1 |
Vicki. (2008, January 10). Leslie Cheung in . Top five of cross dressing actors. Retrieved October 22, 2009, from http://vickiblog.word--press.com/2008/01/10/topfive-of-cross-dressing-actors/
|
2 |
Pieterse, J. N. (2004). Globalization and culture: Three paradigms. Lanham, MD: Rowan & Littlefield Publishers, Inc.
|
3 |
Ma, E. K. W. (1999). Culture, politics, and television in Hong Kong. London: Routledge.
|
4 |
Kymin, J. (2010). Visual color symbolism chart by culture. What different colors mean in different cultures. Retrieved October 22, 2010, from http://webdesign.about.com/od/colorcharts/l/bl_colorculture.htm
|
5 |
Ho, H. W. (1986). Local traditional Chinese wedding. Hong Kong: Hong Kong Museum of History Urban Council Friendship Printing Co, Ltd.
|
6 |
Hua, F. (2005). A contrastive study on cultural connotations of basic color terms between English and Chinese. Jilin: Jilin University.
|
7 |
Design.Co.Kr. (2008, September 15). The Minister wearing black costume in furniture decoration of Chinese style. Culture and life style designer. Retrieved October 10, 2010, from http://luxury.design.co.kr/in_magazine/sub.htm
|
8 |
Bobo. (Producer). & NTDTV Broadcasting Service (Production). (2006, November 27). Chinese Culture: Five Elements and Five Colors, The Meaning of Colors in Ancient China [Motion picture]. Beijing: NTDTV Broadcasting Service.
|
9 |
Sloane, P. (1989). The visual nature of color. Blue Ridge Summit, PA: TAB Books.
|
10 |
Lee, K. H. (2007). Study on emotional coloring of the Chinese which is reflected to color terms. Journal of Chinese linguistics, 24, 535-556.
|
11 |
Lee, W. Y. (2005). Formal Chinese wedding. Houston chinatown portal. Retrieved October 2, 2009, from http://chinatownconnection.com/chinese_marriage.htm
|
12 |
Li, Z. (2002). Cultural differences between China and western countries: A comparison study from the perspective of advertisement. Unpublished master dissertation, Peking University, Beijing.
|
13 |
Lvova, A. (2008, March 23). Blue dragon in the China garden (St. Petersburg). Blue China dragon. Retrieved September 22, 2010, from http://commons.wikimedia.org/wiki/File:Blue_china_dragon.jpg
|
14 |
Material culture of Shanghai and Hong Kong. (2009). Hong Kong Museum of history Newsletter (April to June), p. 39.
|
15 |
Palace Museum Beijing. (2008, September 22). The yellow silk fabric, material for court robe, reign of Wanli emperor (1573-1619). Asian art museum. Retrieved October 10, 2009, from http://marinmaven.webjaw.com/culture-maven-ming-show-at-asianart-museum/
|
16 |
Kim, J. E. (2009) Color characteristics of the costumes of Beijing opera. Journal of the Korean Society of Costume, 59(2), 143-153.
과학기술학회마을
|
17 |
Reggie, D. (2009, October 10). Chinese weddings embrace. Chinese weddings. Retrieved October 22, 2009, from http://www.bellapictures.com/planning/chinese-weddingtraditions
|
18 |
Sinha, S. (2009, April 22). Chinese typography in Blue. Homeland of sea, Kaohsiung. Retrieved October 25, 2010, from http://gemismyname.com/tag/chinese-characters/page/2/
|
19 |
Kang, M. J. (2008) The color analysis of the traditional alcoholic beverage package design of Korea and China with an oriental spirit (negative, positive and five primary substances). Journal of Korean Society of Communication Design, 11, 1-11.
|
20 |
Kim, J. E., & Kim. J. Y. (2009). A study on the attributes of cultural color in Korea and China-Focus on traditional performance-. Journal of the Korean Society of Costume, 33(3), 457-466.
과학기술학회마을
|
21 |
Kim, Y. I., & Lee, J. H. (2006). A comparative study on the characteristics of traditional costume colors of Korea.China.Japan. Journal of the Korean Society of Costume, 56(8), 36.
|
22 |
Kim, Y. S., & Kim, J. H. (2010). A study on stage costume using traditional Hanji-Focused on theatre 'Long Long Time Ago Whuo-ee Whuo-ee'-. Journal of the Korean Society of Costume, 34(2), 338.
|
23 |
Koo, K. M. (2010). A study on the Chinese words of colours. Journal of Formative Art and Media, 13(3), 15-20.
|
24 |
Chevreul, M. E. (1967). The principles of harmony and contrast of colors and their applications to the arts. New York: Reinhold Publishing Corporation.
|
25 |
Jenn, G. (2009, September 9). "Shou Yi", Funeral clothes. Asian culture and social customs. Retrieved October 22, 2009, from http://blog.asiahotels.com/2009/09/
|
26 |
Jo, K. R. (2010, March 22). Column about the traditional colors. National online. Retrieved December 1, 2010, from http://okfashion.co.kr/index
|
27 |
Jawa Quality Furniture. (2009). Buddha monk painting. Chinese furniture and painting. Retrieved October 22, 2009, from http://www.jawa.com.au/ecom/product/3683/bud-dha-monk-painting
|
28 |
English.eastday.com. (2010, October 16). Chinese funeral customs. Chinese American portal. Retrieved October 22, 2010, from http://english.eastday.com/e/cosh/ula4173005.html
|
29 |
Gong, R. (2005). Good luck life: The essential guide to Chinese American celebrations and culture. New York: Harper Paperbacks.
|
30 |
Bang, K. R. (2004). A study on the function of colors as a meaning carrier in the movies-The film "The Last Emperor" was used as the main study material-. Korean Society of Basic Design & Art, 5(2), 176.
|
31 |
Chiazzari, S. (1998). The complete book of color. New York: Barnes and Noble Books.
|
32 |
China Heaven Creation International Performing Arts Co., Ltd. (Production). (2009, July 23). Chunyi the Legend of Kung Fu [Motion picture]. Beijing: Beijing Heaven Creation Global Kungfu Theatre Co., Ltd.
|
33 |
When film and Chinese opera meet. (2009, November 2). Collective memories in Movies Posters of Hong Kong Film Archive Publication Catalogue, p. 5.
|
34 |
Thomas, J. (Producer), & Bertolucci, B. (Director). (1987, November 18). The Last Emperor [Film]. Los Angeles: Columbia Pictures.
|
35 |
Timmy, Y. (2008, November). Illusions of silence and passage. Common Wealth Magazine, p. 22.
|
36 |
Wang, J. Q. (2007, March 19). Advertising of "杉品牌", Red color marketing. SINA Corporation. Retrieved October 2, 2009, from http://eladies.sina.com.cn/fa/2007/0319/1933413494.html
|
37 |
Xu, B. (1997, July). Farewell my concubine and its Western and Chinese viewers. Quarterly Review of Film and Television, 16, p. 2.
|