中文摘要 | 第1-7页 |
Abstract | 第7-9页 |
Contents | 第9-11页 |
List of Tables | 第11-12页 |
Introduction | 第12-17页 |
(ⅰ) Significanoe of this Thesis | 第12页 |
(ⅱ) An Introduction to Ang Lee and His Main Films | 第12-14页 |
(ⅲ) Literature Review | 第14-16页 |
(ⅳ) Method and Purpose of the Paper | 第16-17页 |
Chapter 1 Post-colonialism and Related Theories | 第17-23页 |
·Post-colonialism | 第17-18页 |
·Edward Said and His Theories | 第18-21页 |
·The Self and the other | 第19页 |
·Orientalism | 第19-21页 |
·HomiBhabha and His Theories | 第21-23页 |
·Hybridity Theory | 第22-23页 |
Chapter 2 Identity-seeking in Early Films | 第23-36页 |
·Situating the film The Wedding Banguet | 第23-24页 |
·Manifestation of Chinese and Amercan Values in The Wedding Banquet | 第24-28页 |
·Different Attitudes towards Family | 第24-25页 |
·Different Cultural Connotation of the Wedding Feast | 第25-28页 |
·Identity-seeking seen in The Wedding Banquet | 第28-32页 |
·Who is the "Other": Orient or Occident? | 第32-34页 |
·The Way Out | 第34-36页 |
Chapter 3 Cultural hybridization in Less Recent Films | 第36-50页 |
·Situating Ang Lee's Film Crouching Tiger, Hidden Dragon | 第36页 |
·Plot of Crouching Tiger,Hidden Dragon | 第36-37页 |
·Hofstede's Value Dimensions | 第37-40页 |
·Cultural Hybridization in Crouching Tiger, Hidden Dragon | 第40-49页 |
·Identified Features of Collectivism and Individualism | 第40-44页 |
·Identified Features of High and Low Power Distance | 第44-49页 |
·Ang Lee's Cultural Orientation | 第49-50页 |
Chapter 4 Constructing Hybrid Identity in Latest Films | 第50-57页 |
·Situating Ang Lee's Film Brokeback Mountain and Its plot | 第50-52页 |
·Chinese Culture in Western Genre film | 第52-54页 |
·Typical Chinese style love story | 第52-53页 |
·Chinese Aesthetic Feature | 第53-54页 |
·Humanistic concern in Brokeback Mountain | 第54-56页 |
·Ang Lee's Hybrid Cultural Identity | 第56-57页 |
Conclusion | 第57-59页 |
(ⅰ) Summary of Findings | 第57页 |
(ⅱ) Limitations of this Study | 第57-58页 |
(ⅲ) Suggestions for Future Studies | 第58-59页 |
Bibliography | 第59-62页 |
Acknowledgements | 第62-63页 |
附录 | 第63页 |