東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

The lightness of Chinese beings: Ada...

Xu, Harry Haixin.

Linked to FindBook

Google Book

Amazon

博客來

The lightness of Chinese beings: Adaptations and ideology in the PRC's film art.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The lightness of Chinese beings: Adaptations and ideology in the PRC's film art./
Author:	Xu, Harry Haixin.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 1994,
Description:	411 p.
Notes:	Source: Dissertation Abstracts International, Volume: 54-12, Section: A, page: 4291.
Contained By:	Dissertation Abstracts International54-12A.
Subject:	Film studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9416704

The lightness of Chinese beings: Adaptations and ideology in the PRC's film art.
Xu, Harry Haixin.

The lightness of Chinese beings: Adaptations and ideology in the PRC's film art. - Ann Arbor : ProQuest Dissertations & Theses, 1994 - 411 p.

Source: Dissertation Abstracts International, Volume: 54-12, Section: A, page: 4291.

Thesis (Ph.D.)--Cornell University, 1994.

This dissertation explores the relations between ideology and the PRC's film art, holding that artistic changes do not just reflect or illustrate ideological changes but produce and constitute these changes; film art projects an illuminated/ing ideological realm of images, fantasies, behaviors, attitudes and life styles. Chinese films fulfill their ideological roles through the participation of the film artists, as ideological subjects, in the Party mediated and collectively maintained ideological discourses. It is from the perspective of ideological discourses that I study the PRC's film art and I choose to approach my subject from the angle of film adaptations since they provide me with varied transactional sets of relations of selection, exclusion, limitation, appropriation, addition, elaboration, and so on. The subjective acts revealed in these relations are studied by locating them in certain discursive spaces which are organized around a chronology of two significant historical changes: (1) the rise of the social class discourse and its subjugation of the May Fourth era cultural discourse since the 1930s, and (2) the emergence of the post-"Cultural Revolution" cultural discourse and its subversion of the dominant social class discourse since the 1980s. The subjective acts of adaptation in the form of artistic changes and renovations observed in these discursive spaces bear testimonies to the interactions of ideological discourses--their formation, negotiation and subjugation. My study proves the ideological and discursive nature of the PRC's film art.Subjects--Topical Terms:

2122736
Film studies.

The lightness of Chinese beings: Adaptations and ideology in the PRC's film art.
LDR:02424nmm a2200265 4500 001 2121292
005 20170808141829.5
008 180830s1994 ||||||||||||||||| ||eng d
035 $a (MiAaPQ)AAI9416704
035 $a AAI9416704
040 $a MiAaPQ $c MiAaPQ
100 1 $a Xu, Harry Haixin. $3 3283272
245 1 4 $a The lightness of Chinese beings: Adaptations and ideology in the PRC's film art.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 1994
300 $a 411 p.
500 $a Source: Dissertation Abstracts International, Volume: 54-12, Section: A, page: 4291.
502 $a Thesis (Ph.D.)--Cornell University, 1994.
520 $a This dissertation explores the relations between ideology and the PRC's film art, holding that artistic changes do not just reflect or illustrate ideological changes but produce and constitute these changes; film art projects an illuminated/ing ideological realm of images, fantasies, behaviors, attitudes and life styles. Chinese films fulfill their ideological roles through the participation of the film artists, as ideological subjects, in the Party mediated and collectively maintained ideological discourses. It is from the perspective of ideological discourses that I study the PRC's film art and I choose to approach my subject from the angle of film adaptations since they provide me with varied transactional sets of relations of selection, exclusion, limitation, appropriation, addition, elaboration, and so on. The subjective acts revealed in these relations are studied by locating them in certain discursive spaces which are organized around a chronology of two significant historical changes: (1) the rise of the social class discourse and its subjugation of the May Fourth era cultural discourse since the 1930s, and (2) the emergence of the post-"Cultural Revolution" cultural discourse and its subversion of the dominant social class discourse since the 1980s. The subjective acts of adaptation in the form of artistic changes and renovations observed in these discursive spaces bear testimonies to the interactions of ideological discourses--their formation, negotiation and subjugation. My study proves the ideological and discursive nature of the PRC's film art.
590 $a School code: 0058.
650 4 $a Film studies. $3 2122736
650 4 $a Asian literature. $3 2122707
690 $a 0900
690 $a 0305
710 2 $a Cornell University. $3 530586
773 0 $t Dissertation Abstracts International $g 54-12A.
790 $a 0058
791 $a Ph.D.
792 $a 1994
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9416704