Tesis sobre el tema "Wong (Firm)"
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Pun, Betty Oi-Kei School of Modern Language Studies UNSW. "Intersemiosis in film: a metafunctional and multimodal exploration of colour and sound in the films of Wong Kar-Wai". Awarded by:University of New South Wales. School of Modern Language Studies, 2005. http://handle.unsw.edu.au/1959.4/22922.
Texto completoProtsenko, Viktoriia. "The Emotional cinema of Wong Kar-wai". Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/667114.
Texto completoLa presente tesis busca explicar el atractivo emocional de la obra de Wong Kar-wai. Aunque su forma de trabajar y estrategia de narración son muy atípicas en la industria cinematográfica de Hong Kong, el director ha recurrido con frecuencia a las convenciones del género, star system e hibridismo del cine hongkonés. Los elementos estilísticos y estrategias narrativas de sus películas contradicen la imagen del artista improvisador, difundida por el propio Wong, y en cambio afirman una minuciosa organización del relato. Sostengo que Wong Kar-wai busca satisfacer los gustos de un público cosmopolita, multilingüe e ilustrado, fomenta un compromiso emocional y hace que los espectadores quieran volver a ver sus películas.
Wong, 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.
Texto completoWong, Yat-kwong y 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.
Texto completoChan, 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.
Texto completoChan, K. K. Kylie C. y 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.
Texto completoHorne, John Richard. "THE EFFECT ON CORPORATE PERFORMANCE OF FIRMS THAT WON THE MALCOLM BALDRIGE NATIONAL QUALITY AWARD". NSUWorks, 2009. http://nsuworks.nova.edu/hsbe_etd/44.
Texto completoArbañil, Marquez Anggela del Carmen y Aguayo Daniela Andrea Rodríguez. "Representación del camp talk en el doblaje al español latinoamericano de dos películas LGTB+ de los años 90: The Birdcage y To Wong Foo, Thanks for Everything! Julie Newmar". Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/657101.
Texto completoCamp talk is a form of expression constructed through speech, and this represents the identity of a community, as is the case of the identity of the LGTB+ community. This form of expression has been represented in several film productions, as well as in novels and theatre plays, and has been translated from English into other languages. Although there is research about camp talk translation, these studies are limited, especially those in the 90s. At that decade, spanish equivalents for the vocabulary used by the LGTB+ community were just being constructed through the first translations of mass consumer products such as movies or series. The translation of camp talk is considered a problem since, in order to maintain the identity of the LGTB+ community, the target text must fulfill the communicative function of the source text and consider the equivalents of the vocabulary used by the LGTB+ community. Therefore, the present research focuses on two LGTB+ films from the 90s, The Birdcage and To Wong Foo, Thanks for Everything! Julie Newmar, to analyze the function of camp talk and the techniques used for its translation. To obtain the results, two techniques will be used: content analysis, to analyze the functions of camp talk in the original English version and contrastive textual analysis to analyze the Latin American Spanish translation of camp talk and to identify the translation techniques used.
Trabajo de investigación
Baldwin, Jillian. "Room 2046: A Political Reading of Wong Kar-Wai's Chow-Mo Wan Trilogy through Narrative Elements and Mise-en-scene". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5482/.
Texto completoNg, Hoi-shan Crystal. "Rewriting Louis Cha's classical characters in filmic representation in response to the political and cultural mutation of Hong Kong 90S - Wong Kar Wai and Tsui Hark". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20272662.
Texto completoNg, Hoi-shan Crystal y 吳海珊. "Rewriting Louis Cha's classical characters in filmic representation inresponse to the political and cultural mutation of Hong Kong 90S -Wong Kar Wai and Tsui Hark". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951697.
Texto completoRamos-Taira, Amanda-Libertad. "Cuando el silencio habla. Laconismo, contención y amnesia en El caballo de Turín (2011) de Béla Tarr, In the mood for love (2000) de Wong Kar-Wai y la mujer sin cabeza (2008), de Lucrecia Martel". Bachelor's thesis, Universidad de Lima, 2017. http://repositorio.ulima.edu.pe/handle/ulima/4697.
Texto completoTrabajo de investigación
Hsiang-YinChen y 陳香吟. ""Daily ballet" in Wong Kar-Wai's Film Texts". Thesis, 2017. http://ndltd.ncl.edu.tw/handle/7bdvr2.
Texto completo國立成功大學
藝術研究所
105
The thesis aims to analyze Wong Kar-wai's ten features, As Tear Goes By, Days of Being Wild, Chungqing Express, Fallen Angels, Happy Together, In the Mood for Love, 2046, My Blueberry Nights, Ashes of Time Redux, The Grandmasters. Through the narrative structure of Critique Theory of Daily Life, it analyzes the collective and personal memories behind the film scenes. And the inseparable to distinguish memory and space, time and element of daily lives. Especially they are being seen as the key elements of his works. Therefore, this thesis mainly describe how Wong Kar-wai uses civil culture in Hong Kong as scenes setting, historical archive files, cultural memory, the complex transfer of the sovereignty of hong kong in 1997, spaces, memories and element .
LIN, LI YI y 李依霖. "A Submissive Subjectivity?:The Construction of Female Images in Wong Kar-Wai’s Film". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/5wum4g.
Texto completo輔仁大學
大眾傳播學研究所碩士班
104
As a world renowned film director, Wong has been acclaimed as an auteur who demonstrated unique aesthetic practice in filmmaking. This study will delve into most of Wong’s works, in order to find out how those female characters in the films positioned as opposed to their male counterparts; in the historical development in his filmmaking, and also in all of his works holistically. Previous literatures showed Wong’s post-modernistic style in filmmaking reveals a female image conformed in the traditional values on the one hand, and revolts to it on the other. While on the whole, the female character in the films developed itself from a traditional one towards a modern one in the course of Wong’s works, however, the study will argue they all possess the definite power to the male character’s destiny. Therefore, the inquiries of the study will be 1. How the films’ “objectified” the female characters, and in the same time could be articulated in challenging the “subjectified” male characters. 2. By analyzing Wong’s works, the study will try to conclude in suggesting the female image constructed through his filmmaking. There are nine films will be examined in this study, which comprise As Tears Go By, Days of Being Wild, In the Mood of Love, Chungking Express, Fallen Angels, Ashes of Time, and The Grandmaster. As film critics has pointed out, some of the female characters in Wong’s works, appeared to be related in term of characterization. As a result, the study will look into these films divided into 4 groups according to their generic traits, namely angry-young men, nostalgia of the 1960s, asphalt jungle and sword-fighting. Accordingly, the study will employ research methods concerning both textual and narrative analysis. While a diachronic study will be emphasized, a synchronic approach will also be considered; hopefully, a cross-examined process will reify a comprehensive female image in the film.
Moreira, Macedo de Carvalho Ludmila. "The ambivalent identity of Wong Kar-wai's cinema". Thèse, 2009. http://hdl.handle.net/1866/3244.
Texto completoWith nine feature films released between 1988 and 2007, as well as several advertising campaigns, music videos, short films and collective projects, Wong Kar-wai is one of the most important contemporary filmmakers currently working. Hailing from Hong Kong’s highly commercial film industry, Wong has managed to attract the attention of the international film festival circuit with his visual style and fragmented narrative. Considered by many critics as the poet of Hong Kong’s quest for identity post 1997, his cinema defies every attempt of standardization. The main goal of this study is to provide an attentive and comprehensive study of his body of work, concentrating on the stylistics traits that make his films part of a coherent unity. These characteristics correspond to a certain way of telling stories, of composing situations and characters, of manipulating time and the use of technical resources so that his films offer a coherent identity. The objective is to analyze the different components of his images, to show how his films communicate with each other in order to create something unique. To achieve this objective, I put forward the hypothesis that Wong’s cinema is marked by a dualistic structure that allows his films to present opposite qualities at the same time. Most of my arguments are based on the thoughts of French philosopher Gilles Deleuze, whose own dualistic theory of cinema presented in his books Cinema 1: the movement-image and Cinema 2: the time-image, provides a valid framework upon which Wong’s films can be projected. While the research concentrates on the textual analysis of films, I will also benefit from comparative analysis and additional disciplines.
Wong, Sneddon Grace. "Who are we—Suzie Wong? Chinese Canadian women’s search for identity". Thesis, 2015. http://hdl.handle.net/1828/6449.
Texto completoGraduate
0377
0326
0334
gwongsne@uvic.ca
Jhong, Ting-Yi y 鍾庭宜. "Visual and Gender Excesses in Wong Kar-wai’s Fallen Angels: A Critical Analysis with Feminist Film Theories". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/pf3r2s.
Texto completo國立陽明大學
視覺文化研究所
106
The academic research of Fallen Angels and gender study in the field of Wong Kai-wai’s films are deficient. However, the gender images in Fallen Angels are still extraordinary and subvert. In this study, I will investigate the gender images and spectatorship in Fallen Angels in terms of feminist film theories. Also, this research will demonstrate how this film presents gender images through the narrative context, film editing and movement of camera. This thesis will be divided into three chapters. In chapter one, I will examine the three female characters in Fallen Angels, and demonstrate how they express their subjectivity and subvert the stereotypical images of woman in the patriarchal society. In chapter two, I will argue that the use of 6.8 mm super-wide angle lens transforms the spectacle of woman to a distorted and alienation face. Therefore, male spectators cannot desire the images of woman directly. I will also discuss the costumes of female characters. The strange costumes cause different perceptions to both male and female spectators. This also demonstrates the heterogeneity and agency in them. In chapter three, I will explain the androgynous of male characters in Fallen Angels, and suggest that the gender trait can subvert the patriarchal cultural reception of masculinity and offer female spectators visual pleasure. In this research mix through the investigation of gender images and audience spectatorship, I want to emphasize the agency of spectators and provide alternative interpretation. I hope this thesis can complement the gender study in Wong Kar-wai’s films and reevaluate Fallen Angels.