عنوان
پدید آورنده
موضوع
رده
کتابخانه
محل استقرار
شماره کتابشناسی ملی
کد کشور
IR
شماره
101T
زبان اثر
زبان متن نوشتاري يا گفتاري و مانند آن
انگلیسی
کشور محل نشر یا تولید
کشور محل نشر
IR
عنوان و نام پديدآور
عنوان اصلي
The politics of images: Chinese cinema in the context of globalization
نام عام مواد
[Thesis]
وضعیت نشر و پخش و غیره
نام ناشر، پخش کننده و غيره
University of Oregon: United States -- Oregon
تاریخ نشرو بخش و غیره
: 2008
مشخصات ظاهری
نام خاص و کميت اثر
328 pages
یادداشتهای مربوط به پایان نامه ها
جزئيات پايان نامه و نوع درجه آن
Ph.D.
کسي که مدرک را اعطا کرده
, University of Oregon: United States -- Oregon
یادداشتهای مربوط به خلاصه یا چکیده
متن يادداشت
This dissertation explores the interaction between filmmaking and the changing exigencies of leftist political ideologies in China at different stages of modernity: semi-colonial modernity, socialist modernity, and global modernity. Besides a historical examination of the left-wing cinema movement in the 1930s and socialist cinema in the Mao era, it focuses on the so-called "main melody" films that are either produced with financial backing by the state or sanctioned by governmental film awards in 1990s China. As products of globalization, Chinese "main melody" films are growing in complexity and maturity with the deepening of globalization, especially in competition with Hollywood cinema. Inspired by Louis Althusser, this dissertation attempts to address the lacunae of existing scholarship on Chinese "main melody" films by analyzing the role of the film medium as a significant ideological state apparatus (ISA) in serving ideological transitions occurring in 1990s China. Meanwhile, it also examines how the operation of the ideological mechanism in Chinese "main melody" films is different from the Althusserian definition. An examination of the polyphonic narration of history shows how the revolutionary history has been retold in "main melody" films in different ways to create a rich discursive space in post-socialist China. Special attention has also been paid to the cinematic representation of Chinese nationalism, contending that the instigation of nationalism in non-EuroAmerican societies--despite the fact that nationalism can be easily appropriated by the state as an effective ideological discourse to conceal domestic social conflicts--calls attention to the often ignored historical linkages between colonialism and the expanding global capitalism. In addition, it also examines the role of Chinese intellectuals in the discursive construction of nationalism. An analysis of Chinese masculinity shows that recent changes in gender discourse are closely related to China's socio-economic development in the era of globalization. Based on Stuart Hall's "encoding/decoding" model, the last part of this dissertation explores how the Chinese spectator as a subject can negotiate the ideological interpellation by the "main melody" film text in his/her own way.
موضوع (اسم عام یاعبارت اسمی عام)
موضوع مستند نشده
Film studies
اصطلاحهای موضوعی کنترل نشده
اصطلاح موضوعی
Chinese cinema
اصطلاح موضوعی
Main Melody Film
اصطلاح موضوعی
Ideological criticism
اصطلاح موضوعی
Chinese
اصطلاح موضوعی
Cinema
اصطلاح موضوعی
Globalization
نام شخص به منزله سر شناسه - (مسئولیت معنوی درجه اول )
مستند نام اشخاص تاييد نشده
Yu, Hongmei
مبدا اصلی
کشور
ایران
سازمان
National Center for Globalization Studies
وضعیت فهرست نویسی
وضعیت فهرست نویسی
old catalog
اطلاعات رکورد کتابشناسی
نوع ماده
TL
پیشوند ISBD اعمال شده است
1
اطلاعات دسترسی رکورد
سطح دسترسي
a
تكميل شده
Y
