Contemporary Pan-Chinese Cinematic Urbanism in Taiwan and Hong Kong
Contemporary Pan-Chinese Cinematic Urbanism in Taiwan and Hong Kong By Ying-Fen Chen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Architecture in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Margaret L. Crawford, Chair Professor Greig Crysler Professor Weihong Bao Summer 2019 Abstract Contemporary Pan-Chinese Cinematic Urbanism in Taiwan and Hong Kong by Ying-Fen Chen Doctor of Philosophy in Architecture University of California, Berkeley Professor Margret L. Crawford, Chair After World War II, Chinese films shot in Taiwan and Hong Kong began to play a significant role constructing and disseminating images of Chinese culture and its urban environments to pan-Chinese regions of the world and beyond. To comprehend the relationship between those Chinese films and their urban settings, particularly in Taipei and Hong Kong, numerous scholars in the field of Chinese cinematic urbanism engaged in analyses of the highly aestheticized spatial representations in the films, as well as on the cultural negotiation of Chineseness within a context of political tension, and the issues arising from the rapid capitalization of Chinese cities. However, from the 1990s, the global popularity of Hollywood movies threatened the film industry both in Taiwan and Hong Kong. Concurrently, Mainland China rose in stature to supplant Taiwan and Hong Kong as the seat of political, economic, and cultural “Chineseness”. To respond to these changes, film industry executives in Taiwan and Hong Kong began to seek new ways to survive, sparking a process in which the relationship between cities and the film industries grew more complex.
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