Dissertations / Theses: 'Space ships in motion pictures'

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Galt, Rosalind. "Redrawing the map of Europe space, history and spectacle in new European cinema /." [S.l. : s.n.], 2002. http://books.google.com/books?id=kV9ZAAAAMAAJ.

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Toth, Benjamin. "Dream space." Diss., Connect to the thesis, 2001. http://thesis.haverford.edu/2/01/2001TothB.pdf.

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Yung, Yuk-yu. "Teaching film as a space of interpretative interaction." Click to view the E-thesis via HKUTO, 1998. http://sunzi.lib.hku.hk/HKUTO/record/B38628557.

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Carroll, Elizabeth. "The representation of space in musical numbers." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/374396/.

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My area of research is best described as the promotion of a new methodological approach to the study of film. It is an approach that is founded upon a spatial reading, based on an exploration into abstract aesthetics and pays particular attention to the interactions between sound and image. Whilst this methodological approach can be utilised to read any film, this thesis looks particularly at the musical genre and, more specifically, the musical number and its representation of space. The need to delimit my study notwithstanding, the musical has been taken as a case study in order to demonstrate how this spatial methodology should pay attention to, and be aware of, the peculiarities and idiosyncrasies that genres encapsulate. My thesis challenges the dominance of cognitive theory by providing an approach based upon gestalt theory, making use of ‘forensic’ analysis to remove aesthetics from their narrative context. Theorists such as Rick Altman (1989, 1999) and Jane Feuer (1993) have long discussed the structural qualities of the musical genre in an attempt to delimit the musical number from that which surrounds it. A different representation of space emerges in the musical number, one that permits a deeper exploration into the negotiated relationship between sound and image. In this thesis I examine this space closely utilising a range of innovative analytical techniques including virtual reconstruction and diagrammatic notation. This ‘forensic’ analysis is considered within the overarching framework of gestalt theory: that the whole is more than the sum of its parts. This thesis studies film as an audio-visual medium and considers a range of different spatial realms in order to best understand the complex negotiations between sound and image. Previous scholars of the musical genre have largely focused upon narrative readings of either new or canonical filmic texts. I argue that these narrative readings, whilst 4 providing significant contributions to the field, are ultimately deficient as they fail to adequately explore the finer qualities of film language.

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Yung, Yuk-yu, and 容若愚. "Teaching film as a space of interpretative interaction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B38628557.

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Ramlochand, John. "Japanese cinema : time space nation." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102159.

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This work utilizes a spatial theory approach to meditate on postwar Japanese society and cinema. It is not a history of Japanese postwar cinema, or a survey of notable directors and genres. Rather, the focus is specifically on film and its relation to the deeper tropes of Japanese society; in particular, on how the sense of nation is affirmed and/or challenged within a postwar period of remarkable change. Understanding such a structure greatly aids in analyzing the forms and meanings within the films. The question of National Cinema, then, is approached by exploring how the interaction of spatial-temporal elements affect both the social construction and filmic practices of the nation.
The first part of the dissertation features an extended analysis of Japanese society using a variety of historical, philosophical and theoretical sources, both Japanese and foreign. They provide a theoretical base and a social history that ground the critical readings of the selected films; all of which are well-known and widely available. Part two is a close textual analysis of five 1950s productions---from a range of films and genres---that are contrasted with three films from the late 1980s/early 1990s. The final chapter examines notions about National Cinema in light of the preceding film analysis.

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Chen, Lusi, and 陳露絲. "Mapping the production of space in Pang Ho-cheung's Love in a puff and Love in the buff." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/206560.

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Drawing from Michel de Certeau’s notion of the production of space as a practice, this dissertation examines the production of space in Pang Ho-Cheung’s Love in a Puff (2010) and Love in the Buff (2012) in three aspects: 1) smoking in daily life, 2) Hong Kong-mainland co-productions in the film industry, and 3) the affective space produced in “non-place.” First, in Love in a Puff, the spatial practice of smokers smoking in back alleys produces a space for them to deflect the power of Hong Kong’s Smoking Ordinance, which can be interpreted as a form of victory of ordinary people over an oppressive system. This mode of resistance can be read allegorically as a tactic of Hong Kong filmmakers working in the space of co-production between Hong Kong and Mainland China, as illustrated by an analysis of the film Love in the Buff. Third, both films are set in globalized urban cities that are full of “non-places” of consumption and transportation. This “non-place”ful space of ambivalence and detachment is in juxtaposition with the protagonists’ practice to develop relationships, generate emotions and resolve their interpersonal problems. Space production opens up alternative ways to understand the world and our daily life. This dissertation attempts to offer an interpretation of the two films in light of de Certeau’s spatial theories.
published_or_final_version
Literary and Cultural Studies
Master
Master of Arts

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Walsh, John. "A space and time machine : actuality cinema in New York City, 1890s to c. 1905." Thesis, University of Nottingham, 2005. http://eprints.nottingham.ac.uk/10142/.

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Urban actuality films are short, single shot views of street scenes, skyscrapers or construction sites, or views from moving vehicles. They are, typically, regarded as simple filmic snap-shots. Conversely, early cinema is conventionally thought to be a complex hybrid medium, a crucible for the idea and representation of the modern. Through close, contextualised analysis of a series of New York films, this study addresses the discrepancy between the putative insubstantiality of actuality films and the evident complexity of early cinema. A hitherto overlooked historical coincidence of actuality cinema, the modernisation of New York and its intermedial culture is shown to provide both a subject and setting for filmmakers. Actuality cinema is a technology of the present; accordingly, temporality is pivotal for this study. Tom Gunning's 'cinema of attractions' thesis and a neurological conception of modernity posit a familiar shocks-and-jolts axis of the relations between cinema and modernity. In contrast, I argue for an alternative axis, founded in periods, rather than moments, of time and seek to demonstrate cinema's role as a technology of an expanded present time. Fifteen films of transport systems, skyscraper building sites and ways of seeing New York's streets, make up the primary source material. In these films, time provides a space for the representation and negotiation of the modern. An expanded present fosters a thickened visuality. Within New York's intermedial culture, the adoption of stereoscopic visual practices was key to constructing a coherent filmic present, and a place for the spectator within a cinematic world. As a functioning space and time machine, a cinema of simultaneity, the complexity of actuality filmmaking practices increasingly moved actualities towards, and enabled their interrelation with, an emerging narrative cinema. Rather than a failed experiment, New York actuality cinema is here demonstrated to be an example of cinema working.

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Simpson, Catherine. "Imagined geographies: women's negotiation of space in contemporary Australian cinema, 1988-98." Thesis, Simpson, Catherine (2000) Imagined geographies: women's negotiation of space in contemporary Australian cinema, 1988-98. PhD thesis, Murdoch University, 2000. https://researchrepository.murdoch.edu.au/id/eprint/312/.

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Imagined Geographies: Women's Negotiation of Space in Contemporary Australian Cinema is an exploration of the nexus between gender and locale in films from the last decade, 1988-98. This thesis examines the way meaning is made through the negotiation of diverse geographies by central female protagonists in a selection of recent Australian feature films. The films I analyse were predominantly produced by female writers and/or directors. In the context of Australian Cinema, locale is an area much talked about but little theorised. It is an issue which remains in the background of much scholarship and is often tangential to many arguments but rarely constructed as a central concern. Where it is foregrounded, as in Ross Gibson's work, it is reduced to the significance of landscape or 'natural locations' rather than examining the diversity of its manifestations. Two notable but related spatial shifts have occurred in Australian cinema of the 1990s. The first is a change in industrial practice. Female artists are now creating spaces for themselves in mainstream feature filmmaking - spaces traditionally occupied by men. This trend is away from constructions of a distinctly feminist cinema or counter-cinema which was identifiable in the 1970s. Second, there is a shift in the character of on-screen space. The presence of growing numbers of women writers, directors and producers in the Australian film industry is shifting the cinema's focus away from traditional 'masculine' topographies - the pub, the prison and the outback - thus allowing explorations of other spaces and visions to develop. I am arguing therefore that there is a feminization ofspace occurring in Australian cinema. In this thesis I investigate representations of so-called traditional 'feminine' or domestic domains. The place of the gendered body and embodiment in films is a central concern and is theorised in the first chapter. As we move through the thesis chapters, sexed bodies enacting gender in a variety of ways and in different zones - the car, the house, the suburb and the country town - will be explored. Through these analyses I examine the methods some film directors employ to problematize space in such a way that their work overcomes the limitations of its previously dominant representations. This thesis is primarily an attempt to open up the field of criticism to acknowledge the diversity of locales which exist within the rich tapestry of Australian Cinema.

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Simpson, Catherine. "Imagined geographies : women's negotiation of space in contemporary Australian cinema, 1988-98 /." Simpson, Catherine (2000) Imagined geographies: women's negotiation of space in contemporary Australian cinema, 1988-98. PhD thesis, Murdoch University, 2000. http://researchrepository.murdoch.edu.au/312/.

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Imagined Geographies: Women's Negotiation of Space in Contemporary Australian Cinema is an exploration of the nexus between gender and locale in films from the last decade, 1988-98. This thesis examines the way meaning is made through the negotiation of diverse geographies by central female protagonists in a selection of recent Australian feature films. The films I analyse were predominantly produced by female writers and/or directors. In the context of Australian Cinema, locale is an area much talked about but little theorised. It is an issue which remains in the background of much scholarship and is often tangential to many arguments but rarely constructed as a central concern. Where it is foregrounded, as in Ross Gibson's work, it is reduced to the significance of landscape or 'natural locations' rather than examining the diversity of its manifestations. Two notable but related spatial shifts have occurred in Australian cinema of the 1990s. The first is a change in industrial practice. Female artists are now creating spaces for themselves in mainstream feature filmmaking - spaces traditionally occupied by men. This trend is away from constructions of a distinctly feminist cinema or counter-cinema which was identifiable in the 1970s. Second, there is a shift in the character of on-screen space. The presence of growing numbers of women writers, directors and producers in the Australian film industry is shifting the cinema's focus away from traditional 'masculine' topographies - the pub, the prison and the outback - thus allowing explorations of other spaces and visions to develop. I am arguing therefore that there is a feminization ofspace occurring in Australian cinema. In this thesis I investigate representations of so-called traditional 'feminine' or domestic domains. The place of the gendered body and embodiment in films is a central concern and is theorised in the first chapter. As we move through the thesis chapters, sexed bodies enacting gender in a variety of ways and in different zones - the car, the house, the suburb and the country town - will be explored. Through these analyses I examine the methods some film directors employ to problematize space in such a way that their work overcomes the limitations of its previously dominant representations. This thesis is primarily an attempt to open up the field of criticism to acknowledge the diversity of locales which exist within the rich tapestry of Australian Cinema.

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Engelbrecht, Nadine. "University of Pretoria : school of motion picture production." Pretoria : [s.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-11212008-103253.

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Parpoulova, Petia R. "Amalgamated spaces of modernity /." Thesis, Connect to this title online; UW restricted, 2008. http://hdl.handle.net/1773/6638.

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Elkington, Trevor G. "Moments in space, spaces in time : phenomenology and the embodied depth of cinematic image /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/6621.

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Schaub, Kayla. "Representations of Minority Women in Banlieue Cinema: Divines and Bande de filles." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1554215562826029.

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Vanmalderghem, Olivier. "L'unité du film: une systémique du récit cinématographique." Doctoral thesis, Universite Libre de Bruxelles, 1995. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212516.

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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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Chan, K. K. Kylie C., and 陳琪琪. "Uncanny perceptions of urban space in painting and film: a comparison of the works of Edward Hopper and Wong Kar-wai." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38680063.

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Lee, Ka-kuen Chris. "[Cine + Scene]-ic City in Tsim Sha Tsui." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?

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Lupro, Michael Mooradian. "Space Oddities for the Age of Space Tourism." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1239723528.

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Strausz, Laszlo. "Traveling through Space: Stylistic Progression and Camera Movement." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04202007-122230/.

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Thesis (Ph. D.)--Georgia State University, 2007.
Title from file title page. Greg M. Smith, committee chair; Charlie Keil, Ted Friedman, Kathy Fuller-Seeley, Angelo Restivo, committee members. Electronic text (310 p. : ill. (some col.)) : digital, PDF file. Description based on contents viewed Oct. 17, 2007. Includes bibliographical references (p. 276-283).

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Choudhuri, Sucheta Mallick Kopelson Kevin Kumar Priya. "Transgressive territories queer space in Indian fiction and film /." Iowa City : University of Iowa, 2009. http://ir.uiowa.edu/etd/346.

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Chan, K. K. Kylie C. "Uncanny perceptions of urban space in painting and film : a comparison of the works of Edward Hopper and Wong Kar-wai." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38680063.

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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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Svensson, My. "‘A Machine for Living’ : Urban Domesticity in Polish Literature and Cinema 1969–2008." Doctoral thesis, Uppsala universitet, Institutionen för moderna språk, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-259415.

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The aim of this dissertation is to study urban domesticity in Polish film and literature against the background of the political and social transformations that have taken place in recent decades. The study begins with the so-called belle époque of the Polish People’s Republic and the decade of Edward Gierek, continues through the political upheavals, the period of martial law, and the system transformation of 1989 and the two following decades, which have been marked by the introduction of democracy, global capitalism, consumerism etc. The primary sources consist of almost thirty literary and cinematic works from various genres covering a period of forty years – twenty before the system change, and twenty after. Their common denominator is their setting in the socialist housing projects (blokowisko). The dissertation places itself in the field of geocriticism and literary/cinematic spatiality. The object of the study is the ̒social space’ (Henri Lefebvre) of the urban home, and the main analytical frames are spatial representations and narrative space, which are viewed as important in shaping both character and plot. The analysis also draws from cultural theory by Michel Foucault, Marc Augé, Mikhail Bakhtin, Mircea Eliade, and Loïc Wacquant. The dissertation detects a shift in the representations of the urban home that indicates that the home has become more private and secluded after 1989, also suggesting that a spatial and social marginalization of the socialist housing projects has occurred. These findings are interpreted as consistent with theories in human geography on changes in the perception and experience of space due to global paradigm shifts and changes in the production system.

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Romero-González, Tanya. "El enigma de Medem: Espacio, género y desdoblamiento en Vacas." Miami University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=miami1259193836.

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Fogelholm, Jens. "Lost in Space : Sökandet efter mening hos människan i Titan A.E." Thesis, Uppsala universitet, Teologiska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-339480.

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This thesis deals with the depiction of meaningfulness and meaning-making, as seen in human characters in the 2000 animated science fiction film Titan A.E. (directed by Don Bluth). The analysis aims to show how Titan A.E. portrays a collective humanity in their search for a meaningful existence, given the outer space setting of its story. Evil is also brought up, in the context of how it creates meaning within the main narrative of the story. The emotions expressed by the story's characters are treated as if they were real. Meaningfulness and meaning-making get exemplified in both dialogue and visual components seen in the film. In addition to this, some reflection is made on the promotional trailers of Titan A.E. and how their displayed contents differ from the finished product. In parallel to the main analysis, there is a wider discussion made about the relationship between films and their real-world process of production, especially regarding whether theological reflection and the film industry can intersect or not.

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Piper, Paige M. "Deathly Landscapes: The Changing Topography of Contemporary French Policier in Visual and Narrative Media." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469133497.

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Palanti, Alessia. "Stranded, Isolated, Cloistered, and Confined: Women Queering Space in Twenty-First Century Italian Cinema." Thesis, 2019. https://doi.org/10.7916/d8-azvp-1793.

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At the crossroads of Italian studies; film studies; and women’s, gender, and sexuality studies, my dissertation investigates a group of films by Italian women filmmakers whose narratives center on women and unfold in constrained spaces. Confinement is generally considered antithetical to feminist projects that imagine emancipation to be synonymous with freedom of movement. Why would women filmmakers, then, making films in the new millennium choose to stage their narratives in cloistered spaces? I find that the spatial restrictions are not responding to familiar dialectics. First feature films Benzina (Gasoline, Monica Stambrini 2001), Aprimi il cuore (Aprimi il cuore, Giada Colagrande 2002), and Via Castellana Bandiera (A Street in Palermo, Emma Dante 2013) find ways to place us snugly inside a familiar space, a space that comes with a standardized set of expectations and associations: the apartment with the nuclear family; Rome’s GRA (grande-raccordo anulare; Rome’s ring road) with travel around the capital; the narrow street as a classically Italian impasse. But when the films have us “overstay our welcome,” these spaces no longer align with our original understanding, instead, we begin to see the kinds of exclusions that have come to define those standardized narratives. And so, the films queer space, and by queering space we might come to see that the world we inhabit is much more dynamic than our traditional narratives might have us believe. I begin by analyzing the only documentary in my project, Vogliamo anche le rose (We Want Roses Too, Alina Marazzi, 2007). This film is a launching pad from which to establish a more robust backdrop of feminist history, philosophies, and concepts that re-emerge in subsequent chapters. Vis-à-vis the historiography I provide, I argue that each of the films’ restricted spatial configurations incite tense interpersonal dynamics within female pairings that dramatize both local and global political tensions within real feminist and lesbian collectives. Allusions to these long-lasting tensions in women’s political history provide not only an image of its past but also of its present, and perhaps its future. In other words, the films are a hard mirror to look into for feminist and lesbian activists and for women whose lives are affected by their (in)decisions, inclusions, and exclusions.

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Ugor, Paul Ushang. "Youth culture and the struggle for social space the Nigerian video films /." 2009. http://hdl.handle.net/10048/470.

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Thesis (Ph.D.)--University of Alberta, 2009.
Title from pdf file main screen (viewed on July 31, 2009). "A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Department of English and Film Studies." Includes bibliographical references.

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Mngadi, Sikhumbuzo Richard. "Space, body and subjectivity : shifting conceptions of black African masculinities in four audio-visual texts." Thesis, 2010. http://hdl.handle.net/10413/3049.

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Research in constructions of masculinities in South Africa is already an established field, having in part developed out of the need to contextualise global theories in the social, economic and cultural realities of African subjects. In its turn, this research has engendered a number of focused studies which have sought to depart from the traditional ‘men’s studies’ paradigm. Needless to say, studies in constructions of masculinities have infused the traditional paradigm with a new vitality. This thesis proceeds from the premise that to be a man in (South) Africa and elsewhere is contingent upon a diversity of social, economic, political, generational and cultural expectations. I argue that these expectations, which are linked variously to status, sexual orientation and choice, mean that recognition of gender subjectivity as performed must take precedence over the idea of a stable gender role. And, at times, this applies with more force in African societies, traditional and modern (or, as is often the case, a confluence of both), than it does in western ones where class, rather than the complex intersection of tradition and modernity, tends to set gender identities on a more stable platform. I then propose the view that a nuanced conceptualisation of masculinities in South Africa needs to inform analysis of representations of men and women, and I do so by means of an in-depth critical analysis of the shifting conceptions of black African men and women in Shaka Zulu (1986), Mapantsula (1988), Fools (1998) and Yizo Yizo 1 (1999).
Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2010.

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"Existential space." 2005. http://library.cuhk.edu.hk/record=b5892309.

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Law Mei Ying.
"Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2004-2005, design report."
Includes bibliographical references.
Existential Space --- p.001
Moving experience --- p.007
Film in architecture --- p.027
Architecture in film --- p.045
Time Space City --- p.049
Time Space Film --- p.056
Experimental Site --- p.070
Program --- p.101
ideas and design --- p.105
Reference material --- p.141

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Fruth, Bryan Ray. "Media reception, sexual identity, and public space." Thesis, 2007. http://hdl.handle.net/2152/3214.

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"The representation of space in contemporary Hong Kong nostalgia films." 1998. http://library.cuhk.edu.hk/record=b5896266.

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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

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Bojadzija, Amira. "Nostalgic (re)construction of the Central European cultural space." 2004. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=94968&T=F.

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Avery, Lisa Katherine 1968. "Vulnerable London: narratives of space and affect in a twentieth-century imperial capital." Thesis, 2007. http://hdl.handle.net/2152/3232.

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Abstract:

This dissertation examines sensation in twentieth-century narratives of London and argues that vulnerability is a constitutive experience of the post-imperial city. Sensations of vulnerability in London arise because of the built environment of the city: its status as an imperial center and a global capital create important intersections of local, national, and global concerns which render the city itself vulnerable. I chart the trajectory of vulnerability as an affective history of London that is documented in cultural texts ranging from fiction and film to political debates and legal materials. Since the sensational experiences of the present partly arise from the materials of the past embedded in the landscape, affective histories create new ways of understanding history as a spatial experience. The narrated sensations of the city make vulnerability legible as a persistent feature of twentieth-century London life. I begin with a modernist, imperial London, in Virginia Woolf's Mrs. Dalloway and in Parliamentary debates from the same year (1925). Ambivalence about London's dual status as a local site and as a national and international capital is a response to London's vulnerable position at the end of the Great War. Next, I turn to World War Two London and Elizabeth Bowen's The Heat of the Day. I discuss intimacy as an important national feature in narratives of London during the crisis of this war. National narratives about intimacy constructed by Winston Churchill and heard on BBC radio respond directly to London's defensive vulnerability. My third chapter concerns Margaret Thatcher's 1980s London and the crucial role autonomy plays in constructing London as an invulnerable, international financial and civic capital. Alan Hollinghurst's The Swimming-Pool Library documents Londoners' attempts to make sense of their autonomy in a postimperial capital. My final chapter examines sensations of social and political belonging in contemporary London through reading Stephen Frears's Dirty Pretty Things alongside legal documents about immigration. I contend that reading cultural texts affectively creates counter-histories of the city that accommodate a deeper range of experiences than do traditional histories and offers to literary studies a new way of understanding the relationship between official and unofficial histories.
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