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The cinema in Taiwan: National ident...

Rodriguez, Hector.

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The cinema in Taiwan: National identity and political legitimacy.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The cinema in Taiwan: National identity and political legitimacy./
作者:	Rodriguez, Hector.
面頁冊數:	336 p.
附註:	Adviser: Richard Allen.
Contained By:	Dissertation Abstracts International56-10A.
標題:	Cinema. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9603185

The cinema in Taiwan: National identity and political legitimacy.
Rodriguez, Hector.

The cinema in Taiwan: National identity and political legitimacy. - 336 p.

Adviser: Richard Allen.

Thesis (Ph.D.)--New York University, 1995.

Contemporary Taiwan is the site of a political struggle over the definition of its national identity. The ruling Guomindang has suppressed Taiwanese demands for the creation of an independent state, claiming instead that the island remains part of the Republic of China. Official policy defines the modern Chinese state on the basis of classical Chinese culture. National identity was understood as an accomplished fact, sealed by centuries of history and culture, rather than as an ongoing controversy subject to popular debate and self-determination. Censorship regulations mobilized the film industry as an instrument of political propaganda designed to speak on the behalf of the Republic's citizens, thus denying them the opportunity of choosing their own political destiny.Subjects--Topical Terms:

854529
Cinema.

The cinema in Taiwan: National identity and political legitimacy.
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100 1 $a Rodriguez, Hector. $3 1258110
245 1 0 $a The cinema in Taiwan: National identity and political legitimacy.
300 $a 336 p.
500 $a Adviser: Richard Allen.
500 $a Source: Dissertation Abstracts International, Volume: 56-10, Section: A, page: 3777.
502 $a Thesis (Ph.D.)--New York University, 1995.
520 $a Contemporary Taiwan is the site of a political struggle over the definition of its national identity. The ruling Guomindang has suppressed Taiwanese demands for the creation of an independent state, claiming instead that the island remains part of the Republic of China. Official policy defines the modern Chinese state on the basis of classical Chinese culture. National identity was understood as an accomplished fact, sealed by centuries of history and culture, rather than as an ongoing controversy subject to popular debate and self-determination. Censorship regulations mobilized the film industry as an instrument of political propaganda designed to speak on the behalf of the Republic's citizens, thus denying them the opportunity of choosing their own political destiny.
520 $a Filmmakers proposed a Darwinian nationalism: the goal of political rule was the enhancement of China's competitiveness in an international marketplace. The state became a mechanism of evolutionary adaptation to changing environmental circumstances. In order to achieve a successful industrialization, the state ought to penetrate and regulate every sphere of daily life to ensure public hygiene and social health. The cinema was a privileged instrument for the disciplinary administration of an expanding population in an emerging mass society. Chinese nationalism appealed to Confucian norms. The regime saw ethical traditionalism as an efficacious tool to secure popular docility and productivity, subordinating morality to patriotic Darwinism.
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