Tesi: "Films – Hong Kong"

1

Wong, Wai-kit, e 黃蔚潔. "Macau in Hong Kong films". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952872.

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Wong, Wai-kit. "Macau in Hong Kong films". Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22199974.

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3

Yung, Wai-kei, e 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.

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4

Yung, 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.

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5

Lee, Sin-man, e 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.

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6

Lee, 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.

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7

Robertson, 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.

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8

Castillo, 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/.

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Abstract (sommario):

This project is an examination of the Hong Kong film industry, focusing on the years leading up to the handover of Hong Kong to communist China. The influence of classical Chinese culture on gender representation in martial arts films is examined in order to formulate an understanding of how these films use gender issues to negotiate a sense of cultural identity in the face of unprecedented political change. In particular, the films of Hong Kong action stars Michelle Yeoh and Brigitte Lin are studied within a feminist and cultural studies framework for indications of identity formation through the highlighting of gender issues.

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9

WONG, Nga Man. "Images of older persons in Hong Kong popular films". Digital Commons @ Lingnan University, 2003. https://commons.ln.edu.hk/soc_etd/25.

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Abstract (sommario):

Film watching is a popular leisure activity in modern society. Films, as a medium, provide powerful tools to deliver social messages and to create images of particular social groups. The cinematic images portrayed by films toward a particular social group may consequently shape our social perceptions and expectations of that social group. The ways that cinematic images portray older persons are, therefore, a potentially major source for detecting social values and views about them. As some cinematic images tend to reflect social attitudes and behaviours, the present research aimed at investigating how popular films portray the images of older persons. Focus was on the examination of: 1) the representation of older persons in Hong Kong movies, 2) whether older persons are positively or negatively portrayed in movies, and 3) any changes in the cinematic images of older persons over the last two decades. The present research examined Hong Kong movies released between 1981 and 2001. The population of the present study is the most popular Hong Kong movies, based on the turnover of the Hong Kong ticket offices. The sampled films were derived from the three highest-turnover movies for each year from 1981 to 2001. Content analysis was employed in this study to determine the representation and images of older persons in the 63 sampled movies. Generally speaking, older persons were found to be under-represented in the sampled movies relative to their presence in the population. Older persons were portrayed as having white hair, wrinkle skin, and walk independently in terms of physical appearance. Older persons were also portrayed as having generally good health status. However, older persons were portrayed to have a decline in both family status and socio-economic status in the 1990s as compared to that of the 1980s. In terms of occupation, most older persons were portrayed as retired persons in the movies. Apart from these features, the present research also found that there was a gender differences in the portrayal of older persons. Many older persons were depicted in the movies in the home setting, perhaps reinforcing traditional Asian family values and stereotypes. However, this perhaps underplays older persons’ active roles and contributions in the light of such current concepts as productive and active aging. There is a temporal division in that older persons in many movies of the 1980s were portrayed as more home-based while, in the 1990s, they were becoming more actively involved in external activities.

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10

Luk, 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.

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11

Siu, 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.

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12

Luk, Siu-leng, e 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.

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13

Hess, 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.

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14

Leung, Nim-ming, e 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.

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15

Poon, 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.

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16

Wong, Yee-ling, e 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.

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Abstract (sommario):

Posthuman representations in selected Hollywood and Hong Kong science fiction films show new interconnections in “techno-globalization.” They also exhibit a waning relationship between the “center” and the “margin” of technoculture. This study discusses the relation of technology, humanity, affect, and aesthetics in selective science fiction films produced from 1984 to 2010. The science fiction features were made in the United States and in Hong Kong. They include: The Terminator (1984), Terminator2 (1991), Terminator Salvation (2009), A.I. Artificial Intelligence (2002), I Love Maria (1988), Kung Fu Cyborg (2009) and Future X-Cops (2010). In particular, Kung Fu Cyborg merges the popular genre conventions of martial arts and technoculture, and manifests a different imagination at work wherein Hong Kong’s martial arts cinema stands in the place of a scientific-based Western technoculture absent in Hong Kong science fiction films. This study presents several key critical frames elaborated by scholars of science fiction who have assessed the recurrent themes and figures of science fiction films. The discussion of films identifies the resemblances, the differences, and the competitive dynamic between American science fiction films and Hong Kong action features. The absence of utopian or dystopian figures in posthuman filmic representations in Hong Kong cinema is considered an important difference from Western science fiction films. This thesis examines the figure of the cyborg and argues for the important place of emotions and the power to emote and hope as having a complex relationship to technology, humans and humanness. The compassionate cyborg has temporal and moral dimensions relating to belief and religion in this important genre. Thus, this thesis examines the backdrop for science fiction affect, which is one of oppression and crisis that speaks to the conditions of capitalism and modernity. The affective cyborgs make an important figure in the science fiction films that concern the crisis conditions, the appeal of technology, and the conventions of science fiction genre in commercial cinema.
published_or_final_version
Comparative Literature
Master
Master of Philosophy

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17

余嘉欣 e 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.

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18

Waller, 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.

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19

Yu, 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.

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20

Liu, Ka-wang Angus, e 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.

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21

Lim, 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.

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22

潘文慧 e 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.

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23

Lam, Nga Li. "The poetics and sexual politics of the Shaws' huangmeidiao films". HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/699.

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24

Liu, 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.

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25

Au-Yeung, Shing, e 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.

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26

Tan, 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.

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27

Wong, Bik-wan Flora, e 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.

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28

Wong, Yat-kwong, e 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.

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29

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.

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30

Yau, Suk-ying Shirley, e 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.

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31

Walters, 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.

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32

Yu, Julia. "Translating the Language of Film: East Asian Films and Their Hollywood Remakes". Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/138.

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Abstract (sommario):

Hollywood remakes of East Asian films clearly change more than just the language of a film, and the choices that producers and directors make in order to tailor a foreign film so that it better appeals to American audiences creates an entry point that allows for a more direct comparison of aesthetic styles, cultural tastes, and narrative conventions. An analysis of two case studies, South Korean hit film My Sassy GIrl (2001) and Hong Kong's Infernal Affairs trilogy (2002, 2003, 2003) remade into My Sassy Girl (2008) and The Departed (2006), explores the principles of Korean and Hong Kong commercial film industries and how they differ and interact with those of Hollywood.

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33

Wong, 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.

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34

Lam, Shue-fung, e 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.

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35

李雅詩 e 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.

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36

Walters, 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.

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Abstract (sommario):

Through a renewed emphasis on individual entrepreneurial freedoms, neoliberalism promises an economy liberated from government regulation in which restraints on capital accumulation are lifted and the subsequent financial benefits trickle down to all segments of society. However benign this rhetoric sounds, neoliberalization has primarily succeeded in securing wealth for capitalist elites through a collusion of state, corporate, and military players and through the manufacturing of dissent through the rhetoric of freedom. Hong Kong is a unique site in which to study the effects of neoliberalism because of its geopolitical position between the People's Republic of China (PRC) and the West. As a British colony, Hong Kong was a site of capital extraction by the British Empire as well as a hub for Chinese capitalists and overseas merchants looking to avoid the turmoil on the Chinese mainland. Now, as China's Special Administrative Region, Hong Kong is more susceptible to China's authoritarian brand of neoliberalism, which instead demands consent through manipulation and coercion. The intensification of neoliberalization in Hong Kong following the 1997 transition to the PRC and the East Asian Financial Crisis that same year has been accompanied by an increased burden placed on the city's most vulnerable individuals. Cinema has responded to this intensification with recognition of and response to local and global economic uncertainty as witnessed in the city itself. This study focuses on film narratives and character action within hyper-capitalist urban space to answer the question of how urban cinema contributes to cultural dialogue on the human cost of neoliberalization. Specific areas of film research central to this study include the relationship between the city and cinema and the cinematic qualities of experiencing modern life, contemporary Hong Kong urban cinema, and questions of transnationalism and identity formation in postcolonial Hong Kong. The methodology is a combination of textual analysis and genre theory. The textual analysis is informed not only by historical and cultural details, but also by firsthand observations of Hong Kong, while genre theory is utilized because the selected films are hybridized texts that borrow from different film genres in addressing the impact of neoliberalization from multiple points of view simultaneously. For the purpose of this study, six films, made between 1998 and 2011, were selected that respond to diverse issues currently affecting Hong Kong and its people in the era of global capitalism. The Longest Summer (1998, dir. Fruit Chan) addresses the devaluation of labor and proletarianization. The Way We Are (2008, dir. Ann Hui) problematizes social polarization and the center/periphery disparity that dehumanizes individuals by defining them solely as surplus labor. Election and Election 2 (2005, 2006, dir. Johnnie To) examine the relationship between the PRC's authoritarian neoliberalism and Hong Kong Triad societies. The two additional films respond to the impact of the 2008 Global Economic Recession on an already volatile Hong Kong economy. Dream Home (2010, dir. Pang Ho-Cheung) reveals the absurdities of Hong Kong's cutthroat housing market through graphic violence and a revenge narrative set immediately prior to the 2008 crisis. Finally, Life Without Principle (2011, dir. Johnnie To) reveals the dangers to ordinary citizens of reckless and unchecked financial speculation as it applies to mortgages, loans, and investments. Neoliberalism is the logic of global capital, so although these films are set in and relate to Hong Kong, they have implications for the implementation of neoliberalism everywhere and are thus valuable as cross-cultural dialogue on human livelihood. Specifically, the films reveal a Hong Kong that is oppressive whether it is present in or absent from the frame. Yet, this oppression does not preclude meaningful human action that counters the dehumanization inherent in neoliberalization with narratives of survival and individual reconciliation with the forces of global capital.

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37

Meachem, 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.

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38

Kwok, Lai-yung, e 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.

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39

CHEANG, 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.

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Abstract (sommario):

This thesis seeks to examine the translation of selected foreign film-titles in Hong Kong and Taiwan from 1990 to 2002. Lawrence Venuti’s theory on “domesticating translation” and “foreignizing translation” will be taken as the conceptual framework for the study. Building on Friedrich Schleiermacher’s perspective on translation and on his observations about the Anglo-American publishing industry, Venuti asserts that “foreignizing translation”, being a strategy to bring the target-text audience toward the original text, should be preferred over “domesticating translation” as the former would guarantee difference by introducing foreign elements to the text recipients. By doing so, people will have more chances to be exposed to cultures other than their own and thus a heterogeneous society will be formed and maintained. Since Venuti’s study has not touched upon the Asian region situated in the periphery of global culture as opposed to the Anglo-American one, his suggestion for “foreignizing translation” might not be feasible globally. Selected film-titles will be examined in this thesis. Data show that most of the translated titles in Hong Kong are domesticated. The same can be said of Taiwan in recent years, though to a lesser extent. Unlike other text types, film-titles are normally translated or adapted by the local film distributors rather than professionally or academically trained translators. With box-office sales as the major concern of the movie business, the adoption of the domesticating strategy can easily be rationalized, if not justified. Equally notable is the fact that, as recent trend in Taiwan demonstrates, domesticating strategy also reflects a stronger sense of local identity.

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40

Ho, Ka-hang Jason, e 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.

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41

Law, Yuk-wa, e 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.

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42

Shen, 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.

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43

Pieri, Jean-Etienne. "Hollywood et Hong Kong : transferts culturels, de 1979 à nos jours". Paris 3, 2008. http://www.theses.fr/2008PA030070.

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Abstract (sommario):

Cette thèse est consacrée aux échanges entre le cinéma hongkongais et Hollywood. Depuis le début des années 90, un certain nombre de réalisateurs, d’acteurs et de chorégraphes de scènes de combat originaires de Hong Kong sont effectivement venus travailler aux États-Unis. Les films tournés à Hollywood par ces artistes hongkongais ne représentent cependant que la part la plus manifeste des transferts entre les deux industries cinématographiques. Ces transferts n’ont en fait cessé de prendre de l’ampleur depuis l’émergence, en 1979, de ce que l’on a appelé la « Nouvelle Vague » hongkongaise (un mouvement de jeunes réalisateurs ayant pour la plupart étudié dans des pays anglo-saxons). Dans cette thèse sont analysés les tentatives d’hybridation (notamment sur un plan générique), les remakes et les différentes formes d’emprunts narratifs et stylistiques qui ont contribué à cette circulation des formes entre les deux cinématographies
This 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

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44

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.

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45

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.

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46

Yam, 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.

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Abstract (sommario):

In this thesis I study popular Hong Kong cinema through analysing specific films produced between 2001 and 2004. They are Shaolin Soccer (2001), The Infernal Affairs Trilogy (2002-2003), and Kung Fu Hustle (2004). My aim is to identify insights from these films in order both to interrogate and to inform the public expressions of faith by local Christians in the period after the reversion to Chinese sovereignty in 1997. In this thesis, these expressions of faith are represented by local Christian productions released in cinemas also between 2001 and 2004. Being the first detailed study of Chinese language film in the developing field of theology-religion and film, this thesis serves to extend the geo-cultural scope of this area of research. Throughout this study I adopt a tripolar approach to theology which is simultaneously practical, contextual, and cultural. It starts with practical concerns and aims at informing Christian praxis; it is concerned with local issues and reflects on local practices; it regards the cinema as a cultural text and as resource for local theology. My film analysis draws upon a cultural studies approach which combines textual and contextual studies, and is enriched by extensive references to writings by local critics and audience members. Using this multi-layered approach, I scrutinise the top grossing local film of each year from 2001 to 2004 within its original sociocultural context of production and reception. The same approach is also applied to examine the Christian films. At the heart of this thesis is my analysis of both Christian films and popular films. I demonstrate that the local Christian films exhibit a number of characteristics, which include: other-worldly spirituality; individualistic worldviews that focus on personal fulfilment; exclusive emphasis on marriage and the family; as well as disinterest from the social context and indifference towards the present. My contextual study on the development of Christianity in Hong Kong reveals that these characteristics mirror the popular theologies prevalent in many local Christian communities. In contrast, the popular films are often perceived locally to be implicit representations of circumstances after the reversion of sovereignty, and are thus regarded as stories of Hong Kong people and society. I discuss how these films address important issues which confront the people, take the local cultural-religious traditions seriously, assume the point of view of the marginal, and embrace rather than condemn human weaknesses. As cultural texts, they suggest that the people of Hong Kong are struggling with unresolved identities and anxiety over being marginalised, grappling with the tension of retention versus abandonment of collective memories, and longing for transformation from their perceived perpetual despair. These characteristics, I contend, are manifestations of a collective state of liminality experienced by many people in Hong Kong after 1997. In the conclusion, I propose a contextual approach to public expressions of Christian faith for Hong Kong under Chinese sovereignty. My proposed approach involves attentiveness and humility toward local cultural-religious traditions; relocation to the periphery for the assumption of a marginal perspective; identification with and embrace of the liminal condition of the people. Finally, I suggest that the challenge for public expressions of Christian faith in this context is two-fold. First, it is to be able to tell the stories of post-1997 Hong Kong; second, these stories need to be grounded on a sound theology of liminality which embodies and addresses the post-1997 experience in the city. This specific study on Hong Kong cinema also has wider implications for those seeking to express their Christian faith in the public realm, particularly through various popular audiovisual media.

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47

Ng, 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.

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48

Lam, Suk-yin, e 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.

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49

Lau, Wai-sim, e 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.

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Abstract (sommario):

The participatory cyberspace, epitomized by the concept of Web 2.0, has become a key venue of Chinese stardom in the post-cinema era.Web 2.0 invites its users to contribute to the content through an architecture of participation. Fans can search, poach, edit, and post filmic and publicity materials about stars, formulating seamless, collaborative reworkings of the star image and generating a new star-fan dynamic. At the crossroads of participatory cyberspace and cinema, transnational Chinese movie stars call our attention to the critical concern of Chineseness. In recent years, a number of Chinese movie stars have attained prominent presence in the global cinematic arena. These acting talents, who are either identified as martial arts performers or known for their performances in martial arts films, won global acclaim as a result of the worldwide reception and esteem for Hong Kong action films and Fifth Generation directors’ films from mainland China. As these stars begin to engineer personae stretching beyond their ethnic identities for the global setting, their stardom engenders discourses of ethnicity and cosmopolitanism.What does it mean to call these stars “Chinese” in the global cyber setting? How do their fans interact to reshape their star personae on the Web? How can one approach and understand “Chineseness” within cyber fan discourse? All these questions point to a central problem of how to conceptualize Chineseness in participatory cyberspace. My agenda in this study is to investigate Chinese movie stardom as a web-based phenomenon by establishing a new theoretical framework for considering Chineseness in participatory cyberspace. I have created a set of four analytical matrixes, each examining a particular Chinese star through a specific fan-based practice on a specific participatory site: vidding Donnie Yen and critiquing Zhang Ziyi on YouTube; photo-sharing about Jackie Chan on Flickr; “friending” Jet Li on Facebook; and discussing Takeshi Kaneshiro on fan forums. Through close investigation of these five Chinese stars, I demonstrate that the cyber setting enables collaborative fan reworkings of star texts and multiple directionality of approaching Chineseness. Cyber fans produce intertextual, multi-faceted star personae, different from traditional film personae whose meanings are anchored in a rigid established representational framework. Through the relentless scrutiny, quotation, manipulation self-affiliation by fans enabled by cyber technology, Chineseness becomes an utterly illusive and indefinable entity, a new form of signification whose meaning is always changing. This unstable, hybrid Chineseness challenges the notion of a star’s given ethnicity, redefining the archetypal martial arts body in unpredictable, manifold and provocative terms for the cyber era. With the aim of advancing the critical theorization of Chineseness, this study unfolds and analyzes the dynamics of the vital relationship between Chinese stardom, web technologies, and fan discourse. It also serves as a timely response to the challenges posed by cyber culture for the disciplines of cinema and cultural studies, in light of the proliferating yet inadequate current efforts in this field.
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Comparative Literature
Doctoral
Doctor of Philosophy

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陸姿恆 e 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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Tesi sul tema "Films – Hong Kong"

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