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Bibliografias temáticas / Motion pictures, Chinese – China – Hong Kong / Teses / dissertações

Teses / dissertações sobre o tema "Motion pictures, Chinese – China – Hong Kong"

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Autor: Grafiati

Publicado: 25 de julho de 2024

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1

Yu, Gwo-chauo. "China, Hong Kong, and Taiwan: The Convergence and Interaction of Chinese Film". Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501002/.

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This study focuses on the evolution of the movie industries in Taiwan, Hong Kong, and China in the late 1980s and early 1990s, with an emphasis on the interaction and cooperation in movie production among these three areas. The study consists of three sections: a general description of the development of Chinese cinema before 1949; an overview of the movie industries in Taiwan, Hong Kong, and China after the civil war; and an intensive study of the recent changes, interactions, and connections among these industries. In the third section, three models are proposed to explain the changing practices in movie production in these three areas. Obstacles preventing further cooperation and the significance of the reconstruction and integration of Chinese cinema are discussed.

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2

Wong, Shuk-han Mary, e 黃淑嫻. "New Chinese cinemas and feminine writings". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B43894410.

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3

Tam, Siu-yan Xavier, e 譚兆仁. "Between penumbrae and shadow: contextualizingtransnational queer Chinese cinemas". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44142663.

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4

黃曉恩. "華人院商家族與香港戲院業變遷, 1930-1930年代 = Chinese cinema operators and cinema business in Hong Kong, 1930s-1960s". HKBU Institutional Repository, 2012. https://repository.hkbu.edu.hk/etd_ra/1373.

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5

Ng, Hoi-shan Crystal, e 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.

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6

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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7

吳月華. "歌影拍和 : 粤語青春歌舞片歌曲與電影的關係 (1966-1969) = Songs in tune with movies : the relationship of movie songs and Cantonese youth musicals in 1966-1969". HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/687.

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8

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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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.
published_or_final_version
Comparative Literature
Doctoral
Doctor of Philosophy

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9

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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10

Barbieri, Maria. "Film censorship in Hong Kong". Thesis, Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B1947118X.

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11

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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12

Chan, Kim-mui Eileen, e 陳劍梅. "Postmodernity and recent Hong Kong cinema". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B3121390X.

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13

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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14

Lai, Suet-fun Betsy, e 賴雪芬. "Nanbei (south-north) comedies in Hong Kong cinema : transregional film industry and Hong Kong identity". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/208079.

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In this paper, I attempt to use the concept of “transregional imagination” by Zhang Yingjin to depict the Hong Kong film industry in the early 60s and examine how it has transformed the industry practices in Hong Kong cinema and shaped the Hong Kong identity. For decades, Hong Kong cinema has been of regional and transregional importance. The influx of film artists from the north, especially Shanghai, during the post-war period brought a cosmopolitan outlook to the industry. This was coupled with the investment of overseas Chinese from Singapore which helped to expand the distribution network of Hong Kong films within a short time. By tracing the historical development of the industry, I wish to revisit the major events in the region which have contributed to the uniqueness of Hong Kong culture. I would also like to illustrate the characteristics of the transregionalism through the study of a trilogy of nanbei (literally, south and north) comedies released in the early 60s by the MP&GI company. They are The Greatest Civil War on Earth (Nanbei He, 1961); The Greatest Wedding on Earth (Nanbei Yi Jia Qin, 1962) and The Greatest Love Affair on Earth (Nanbei Xi Xian Feng, 1964) which depict the conflicts between the Mandarin-speaking “Northerners” (mainly from Shanghai and neighbouring cities) and Cantonese-speaking “Southerners”. The transregional imagination is manifested in these films which have the benefit of funding from overseas Chinese, casting from Shanghai and local artists, screenwriters from USA, production team mainly from the north, distribution network across regions and audience from international markets. I would further examine the comedy genre as a common language among diversified cultures and a discussion of modernity through an analysis of the company’s business strategies and the scenes which depict western values and urban images of Hong Kong during the 60s. I hope the analysis will be able to rediscover the transregional advantages that Hong Kong film industry has enjoyed and which, I believe, have also paved the way for its positioning in the era of globalization.
published_or_final_version
Literary and Cultural Studies
Master
Master of Arts

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15

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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16

Suen, Pak-kin, e 宣柏健. "Filming gay representations: male homosexuality in Hong Kong and Taiwanese cinema". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31225160.

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17

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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18

Lau, Tsz-wan Christal, e 劉芷韻. "Ethics in the production of Hong Kong movies". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39559105.

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19

Chen, Fangyu. "The post-2000 Hong Kong film workers". HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/751.

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This thesis is an interdisciplinary study that traces the commerce-art-politics nexus of Hong Kong cinema since the new millennium, through investigating the current young generation of film workers who joined the industry as it gradually entered an era marked by the domination of Hong Kong/Mainland co-productions. It reveals the filmmaking ideologies of emerging filmmakers from both within and beyond their film texts, and uncovers the artistic and ideological discrepancies between this young generation and their predecessors - the established generation who contributed to the glory days of Hong Kong cinema during its economic boom. By tracing the studies of national cinema and transnational cinema in the last three decades, I debunk the national/transnational antagonism with the case of the post-2000 Hong Kong cinema. It does not only prove that the binary is far more complicated than one being superseded by the other, or them coexisting with each other, but rather evolving into each other from a historical perspective. In this vein, the current Hong Kong cinema has split into two: a transnational cinema represented by the established generation of filmmakers; and a national cinema that is driven by the emerging generation who struggle for better preservation of Hong Kong local culture and their own cultural identities. Furthermore, this thesis scrutinizes the working and material conditions of these young film practitioners, in which employment and economic opportunity are primarily derived from co-productions and mainland productions. It expands the discussion over the concept of precarity and argues that the Hong Kong case demonstrates two extra dimensions of labour precarity: an excessive reliance on an external market (i.e. mainland market), and the workers' dissenting political attitudes towards a politically sensitive regime, namely mainland China under the ruling of the Communist Party. Lastly, developments in Hong Kong film policy since the handover are examined. As its longstanding managing philosophy of "minimal intervention" has largely remained unchanged in Hong Kong, the government has turned from a "laissez-faire" approach to what Mark Purcell terms an "aidez-faire" approach in the local film industry, yet it still failed to meet the industry's expectations of creating a holistic film policy. Nevertheless, film policy in the post-handover era had an undeniable impact in terms of cultivating young filmmakers. To research the topic, 47 in-depth interviews were conducted. These first-hand interviews, combined with data gathered from multiple resources, as well as a text analysis of the 107 films made by young directors between 2000 and 2018, form the factual basis of this thesis. Employing a Hong Kong/Mainland Film dynamics perspective, this study aims to fill a gap in the academic study of Hong Kong cinema, which has paid scant attention to the material conditions and artistic visions of craft labour in the industry, and especially of the young generation of filmmakers who are facing the decline of a once prosperous but currently diminishing local film industry.

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20

Ho, Chui-fun Selina, e 何翠芬. "Ann Hui as a female filmmaker: in search of Hong Kong culture". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951636.

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21

Walsh, Lau Man Yee Eliza, e 劉敏儀. "In search of identity: Hong Kong as seen through its cinema from the 1950s to the early 1980s". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31213728.

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22

Lam, Hon-kong Derek, e 林瀚光. "The cinema of development: class factors and global trends in Hong Kong cinema". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B49858725.

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This study attempts to understand, within a global and comparative context and with an emphasis on issues related to class, a number of representative aesthetic approaches and narrative forms to be found in a particular regional cinema – that of Hong Kong – as so many characteristic forms of artistic or cultural responses to the social phenomena that inevitably arise in accompaniment to a society’s process of modernization or development. The assumption is that the modernization of a society – when it is open to global trends and currents and follows a Western-led, capitalist direction – brings with it a host of shared, inevitable social transformations that filmmakers, with the formal and stylistic resources that are current and available to them at a given time and place, respond to with the aim of intervention, reflecting changes that are taking place in society even as they play a role in effecting those very changes. The foreground of the study is the postwar development of Hong Kong cinema as a site of multiplicity from the Fifties to the present, but it is seen against the background of the myriad practices – classical Hollywood, European art cinema, various national or Third World cinemas – that make up the system of world cinema as a whole. A number of issues central to the modernization of a society are considered in five thematic chapters – on poverty, social advancement, the lives of women, intellectuals, and youth culture – that explore how filmmakers from different periods and locations have addressed such issues in their work. The method is at once structuralist and historicizing – by situating individual texts within a comparative context that synoptically scans the variety of significant options available in the treatment of a particular subject matter, the formal possibilities and limitations – as well as the social and political implications – of a particular conception of the cinema become much more apparent. This desire to “spatialize” (to borrow Jameson’s notion) film history by suggesting a social community of texts or a synchronic set of options is complemented by a temporal or diachronic concern for changes in the zeitgeist, for generational differences and paradigm shifts, that allow for some sense of the relationship of an individual film to the history of cinema to emerge. This study can be considered, then, as an experiment at envisioning one possible way of practicing film history at a macro level and in a comparative and cross-cultural manner, whereby the paradigmatic shifts or epistemic revolutions of world cinema are viewed from a semi-peripheral and unexpected perspective (a location such as Hong Kong), in a way that relates what appear to be representational dilemmas of a purely local nature to more universal concerns, while embedding an account of a particular territorial cinema’s evolution within the larger narrative of regional and global cultural developments.
published_or_final_version
Comparative Literature
Doctoral
Doctor of Philosophy

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23

Ho, Chui-fun Selina. "Ann Hui as a female filmmaker in search of Hong Kong culture /". Click to view the E-thesis via HKUTO, 1998. http://sunzi.lib.hku.hk/hkuto/record/B31951636.

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24

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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25

So, Mei-fong, e 蘇美芳. "The feasibility of implementing industry self-regulation of film censorship in Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36411255.

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26

Lee, Shuk-man, e 李淑敏. "From cold war politics to moral regulation : film censorship in colonial Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/197504.

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Through the case of film censorship in Hong Kong from the late 1940s to the 1970s, this thesis explores the local impact of the international Cold War. It argues that Cold War politics shaped the nature of local policy. The first chapter investigates the reasons for the rise of film censorship in the late 1940s and the 1950s. It argues that three levels of Cold War tensions led the Hong Kong government to focus on political censorship. Tensions within the British Empire, between the Hong Kong government and foreign governments, and those between local communists and the Hong Kong government led censors to target communist films, foreign governments’ official films, and films echoing local political events. Among these films, those from China remained the primary target. During the period of political censorship, the Hong Kong government ignored the needs of local viewers and focused on reacting to external forces. The second chapter examines how in the 1960s local communists launched two campaigns against the suppression of Chinese films. It argues that the campaigns in 1965 and 1967 showed the influence of the Cold War, as these communists threatened the Hong Kong government that continued suppression of Chinese films would worsen Sino--‐‑British relations. It explains why the 1965 campaign succeeded in forcing the government to adjust its policy towards Chinese films but the one in 1967 did not. Since the late 1960s, Cold War tensions had been easing, particularly between China and Britain. The importance of political censorship and the external aspects of film censorship in Hong Kong started to diminish. Setting the stage for the localisation of film censorship in the 1970s, Chapter Three explores another duty of film censors in the 1960s, to examine sex and violence. By studying the debates about film classification and the censorship of the local film Death Valley (Duanhungu 斷魂⾕谷), this chapter argues that the government did not understand the goals of moral censorship even after examining films for more than twenty years. And it still did not sincerely engage with the Chinese population. The final chapter, on the 1970s, shows how the easing Cold War tensions directed the Hong Kong government to focus on moral censorship of films that was in accordance with the other social policies such as fighting prostitution and violent crime. Localisation of film censorship was followed by comprehensive reforms. The 1970s witnessed the government’s first serious attempt to engage the Chinese public in censoring films.
published_or_final_version
History
Master
Master of Philosophy

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27

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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28

Mui, Yee-man, e 梅綺雯. "The Hong Kong soundscape: music and sound in Johnnie To's PTU". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44517087.

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29

Yip, Wing-see Audrey, e 葉泳詩. "Conserved in celluloid: an approach to the contextual understanding of urban Hong Kong through post-war movies". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B47092816.

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This dissertation shows the way in which movies, as a form of popular culture and contemporary medium, can be used as a tool for facilitating an alternatively impressionable approach in understanding social history in context, which can be complementary to the purely historical approach in conducting research in the field of heritage conservation. 6 representative post-war Hong Kong movies from the 1950’s to 2000’s are selected for discussion through textual analysis of key cinematic frames based on 5 specific criteria. The ‘cinematic reality’ of each is discussed against the ‘historical reality’ of the year of its release, so as to facilitate a contextual understanding of the social-economic, architectural-geographical and ideological-political conditions of Hong Kong for the past 5 decades.
published_or_final_version
Conservation
Master
Master of Science in Conservation

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30

Ng, Yan-chak Grace, e 吳恩澤. "Nostalgia in Hong Kong cinema: when the insipid becomes Tantalizing". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29782892.

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31

郭賢偉 e Yin-wai Joseph Kwok. "The construction of gender identity in Hong Kong cinema". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B30257384.

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32

Cheung, William, e 張鳳麟. "An evaluation of the new wave cinema in Hong Kong through the study offour directors: Patrick Tam, Allen Fong, AnnHui and Tsui Hark". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31240033.

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33

Freudenberg, Benjamin. "Yin as the specificity of Hong Kong cinema: mediated tradition and critical potential". HKBU Institutional Repository, 2015. https://repository.hkbu.edu.hk/etd_oa/188.

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In the analysis of Hong Kong cinema side notes on the relationship between particular motifs or stylistic features and Chinese intellectual history are relatively common. Fleshing out this relationship, however, is problematic due to the intricacies of Chinese thought as well as pace and volume of popular culture. In spite of this difficult relation, the thesis reconstructs the narrative and stylistic development of post-war Hong Kong cinema against relevant aspects of pre-modern Chinese thought, demonstrating how the latter provides an effective framework in which to explicate prominent motifs and visual architecture. Yin, or ‘concealment’, furnishes the conceptual space for the encounter, isolating relevant elements in the Legalist, Confucian, Daoist, and aesthetic canon and informing the analysis of select Hong Kong films. The body of the dissertation is comprised of four chapters; each juxtaposes an aspect of pre-modern thought with cinematic texts chosen to illustrate distinct discursive movements around themes essential to an understanding of post-/colonial Hong Kong modernity. Beginning with the depiction of the legal order, the first chapter details the narrative characterization of modern law and its subversion in the extra-legal space of the jianghu. The debate between Legalism and Confucian natural law thus ‘grounds’ a pop-cultural suspicion regarding the efficacy of positive law as such. The following chapter tackles the issue of identity: recounting early attempts to stabilize a traditional culturalist version of belonging, narrative criticism of traditional patriarchy and Western hegemony, and recent fears of re-colonization by the motherland, Chineseness is shown to denote an event eluding popular culture. A third chapter interrogates the construction of fate and, implicit in it, narrativity as such. A discussion of Daoism - expressing both a faith in ontologically guaranteed restoration and a critical insight into virtual potential concealed in acculturation - connects pre-modern thought to Hong Kong cinema which first embraces restoration in popular formula and later attempts to escape its circularity. The fourth chapter focuses on stylistic evolution; an influential pre-modern treatise on the aesthetics of landscape painting provides the framework for an account of the characteristic sinicization of visual architecture subjecting space and time to momentum in careful framing and editing. While this style is characteristic of action-oriented plots, it also conditions aesthetic refutations and recent returns to more realist approaches. Conceptually explicating Hong Kong cinema through Chinese intellectual tradition runs the risk of merely subsuming the former to the latter. This would miss the characteristic mediation of tradition as it is ‘resuscitated’ in popular culture, its imbrication in the contemporary situation. As such, the thesis cannot evade addressing the meaning of this mediation, a task requiring additional conceptual tools. Critical theory fulfills this purpose throughout the main body of the thesis supporting arguments regarding the critical potential of mediated tradition within post-/colonial modernity. A concluding chapter summarizes the thesis’ findings, reflects on the aesthetic impasses of mass culture even where it expresses discontent with modernity, and reiterates the persisting relevance of Adorno’s critique of the culture industry, especially for the analysis of popular culture.

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34

Lam, Hei Lawrence, e 林晞. "Hong Kong Film Academy". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31982906.

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35

Poon, Ka Yan. "Co-producing a cold war cosmopolitan fantasy: collaboration and competition between Hong Kong and Japanese Cinema in the 1950s and 1960s". HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/548.

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This dissertation is a study of how Hong Kong and Japanese cinema constructed an imaginary of cosmopolitanism in films for a global market through co-production during the Cold War. Co-production examined in the dissertation is not limited to co-produced films. In the mid-1950s to the late 1960s, Hong Kong and Japanese cinema had frequent contact, which included co-organizing a film festival, exchanging film talents, and adapting films. Neutral terms like collaboration and cooperation describing the interchange between Japanese and Hong Kong cinema often disguised their competition in an uneven power relationship. Focusing on the two major studios in Hong Kong, i.e., Shaw Brothers and Cathay Organization, this dissertation examines their relationship with Japanese cinema by analyzing the complex negotiations inherent throughout the collaboration.;The dissertation conceptualizes the tension between Hong Kong and Japanese cinema as a spatial struggle, in which the materiality of space played a critical role. Japanese cinema's attempts to maintain its hegemony and dominance in Asia and Hong Kong cinema's endeavors to improve its position in the hierarchy of regional and global film industries contributed to the production of space. The space of production such as the cinematic space in films, in turn, influenced the dynamic between the two cinemas. Each chapter examines different forces within the production of space with common concern on the space of production that the two cinemas competed to construct a worldview beneficial to its own respective positioning in the region and the world. The forces at work are the role of technology at the Southeast Asian Film Festival, the embodiment of Hong Kong star in the co-produced films, and the border-crossing of Japanese talent to work in Hong Kong. The dissertation argues that through co-production with Japanese cinema, Hong Kong's film industry imbued its stars and films with a fantasy of cosmopolitanism for a global market, without challenging the patriarchal family ideology of Chinese society. The spatial struggle with Hong Kong cinema demonstrates that Japanese cinema attempted to define itself as a leader in Asia while confronting the West during the Cold War.

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36

Chan, Yiu-hung, e 陳耀雄. "The construction of sexuality of Hong Kong cinema in the 90's". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951612.

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37

陳振國 e Chun-Kwok Chan. "The silver-screened images of city: film as an alternative tool for planning and development in Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31260706.

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38

Mak, Hoi-shan Anson, e 麥海珊. "BI AII means: the trouble with Tong Zhi discourse : beyond queer looks in the East is red and Swordsman II". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31223163.

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39

Lam, Sui-kwong Sunny, e 林萃光. "The impact of translated Japanese comics on Hong Kong cinematic production: cultural imperialism or localredeployment?" Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B29902289.

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40

Wong, Suet-lan. "Hong Kong cinema made international : the action cinema of Bruce Lee and Jackie Chan /". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20059796.

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41

Yeung, Chun. "The colour spectrum : radical (mis)representation as identity construction in HK cinema from 1970s to the present". HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1180.

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42

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/.

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Resumo:

As ownership of Hong Kong changed hands from the United Kingdom to the People's Republic of China in 1997, citizens and filmmakers of the city became highly aware of the political environment. Film director Wong Kar-Wai creates visually stimulating films that express the anxieties and frustrations of the citizens of Hong Kong during this period. This study provides a political reading of Days of Being Wild (1991), In the Mood for Love (2000), and 2046 (2004) through analyzing various story elements and details within the mise-en-scene. Story elements include setting, dialogue, character relationships, character identities, thematic motifs, musical references, numerology, and genre manipulation. Wong also uses details within the films' mise-en-scene, such as props and color, to express political frustrations. To provide color interpretations, various traditional aesthetic guidelines, such as those prescribed by Taoism, Cantonese and Beijing opera, and feng shui, are used to read the films' negative comments on the handover process and the governments involved. When studied together the three films illustrate how Wong Kar-Wai creates narrative and visual references to the time and atmosphere in which he works, namely pre-and-post handover Hong Kong.

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43

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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44

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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45

Pearson, Fiona Elisabeth. "Learning English through film: a case study of the effect on S4 students' attitudes". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B4517653x.

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46

Ng, 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.

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47

Lai, Jonathan Ping Wah. "A study of the main character's speech transformation in the Cantonese movie : the Great lover". HKBU Institutional Repository, 1995. http://repository.hkbu.edu.hk/etd_ra/38.

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48

楊舒恒. "戲裏戲外 : 香港六十年代國語電影女星的螢幕再現與現實生活 = Inside/outside the movies: Hong Kong Mandarin film actresses of the 1960s : their representations on screen and their real lives". HKBU Institutional Repository, 2008. http://repository.hkbu.edu.hk/etd_ra/926.

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49

Wong, Wei-him Ivan. "Film Academy in Aberdeen". Thesis, Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25949408.

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50

Cheung, Wai Yee Ruby. "Hong Kong cinema 1982-2002 : the quest for identity during transition". Thesis, St Andrews, 2008. http://hdl.handle.net/10023/516.

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