{"created":"2023-07-27T07:53:08.257787+00:00","id":28854,"links":{},"metadata":{"_buckets":{"deposit":"f2ec9b02-b80b-4a30-bc24-a143bb629124"},"_deposit":{"created_by":20,"id":"28854","owners":[20],"pid":{"revision_id":0,"type":"depid","value":"28854"},"status":"published"},"_oai":{"id":"oai:doshisha.repo.nii.ac.jp:00028854","sets":["4151:8699:4199:4202","4251:7663:7683:8783:7686"]},"author_link":["27275"],"item_1693813220986":{"attribute_name":"出版タイプ","attribute_value_mlt":[{"subitem_version_resource":"http://purl.org/coar/version/c_970fb48d4fbd8a85","subitem_version_type":"VoR"}]},"item_1694497428290":{"attribute_name":"学位名","attribute_value_mlt":[{"subitem_degreename":"博士(アメリカ研究)","subitem_degreename_language":"ja"}]},"item_1694497507610":{"attribute_name":"学位名（英）","attribute_value_mlt":[{"subitem_degreename":"Doctor of Philosophy in American Studies","subitem_degreename_language":"en"}]},"item_1694497573527":{"attribute_name":"学位授与機関","attribute_value_mlt":[{"subitem_degreegrantor":[{"subitem_degreegrantor_language":"ja","subitem_degreegrantor_name":"同志社大学"},{"subitem_degreegrantor_language":"en","subitem_degreegrantor_name":"Doshisha University"}],"subitem_degreegrantor_identifier":[{"subitem_degreegrantor_identifier_name":"34310","subitem_degreegrantor_identifier_scheme":"kakenhi"}]}]},"item_3_alternative_title_2":{"attribute_name":"その他（別言語等）のタイトル","attribute_value_mlt":[{"subitem_alternative_title":"オルタナティブな中国映画 : 初期のディアスポラ系中国映画製作","subitem_alternative_title_language":"ja"},{"subitem_alternative_title":"オルタナティブナ チュウゴク エイガ : ショキ ノ ディアスポラケイ チュウゴク エイガ セイサク","subitem_alternative_title_language":"ja-Kana"}]},"item_3_date_granted_27":{"attribute_name":"学位授与年月日","attribute_value_mlt":[{"subitem_dategranted":"2022-03-21"}]},"item_3_description_12":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"This dissertation revisits a piece of forgotten history of Chinese cinema from 1930s to 1950s when Chinese filmmakers formed a cross-border, Pacific Rim network of cinematic exchanges among various Chinese diasporic communities. Through a transnational and diasporic lens, it explores new relationships between Chinese filmmakers, traditional stage culture, language differences, Chinese ethnicity, and politics. It argues that Chinese cinema, from its early age, was the product of transnational movements of capital, people, and ideas among the Chinese diaspora. The global links among various Chinese communities initiated and sustained the development of Chinese cinema. 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