devotee do not and cannot exist as independent figures but necessarily contaminate each other. On the one hand, the citizen-devotee formulation indicates that the citizen ideal is always traversed by, and shot through with other formations of subjectivity that inflect it in significant ways. On the other hand, it points to the incontrovertible fact that in modern liberal democracies, it is impossible to simply be a devotee (bhakta) where one's allegiance is only to a particular faith or mode of being. On the contrary, willingly or unwillingly one is enmeshed in the discourse of rights and duties, subjected to the governance of the state, the politics of identity and the logics of majority and minority and so on. Religion as we know it today is itself the product of an encounter with modern rationalities of power and the modern media. Hence, we cannot simply talk about the citizen or the devotee, but only of the modern hybrid formation, the citizen-devotee. The first full length study of the Telugu mythological and devotional films, this dissertation combines a historical account of Telugu cinema with an anthropology of film making and viewership practices. It draws on film and media theory to foreground the specificity of these technologies and the new kind of publics they create. Anthropological theories of religion, secularism and the formation of embodied and affective subjects are combined with political theories of citizenship and governmentality to complicate our understanding of the overlapping formations of film spectators, citizens and devotees.

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