Gina Marchetti
Biographic Data
| ID | 640035 |
|---|---|
| NAME | Gina Marchetti |
| GIVEN NAMES | Gina |
| FAMILY NAME | Marchetti |
| SIGNATURE | MARCHETTI G |
| AFFILIATIONS | Edith Cowan University |
| ORCID | 0000-0002-1371-6556 |
| VERIFIED | Yes |
| TOTAL WORKS | 37 |
| TOTAL CITATIONS | 27 |
| AUTHOR COUNT | 33 |
| EDITOR COUNT | 4 |
| FIRST PUBLICATION YEAR | 1987 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 3 |
Inked mobilities: Tattoos as embodied visual narratives of youth migration between Italy and Australia
This article examines tattoos as embodied visual narratives within a broader study on youth transnational mobility (2019-2023). Focusing on recent Italian migration to and from Australia, 13 tattoos were documented among the 36 participants, acquired shortly before departure, during the stay in Australia, or upon return to Italy. Methodologically, the article proposes tattoo-based interviews as a participatory visual method that mobilises permane…
And Then Covid Happened’: The Impact of the Pandemic on Transition Temporalities for Mobile Youth
This article explores how the COVID-19 pandemic affected mobile young people’s experiences of the temporality of transitions to adulthood. Young people are today the most mobile population globally, and mobility has necessarily become integral to youth-to-adulthood transitions. By adopting transition temporalities as an analytical key, we consider the impact of pandemic immobility on the transition experiences of young movers who, when the pandem…
Sideways moves to adult life: The transnational mobility and transitions of young Italians to Australia
Since the Global Financial Crisis, Italy has become (again) a country of emigration for young people, with over one million Italians aged 18–34 living abroad [Fondazione Migrantes, ed. 2019. Rapporto Italiani nel Mondo 2019. Roma: Tau Editrice]. As the country of the ‘long family’, transitions to adulthood in Italy feature a distinctive, prolonged and late move out of the parental home. Transnational mobility thus provides not only an escape from…
Documentary and democracy: An interview with Evans Chan
Gina Marchetti’s interview with NewYork-based Hong Kong independent filmmaker Evans Chan took place after Chan had said goodbye to his former home and to nearly three decades of filmmaking in the city, following the introduction of Hong Kong’s National Security Law in 2020. Her interview focuses on Chan’s non-fiction filmmaking, particularly his recent films dealing with Hong Kong’s two protest movements of 2014 and 2019, namely Raise the Umbrell…
Return mobilities and Italian youth transitions: New meanings around adulthood
Part of a larger ethnographic study on Italian youth mobilities, this paper investigates the transitions to adulthood of young returnees who have gone back to Italy after a period of living and working in Australia. Adopting the ‘mobile transitions’ approach, we illustrate the ways in which mobility affects transitions to adulthood. We suggest that upon return these transitions unfold like a palimpsest, where the old texts are layered over with n…
Italian youth mobility: The case for a Mediterranean model of ‘family-centred’ mobile transitions
This article seeks to advance our understanding of contemporary transnational youth mobility, drawing on the concept ‘mobile transitions’ to explore scholarly approaches to the mobility practices of young Italians moving abroad. We present a critical literature review of the intersections of migration, youth and transition studies to argue that the literature on youth transnational mobility currently features two contrasting models comprising a ‘…
Where in the World are Chinese Women Filmmakers? Transnational China and World Cinema in the Twenty-First Century
Transnational Chinese women filmmakers reflect the enormous changes happening in the global film industry as well as political, economic, technological, social, and cultural transformations taking place in the region since the beginning of the millennium. An analysis of Hong Kong writer-director Aubrey Lam’s Anna & Anna (2007) uncovers how this film explores the divided psyche of a woman torn between “two systems” that model femininity for women …
A Quantitative Estimate of the Expected Shortening of the Median Isolation Period of Patients With Covid-19 After the Adoption of a Symptom-Based Strategy
A long period of isolation was observed in patients hospitalized for COVID-19 in Milan over March-September 2020 (45; IQR: 37–54 days). A significantly shorter period would have been observed by the application of May-WHO (22, IQR: 17–30 days, P < 0.001) and October-Italian (26, IQR: 21–34 days, P < 0.001) Guidelines. The adoption of the new symptom-based criteria is likely to lead to a significant reduction in the length of the isolation period …
Feminist activism in the first person: An analysis of Nanfu Wang's Hooligan Sparrow (2016)
Hooligan Sparrow (2016) serves as a first-person account of the director Nanfu Wang's struggle to produce a film deemed politically sensitive in mainland China, including her encounters with various official and undercover security forces attempting to suppress feminist activist Ye Haiyan (Hooligan Sparrow)'s quest for justice for underage victims of sexual abuse in China. This article explores the roots of Wang's approach to feminist, first-pers…
Citing China: Politics, Postmodernism, and World Cinema
Citing China explores the role film plays in creating a common ground for the exchange of political and aesthetic ideas between China and the rest of the world. It does so by examining the depiction of China in contemporary film, looking at how global filmmakers “cite” China on screen. Author Gina Marchetti’s aim is not to point to how China continues to function as a metaphor or allusion that has little to do with the geopolitical actualities of…
Documentary Across Platforms: Reverse Engineering Media, Place, and Politics
The Palgrave Handbook of Asian Cinema
This chapter concerns the definition of Asian cinema, through Arrow Video, Terracotta, and Third Window Films—all UK-based independent film distributors. Arrow locates predominantly Japanese films within its catalogue of world cinema, and emphasizes their status as “art” or “cult.” Terracotta has focused on directors and genres from Hong Kong, Taiwan, Vietnam, and the Philippines. Third Window’s Asian film releases are predominantly from South Ko…
Impact of social determinants on antiretroviral therapy access and outcomes entering the era of universal treatment for people living with HIV in Italy
Despite median time to ART start decreased from 2002 to 2016, socio-demographic factors still contribute to disparities in ART initiation, outcome and durability
Handover women: Hong Kong women filmmakers and the intergenerational melodrama of infidelity
Hong Kong filmmakers Ann Hui, Mabel Cheung, and Mak Yan-Yan represent three different “generations” within the local industry. This analysis of romantic melodramas by Hui, Cheung, and Mak highlights the post-Handover “generation gap” in relation to gender, specifically femininity. I argue that the use of the intergenerational melodrama of infidelity allows the filmmakers to interrogate the differences among generations of Hong Kong women that hav…
A Companion to Hong Kong Cinema
The notion of “pan‐Asian cinema” crystallized in the aftermath of the 1997 Asian financial crisis and the downturn experienced by the film industries of Hong Kong, China, Taiwan, and Japan. Its inception thus coincides with a broader tendency towards “market‐led” regionalization in Northeast and Southeast Asia, which saw an increasingly “integrative market for culture.” This essay grapples with an apparent contradiction: Going Home (dir. Peter Ho…
Chinese Cinema at the Millennium: Defining “China” and the Politics of Representation
Chinese‐language cinema has been undergoing dramatic changes since 2000. Many of these changes parallel economic, political, social, and other cultural developments that have radically transformed the Chinese‐speaking world. As Chinese cinema develops out of this diverse population, transnational exchanges, diasporic alliances, and immigrant connections complicate any picture of a “national” or unitary Chinese cinema (Zhang, 2004). However, cultu…
Guests at The Wedding Banquet: The cinema of the Chinese diaspora and the rise of the American independents
Hong Kong Screenscapes
Global connections and screen innovations converge in Hong Kong cinema. This volume focuses on the film clubs of the 1950s, 1960s, and 1970s, as well as new waves since, that have both refreshed and ruptured Hong Kong screenscapes. Energized by transnational image and human flows from China and Asia, Hong Kong's commercial filmmakers and independent pioneers have actively challenged established genres and narrative conventions to create a cultura…
Hong Kong Screenscapes: From the New Wave to the Digital Frontier
This volume focuses on film clubs of the 1950s, 60s, and 70s, as well as new waves since that have both refreshed and ruptured Hong Kong screenscapes. Energized by transnational image and human flows from China and Asia, Hong Kong's commercial filmmakers and independent pioneers have actively challenged established genres and narrative conventions to create a cultural space independent of Hollywood
Doing Anthropology in Wartime and War Zones
Hoff mann for their support with the preparation of the layout and index.Th anks
Gender Politics and Neoliberalism in China: Ann Hui's The Postmodern Life of My Aunt
The Hong Kong filmmaker Ann Hui's The Postmodern Life of My Aunt [2006 Podvin , Thomas. 2006 Tale of the Dark Side/director Ann Hui Explores the Seamy Side of Postmodern Shanghai . That's Shanghai , Dec. http://blog.hkcinemagic.com/thomas-podvin/index.php/ . [Google Scholar]] mirrors the neoliberal conditions of contemporary China, which have had a devastating impact on women in the People's Republic. The film vertiginously crosses genres, and th…
Andrew Lau and Alan Mak's Infernal Affairs - The Trilogy
Infernal Affairs has received journalistic, popular and corporate notice but little vigorous critical attention. This book explores the way this example of Hong Kong's cinematic eclecticism has crossed borders as a story, a commercial product and a work of art; and has had an undeniable impact on current Hong Kong cinema. Moreover the author uses this film to highlight the way Hong Kong cinema continues to be inextricably intertwined with global …
Hong Kong Film, Hollywood and New Global Cinema: No Film Is an Island
Our current moment is characterised by furious transnational exchange between Hollywood and what has been dubbed the ‘Asian horror film’ – a new regionalist appellation less inclusive than it sounds, since it consists primarily of Japanese, South Korean, Hong Kong, and Thai horror films. What I am calling the new Asian horror film refers to the pronounced role of the horror film, among other commercial genre fare, in the convergence of regional, …
Hollywood Taiwan
Connections, Countercurrents, and Ang Lee's Hulk
Taiwanese Triads in the Transnational Imagination
Gina Marchetti argues that Edward Yang's Mahjong and Hou Hsiaohsien's Good-Bye South, Good-Bye plays off the Taiwanese gangster culture against the international youth subcultures in order to negotiate national identity
Italian youth mobility: The case for a Mediterranean model of ‘family-centred’ mobile transitions
This article seeks to advance our understanding of contemporary transnational youth mobility, drawing on the concept ‘mobile transitions’ to explore scholarly approaches to the mobility practices of young Italians moving abroad. We present a critical literature review of the intersections of migration, youth and transition studies to argue that the literature on youth transnational mobility currently features two contrasting models comprising a ‘…
Doing Anthropology in Wartime and War Zones
Hoff mann for their support with the preparation of the layout and index.Th anks
Return mobilities and Italian youth transitions: New meanings around adulthood
Part of a larger ethnographic study on Italian youth mobilities, this paper investigates the transitions to adulthood of young returnees who have gone back to Italy after a period of living and working in Australia. Adopting the ‘mobile transitions’ approach, we illustrate the ways in which mobility affects transitions to adulthood. We suggest that upon return these transitions unfold like a palimpsest, where the old texts are layered over with n…
Sideways moves to adult life: The transnational mobility and transitions of young Italians to Australia
Since the Global Financial Crisis, Italy has become (again) a country of emigration for young people, with over one million Italians aged 18–34 living abroad [Fondazione Migrantes, ed. 2019. Rapporto Italiani nel Mondo 2019. Roma: Tau Editrice]. As the country of the ‘long family’, transitions to adulthood in Italy feature a distinctive, prolonged and late move out of the parental home. Transnational mobility thus provides not only an escape from…
Gender Politics and Neoliberalism in China: Ann Hui's The Postmodern Life of My Aunt
The Hong Kong filmmaker Ann Hui's The Postmodern Life of My Aunt [2006 Podvin , Thomas. 2006 Tale of the Dark Side/director Ann Hui Explores the Seamy Side of Postmodern Shanghai . That's Shanghai , Dec. http://blog.hkcinemagic.com/thomas-podvin/index.php/ . [Google Scholar]] mirrors the neoliberal conditions of contemporary China, which have had a devastating impact on women in the People's Republic. The film vertiginously crosses genres, and th…
Cinema Frames, Videoscapes, and Cyberspace: Exploring Shu Lea Cheang's Fresh Kill
Research Article| May 01 2001 Cinema Frames, Videoscapes, and Cyberspace: Exploring Shu Lea Cheang's Fresh Kill Gina Marchetti Gina Marchetti Search for other works by this author on: This Site Google positions (2001) 9 (2): 401–422. https://doi.org/10.1215/10679847-9-2-401 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn Email Permissions Search Site Citation Gina Marchetti; Cinema Frames, Videoscapes, and Cyberspace: Exploring Shu Lea …
The Threat of Captivity: Hollywood and the Sexualization of Race Relations in The Girls of the White Orchid and The Bitter Tea of General Yen
Hong Kong Independent Filmmaking
Other| May 01 1987 Hong Kong Independent Filmmaking: an interview with Roger Garcia Gina Marchetti Gina Marchetti Gina Marchetti is an assistant professor in the Radio-TV-Film Division, Department of Communication Arts and Theatre at the University of Maryland. She has published articles in Film Reader, Jump Cut, Millennium Film Journal, and Current Research in Film. Search for other works by this author on: This Site PubMed Google Scholar Afteri…
The Threat of Captivity: Hollywood and the Sexualization of Race Relations in The Girls of the White Orchid and The Bitter Tea of General Yen
Two from China's fifth generation: Interviews with Chen Kaige and Tian Zhuangzhuang
The Rape Fantasy: The Cheat and Broken Blossoms
Romance and the Yellow Peril: Race, Sex, and Discursive Strategies in Hollywood Fiction
Romance and the "Yellow Peril": Race, Sex, and Discursive Strategies in Hollywood Fiction
Romance and the “Yellow Peril”: Race, Sex, and Discursive Strategies in Hollywood Fiction. Gina Marchetti. Berkeley: University of California Press, 1993. xi + 258 pages. $40.00 hardcover, $14.00 paper. Romance and the “Yellow Peril”: Race, Sex, and Discursive Strategies in Hollywood Fiction. Gina Marchetti. Berkeley: University of California Press, 1993. xi + 258 pages. $40.00 hardcover, $14.00 paper. Cynthia F. Wong Cynthia F. Wong University o…
Transnational Cinema, Hybrid Identities and the Films of Evans Chan
Postmodern Culture - Volume 8, Number 2, January 1998
The Cinema of Hong Kong: History, Arts, Identity
The Cinema of Hong Kong examines one of the most popular, dynamic, and important cinema traditions in the history of film. Providing an overview of major directors, genres, and stars, from its origins to the present, this volume examines Hong Kong cinema in historical, transnational, cultural and political contexts. Individual chapters focus on Hong Kong cinema before and during World War II, the cinema of the turbulent 1960s, its rise to world p…
Media Mecca
Review| October 01 2001 Media Mecca University Film and Video Association, 55th Annual Conference, Rochester, New York, July 31-August 4, 2001 Anne Ciecko, Anne Ciecko Anne Ciecko is an Assistant Professor in the Department of Communication at the University of Massachusetts-Amherst. Search for other works by this author on: This Site PubMed Google Scholar Gina Marchetti Gina Marchetti Gina Marchetti is Associate Professor of Cinema and Photograp…
Cinema Frames, Videoscapes, and Cyberspace: Exploring Shu Lea Cheang's Fresh Kill
Research Article| May 01 2001 Cinema Frames, Videoscapes, and Cyberspace: Exploring Shu Lea Cheang's Fresh Kill Gina Marchetti Gina Marchetti Search for other works by this author on: This Site Google positions (2001) 9 (2): 401–422. https://doi.org/10.1215/10679847-9-2-401 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn Email Permissions Search Site Citation Gina Marchetti; Cinema Frames, Videoscapes, and Cyberspace: Exploring Shu Lea …
Race, Class, Gender, and Television Action: Vanishing Son and Martial Law
In recent television series such as Vanishing Son and Martial Law Chinese protagonists have come to function as loci for the apparent resolution of some of the deepest contradictions of contemporary society. In this essay Gina Marchetti demonstrates how these Asian characters bridge the gap between the working poor and the bourgeoisie, yet always remain outsiders themselves
Hollywood Taiwan
Connections, Countercurrents, and Ang Lee's Hulk
Taiwanese Triads in the Transnational Imagination
Gina Marchetti argues that Edward Yang's Mahjong and Hou Hsiaohsien's Good-Bye South, Good-Bye plays off the Taiwanese gangster culture against the international youth subcultures in order to negotiate national identity
American Orientalism
Book Review| May 01 2004 American Orientalism Embracing the East: White Women and American OrientalismMari YoshiharaCold War Orientalism: Asia in the Middlebrow Imagination, 1945-1961Christina Klein Gina Marchetti Gina Marchetti Search for other works by this author on: This Site PubMed Google Scholar Pacific Historical Review (2004) 73 (2): 299–304. https://doi.org/10.2307/3641605 Views Icon Views Article contents Figures & tables Video Audio Su…
Andrew Lau and Alan Mak's Infernal Affairs - The Trilogy
Infernal Affairs has received journalistic, popular and corporate notice but little vigorous critical attention. This book explores the way this example of Hong Kong's cinematic eclecticism has crossed borders as a story, a commercial product and a work of art; and has had an undeniable impact on current Hong Kong cinema. Moreover the author uses this film to highlight the way Hong Kong cinema continues to be inextricably intertwined with global …
Hong Kong Film, Hollywood and New Global Cinema: No Film Is an Island
Our current moment is characterised by furious transnational exchange between Hollywood and what has been dubbed the ‘Asian horror film’ – a new regionalist appellation less inclusive than it sounds, since it consists primarily of Japanese, South Korean, Hong Kong, and Thai horror films. What I am calling the new Asian horror film refers to the pronounced role of the horror film, among other commercial genre fare, in the convergence of regional, …
Gender Politics and Neoliberalism in China: Ann Hui's The Postmodern Life of My Aunt
The Hong Kong filmmaker Ann Hui's The Postmodern Life of My Aunt [2006 Podvin , Thomas. 2006 Tale of the Dark Side/director Ann Hui Explores the Seamy Side of Postmodern Shanghai . That's Shanghai , Dec. http://blog.hkcinemagic.com/thomas-podvin/index.php/ . [Google Scholar]] mirrors the neoliberal conditions of contemporary China, which have had a devastating impact on women in the People's Republic. The film vertiginously crosses genres, and th…
Guests at The Wedding Banquet: The cinema of the Chinese diaspora and the rise of the American independents
Hong Kong Screenscapes
Global connections and screen innovations converge in Hong Kong cinema. This volume focuses on the film clubs of the 1950s, 1960s, and 1970s, as well as new waves since, that have both refreshed and ruptured Hong Kong screenscapes. Energized by transnational image and human flows from China and Asia, Hong Kong's commercial filmmakers and independent pioneers have actively challenged established genres and narrative conventions to create a cultura…
Hong Kong Screenscapes: From the New Wave to the Digital Frontier
This volume focuses on film clubs of the 1950s, 60s, and 70s, as well as new waves since that have both refreshed and ruptured Hong Kong screenscapes. Energized by transnational image and human flows from China and Asia, Hong Kong's commercial filmmakers and independent pioneers have actively challenged established genres and narrative conventions to create a cultural space independent of Hollywood
Doing Anthropology in Wartime and War Zones
Hoff mann for their support with the preparation of the layout and index.Th anks
Chinese Cinema at the Millennium: Defining “China” and the Politics of Representation
Chinese‐language cinema has been undergoing dramatic changes since 2000. Many of these changes parallel economic, political, social, and other cultural developments that have radically transformed the Chinese‐speaking world. As Chinese cinema develops out of this diverse population, transnational exchanges, diasporic alliances, and immigrant connections complicate any picture of a “national” or unitary Chinese cinema (Zhang, 2004). However, cultu…
A Companion to Hong Kong Cinema
The notion of “pan‐Asian cinema” crystallized in the aftermath of the 1997 Asian financial crisis and the downturn experienced by the film industries of Hong Kong, China, Taiwan, and Japan. Its inception thus coincides with a broader tendency towards “market‐led” regionalization in Northeast and Southeast Asia, which saw an increasingly “integrative market for culture.” This essay grapples with an apparent contradiction: Going Home (dir. Peter Ho…
Handover women: Hong Kong women filmmakers and the intergenerational melodrama of infidelity
Hong Kong filmmakers Ann Hui, Mabel Cheung, and Mak Yan-Yan represent three different “generations” within the local industry. This analysis of romantic melodramas by Hui, Cheung, and Mak highlights the post-Handover “generation gap” in relation to gender, specifically femininity. I argue that the use of the intergenerational melodrama of infidelity allows the filmmakers to interrogate the differences among generations of Hong Kong women that hav…
The Palgrave Handbook of Asian Cinema
This chapter concerns the definition of Asian cinema, through Arrow Video, Terracotta, and Third Window Films—all UK-based independent film distributors. Arrow locates predominantly Japanese films within its catalogue of world cinema, and emphasizes their status as “art” or “cult.” Terracotta has focused on directors and genres from Hong Kong, Taiwan, Vietnam, and the Philippines. Third Window’s Asian film releases are predominantly from South Ko…
Sociology (20 works) · Art (19 works) · Hong Kong and Taiwan Politics (18 works) · Art history (17 works) · Political science (15 works) · History (14 works) · Media studies (14 works) · Movie theater (13 works) · Gender Studies (11 works) · Law (11 works)