Curriculum vitae. Gina Marchetti 馬蘭清 PROFESSIONAL EXPERIENCE: ACADEMIC:

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Gina Marchetti 馬蘭清 Professor, MALCS Chair & Chief Examiner Curriculum vitae Department of Comparative Literature at the University of Hong Kong.

1 Gina Marchetti 馬蘭清 Professor, MALCS Chair & Chief Examiner Curriculum vitae Department of Comparative Literature at the University of Hong Kong. PROFESSIONAL EXPERIENCE: Gina Marchetti teaches courses in film, gender and sexuality, critical theory and cultural studies. Her current research interests include women filmmakers in the HKSAR, China and world cinema, and contemporary trends in Asian and Asian American film culture. ACADEMIC: August 1982, Ph.D., Northwestern University, Film Division. Dissertation title: Film and Subculture: The Relationship of Film to the Punk and Glitter Youth Subcultures. August 1978, MA, Northwestern University, Film Division. June 1976, BA, Summa Cum Laude, Florida State University, English Department. Summer Spring Postdoctoral research and study in Paris, France. August February: Inter University Center for Film and Critical Studies. Other Studies University of Iowa Film Division ( ), Florida State University Florence (Italy) Study Program (1974), University of Florida ( ) EMPLOYMENT 2006-Present, Professor (since 2012), Department of Comparative Literature, School of Humanities, University of Hong Kong (Associate Professor ) , RAP, Department of Comparative Literature, University of Hong Kong , Visiting Lecturer, America and Transnationalism Interdisciplinary Project, Zhong Shan University, Guangzhou, PRC, sponsored by the Lingnan Foundation , Visiting Associate Professor (Fulbright), American Studies Program, University of Hong Kong , Associate Professor, Roy H. Park School of Communications, Ithaca College, Ithaca, New York (On leave ) Visiting Senior Fellow, School of Communication Studies, Nanyang Technological University, Singapore.

2 , Associate Professor, Comparative Literature Program, University of Maryland, College Park. (On leave January 1997-August 1998.) , Assistant Professor, Department of Radio, Television and Film, formerly the Radio-TV- Film Division, Department of Communication Arts and Theatre, University of Maryland, College Park , Assistant Professor, Department of Theatre and Communication, University of New Hampshire, Durham. Spring 1985, Visiting Assistant Professor, Department of History, University of Arizona, Tucson , Visiting Assistant Professor, Department of Radio, Television and Motion Pictures, University of North Carolina, Chapel Hill. PUBLICATIONS: Books Romance and the "Yellow Peril": Race, Sex, and Discursive Strategies in Hollywood Fiction (Berkeley: University of California Press, 1993). Reviews: Ming-Bao Yue. China Review International 2: 1 (1995), p Karen Nicholson, Surfaces Vol. 1 (September 15, 1995), pp David Van Leer, Journal of the History of Sexuality 8: 2 (October, 1997), pp Jenny Clegg, Race & Class, 36: 3 (1995), pp Cynthia F. Wong, Popular Literature and Film 22: 2(Summer, 1997), pp Robert Sklar, Cineaste, 21: 3, (June 1995), p. 58. Marina Heung, Ethnic and Racial Studies, 19: 3, (1996). Peter X Feng, Amerasia Journal, 21: 3 (Winter 1995/1996), pp From Tian anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens, (Philadelphia: Temple University Press, 2006). Review: Stephen Teo, China on Screen: Cinema and Nation/ From Tian'anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens , Screen (2007) 48:2, Andrew Lau and Alan Mak s INFERNAL AFFAIRS The Trilogy (Hong Kong: Hong Kong University Press, 2007). Reviews: Ruby Cheung, Scope, Issue 13: Book Reviews (February 2009), Bart Testa in Cinema Scope, Issue 40 (Fall 2009), pp Thomas Podvin and Marie Jost, Hong Kong Cinemagic (November 14, 2008), David Martin-Jones, Deleuze Cinema (December 12, 2011), The Chinese Diaspora on American Screens: Race, Sex, and Cinema (Philadelphia: Temple University Press, 2012). Review: Jun Okada, The Journal of Asian Studies 72:3 (2013), Valerie Soe, Afterimage 42:2, p. 38.

3 Citing China: Politics, Postmodernism, and Cinema (Honolulu: University of Hawai i Press, under contract). Edited Volumes Hong Kong Film, Hollywood, and the New Global Cinema, co-edited with Tan See-Kam (London: Routledge, 2007). Series editor Stephanie Hemelryk Donald, Routledge Media, Culture and Social Change in Asia. Review: Konrad Ng, Scope 11 (June 2008), Gaik Cheng Khoo, Asian Journal of Communication, 18: 1 (March 2008), pp Chinese Connections: Critical Perspectives on Film, Identity and Diaspora, co-edited with Peter X Feng and Tan See-Kam (Philadelphia: Temple University Press, 2009). Reviews: Kin-Sze-to, Transnational China and Hollywood-ized Chineseness: interventions and discontents, Jump Cut, No. 52, (Summer 2010), Stephen Teo. "Chinese Connections: Critical Perspectives on Film, Identity, and Diaspora (review)." China Review International 17, no. 4 (2010): Hong Kong Screenscapes: From the New Wave to the Digital Frontier, co-edited with Esther M. K. Cheung and Tan See-Kam (Hong Kong: Hong Kong University Press, 2011). Review: Brenda Chan, Brenda Chan, Quarterly Review of Film and Video 28: 5 (2011), pp A Companion to Hong Kong Cinema, co-edited with Esther M.K. Cheung and Esther Yau (Hoboken, NJ: Wiley-Blackwell Press, under contract). Chapters in Books "Sylvester Stallone and John Rambo's Trek across Asia: Politics, Performance and American Empire," in Chris Holmlund, ed. The Ultimate Stallone Reader: Sylvester Stallone as Star, Icon, Auteur (London: Wallflower Press, 2014), pp IN THE MOOD FOR LOVE (2000), Wong Kar-wai, in Jeffrey Geiger and R.L. Rutsky, eds. Film Analysis: A Norton Reader (NY: W.W. Norton and Company, 2013), pp Chinese Cinema at the Millennium: Defining China and the Politics of Representation, in Sharon R. Mazzarella, ed. The International Encyclopedia of Media Studies, Volume III: Content and Representation (Malden, MA: Wiley-Blackwell, 2013), pp

4 Flexible Masculinities and the RUSH HOUR Franchise: The Asian Body, the American Male, and Global Hollywood, in Timothy Shary, ed. Millennial Masculinity: Men in Contemporary American Cinema (Detroit: Wayne State University Press, 2012), pp "TRANSAMERICA: Queer Cinema in the Middle of the Road," in Gordon Slethaug and Stacilee Ford, eds. Hit the Road Jack: Essays on the Culture of the American Road (Montreal and Kingston: McGill-Queen's University Press, 2012), pp The Hong Kong New Wave, in Zhang Yingjin, ed. A Companion to Chinese Cinema (Chichester: Wiley-Blackwell, Blackwell Publishing Ltd, 2012), pp Eileen Chang and Ang Lee at the Movies: The Cinematic Politics of LUST, CAUTION, in Kam Louie, ed. Eileen Chang: Romancing Languages, Cultures and Genres (HK: Hong Kong University Press, 2012), pp From Mao s Continuous Revolution to Ning Ying s PERPETUAL MOTION (2005): Sexual Politics, Neoliberalism, and Postmodern China, in Wang, Lingzhen, ed. Chinese Women s Cinema: Transnational Contexts (NY: Columbia University Press, 2011), Cinemas of the Chinese Diaspora, in Song Hwee Lim and Julian Ward, eds., The Chinese Cinema Book (London: BFI/Palgrave Macmillan, 2011), pp Bicycle Thieves and Pickpockets in the Desert of the Real : Transnational Chinese Cinema, Postmodernism, and the Transcendental Style, in Vivian Lee, ed. East Asian Cinema (London: Palgrave Macmillan, 2011), pp Between Comrade and Queer: Stanley Kwan s HOLD YOU TIGHT, Hong Kong Screenscapes: From the New Wave to the Digital Frontier, co-edited with Esther M. K. Cheung and Tan See-Kam (Hong Kong: Hong Kong University Press, 2011), pp A different version appears in In Critical Proximity: The Visual Memories of Stanley Kwan, ed. Esther M.K. Cheung (Hong Kong: Joint Publishing, 2007), pp (Translated into Chinese.) Departing from THE DEPARTED: The INFERNAL AFFAIRS Trilogy, Hong Kong Culture: Word and Image, ed. Kam Louie (Hong Kong: Hong Kong University Press, 2010), pp Hollywood and Taiwan: Connections, Countercurrents, and Ang Lee s HULK, Chinese Connections: Critical Perspectives on Film, Identity, and Diaspora, ed. Tan See-Kam, Peter X Feng, and Gina Marchetti (Philadelphia: Temple University Press, 2009), pp Asian Film and Digital Culture, The Oxford Handbook of Film and Media Studies, ed. Robert Kolker (New York: Oxford University Press, 2008), pp

5 ROMEO MUST DIE: Interracial Romance in Action, The Persistence of Whiteness: Race and Contemporary Hollywood Cinema, ed. Daniel Bernardi (London: Routledge, 2007), pp In/Visible Histories (China): Documentary Film, Historical Memory, Interdisciplinary Inquiry, and Community Service (with Karsten Kruger), Bridging the Sino-American Divide: American Studies with Chinese Characteristics, ed. Priscilla Roberts (Newcastle: Cambridge Scholars Publishing, 2007), pp In the City and on the Road in Asian American Film: MY AMERICA OR, HONK IF YOU LOVE BUDDHA, All Roads Lead to the American City, ed. Peter Swirski (Hong Kong: Hong Kong University Press, 2007), pp Using Film and Video to Teach about Asians and Asian Americans across the Curriculum, Teaching Ethnic Diversity with Film: Essays and Resources for Educators in History, Social Studies, Literature and Film Studies, ed. Carole Gerster with Laura W. Zlogar (Jefferson, NC: McFarland and Company, Inc., 2006), pp Guests at the WEDDING BANQUET: The Cinema of the Chinese Diaspora and the Rise of the American Independents, Contemporary American Independent Film: From the Margins to the Mainstream, eds. Chris Holmlund and Justin Wyatt (London: Routledge, 2005), pp Global Modernity, Postmodern Singapore, and the Cinema of Eric Khoo, Chinese-Language Film: Historiography, Poetics, Politics, eds. Sheldon H. Lu and Yeh Yueh-Yu (Honolulu: University of Hawaii Press, 2005), pp Pursuits of Hapa-Ness: Kip Fulbeck s Boyhood Among Ghosts, Where the Boys Are: Cinemas of Masculinity and Youth, eds. Murray Pomerance and Frances Gateward (Detroit: Wayne State University Press, 2005), pp On Tsai Ming-Liang s THE RIVER (1996), Island on the Edge: Taiwan New Cinema and After, eds. Chris Berry and Feii Lu (Hong Kong: Hong Kong University Press, 2005), pp From Fu Manchu to M. BUTTERFLY and IRMA VEP: Cinematic Incarnations of the Chinese Villain, Bad: Infamy, Darkness, Evil and Slime on Screen, ed. Murray Pomerance (Albany: State University of New York Press, 2004), pp Still Looking: Negotiating Race, Sex, and History in DIRTY LAUNDRY, Like Mangoes in July: The Work of Richard Fung, eds. Helen Lee and Kerri Sakamoto (Toronto: Insomniac/Images Festival, 2002), pp

6 They Worship Money and Prejudice : The Certainties of Class and the Uncertainties of Race in SON OF THE GODS, Classic Hollywood, Classic Whiteness, ed. Daniel Bernardi (Minneapolis: University of Minnesota Press, 2001), pp Jackie Chan and the Black Connection, Keyframes: Popular Cinema and Cultural Studies, eds. Matthew Tinkcom and Amy Villarejo (London: Routledge, 2001), pp Transnational Exchanges, Questions of Culture, and Global Cinema: Defining the Dynamics of Changing Relationships, At Full Speed: Hong Kong Cinema in a Borderless World, ed. Esther C.M. Yau (Minneapolis: University of Minnesota Press, 2001), pp (Shortened version of Transnational Cinema, Hybrid Identities and the Films of Evans Chan with a new introduction.) Reprinted in Esther M.K. Cheung and Chu Yiu-wai, eds., Between Home and World: A Reader in Hong Kong Cinema (Hong Kong: Oxford University Press, 2004), pp The Gender of GenerAsian X in Clara Law s Migration Trilogy, Ladies and Gentlemen, Boys and Girls: Gender in Film at the End of the Twentieth Century, ed. Murray Pomerance (Albany: State University of New York Press, 2001), pp Du péril jaune à la menace rouge and Les acteurs asiatiques, du déni au défi, trans. Stéphane Roques, L Asie à Hollywood, ed. Charles Tesson, Claudine Paquot, and Roger Garcia (Paris: Cahiers du Cinema, in conjunction with the 54 th Locarno International Film Festival, 2001), pp , America s Asia: Hollywood s Construction, Deconstruction, and Reconstruction of the Orient, Out of the Shadows: Asians in American Cinema, ed. Roger Garcia (Milan, Italy: Edizioni Olivares, produced in conjunction with the 54 th Locarno International Film Festival, 2001), pp Entries in the biographical dictionary on Evans Chan, Lisa Hsia, Nguyen Tan Hoang, Janice Tanaka, Tran T. Kim Trang, and Yau Ching. THE WEDDING BANQUET: Global Chinese Cinema and the Asian American Experience, Countervisions: Asian American Film Criticism, ed. Darrell Y. Hamamoto and Sandra Liu (Philadelphia: Temple University Press, 2000), pp Reprinted in Julie F. Codell, ed., Genre, Gender, Race, and World Cinema: An Anthology (Malden, MA: Blackwell Publishing, 2007), pp Buying American, Consuming Hong Kong: Cultural Commerce, Fantasies of Identity, and the Cinema, The Cinema of Hong Kong: History, Arts, Identity, ed. Po Shek Fu and David Desser (New York: Cambridge University Press, 2000), pp "The Blossoming of a Revolutionary Aesthetic: Xie Jin's TWO STAGE SISTERS," Jump Cut #34 (March 1989), pp Reprinted in Transnational Chinese Cinemas: Identity, Nationhood, Gender, ed. Sheldon Hsiao-peng Lu (Honolulu: University of Hawaii Press, 1997), pp , and in Celluloid China: Cinematic Encounters with Culture and Society, ed. Harry H. Kuoshu (Carbondale: Southern

7 Illinois University Press, 2002), pp "Tragic and Transcendent Love in THE FORBIDDEN CITY," The Birth of Whiteness: Race and the Emergence of United States Cinema, ed. Daniel Bernardi (New Brunswick, NJ: Rutgers University Press, 1996), pp "Contradiction and Viewing Pleasure: The Articulation of Racial, Class and Gender Differences in SAYONARA," Multiple Voices: Issues in Feminist Film Criticism, eds. Linda Dittmar, Diane Carson, and Janice Welsch (Minneapolis: University of Minnesota Press, 1994), pp "Ethnicity, the Cinema and Cultural Studies," Unspeakable Images: Ethnicity and the American Cinema, ed. Lester Friedman (Urbana, IL: University of Illinois Press, 1991), pp "Action-Adventure as Ideology," Cultural Politics in Contemporary America, eds. Ian Angus and Sut Jhally (NY: Routledge, Chapman and Hall, Inc., 1989), pp Reprinted in Rereading America: Cultural Contexts for Critical Thinking and Writing, Second Edition, eds. Gary Colombo, Robert Cullen, and Bonnie Lisle (Boston: St. Martin's Press, 1992), pp "Subcultural Studies and the Film Audience: Rethinking the Film Viewing Context," Current Research in Film: Audiences, Economics and Law, Vol. II, ed. Bruce A. Austin (Norwood, NJ: Ablex Publishing Corporation, 1986), pp Reprinted in The Cult Film Reader, eds. Ernest Mathijs and Xavier Mendik (Berkshire, UK: Open University Press, McGraw-Hill, 2008), pp Articles on DVD Hong Kong in the 1960s, essay included on IN THE MOOD FOR LOVE, DVD, Criterion Collection, Articles in Journals Does the Karate Kid Have a Kung Fu Dream? Hong Kong Martial Arts between Hollywood and Beijing, JOMEC Journal: Journalism, Media and Cultural Studies No. 5 (June 2014), Asian Citations: Postmodernism, Politics, and Global Cinema, The Journal of Literature and Film 14:1 (Spring 2013), pp Haunted by Hollywood: Hong Kong Noir, Horror, and RUNNING ON KARMA, Journal of Letters 42:1 (January-June 2013), pp (Translated into Thai.) The Asian Body, the American Male and Global Hollywood: Flexible Masculinity in RUSH HOUR 1, 2, 3, CinémAction, No. 143 (September 2012), pp (Translated into French by Anne

8 Crémieux for a special issue, Minorities in American Cinema. ) Gender Politics and Neoliberalism in China: Ann Hui s THE POSTMODERN LIFE OF MY AUNT, Visual Anthropology, 22: 2-3 (March 2009), pp COME DRINK WITH ME If You Dare: Golden Swallow, King Hu, and the Cold War, Journal of Modern Literature in Chinese, 8:1 (January 2007), pp Martial Arts North and South: Liu Jialiang s Vision of Hung Gar in Shaw Brothers Films, EnterText 6.1 (Autumn 2006), pp , Whither (or Wither) Chinese Women s Films? BAO BER IN LOVE and THE JADE GODDESS OF MERCY, World Cinema, No. 1 (February 2005), pp (Translated into Chinese.) Hollywood/Taiwan: Connections, Countercurrents, and Ang Lee s HULK, Film Appreciation Journal, No. 120 (Summer 2004), pp (Translated into Chinese.) Reprinted in English in Film International, No. 12 (2004), pp , and in Chinese Connections: Critical Perspectives on Film, Identity and Diaspora, eds. Tan See-Kam, Peter X Feng and Gina Marchetti (Philadelphia: Temple University Press, 2009), pp Taiwanese Triads in the Transnational Imagination: MAHJONG and GOODBYE SOUTH, GOODBYE, Film International, No. 9 (2004), pp Farewell, Leslie Cheung, Film Appreciation Journal, No. 116 (Spring-Summer 2003), pp (Translated into Chinese.) Race, Class, Gender, and Television Action: VANISHING SON and MARTIAL LAW, Film International, No. 2 (2003), pp Cinema Frames, Videoscapes, and Cyberspace: Exploring Shu Lea Cheang s FRESH KILL, positions: east asia cultures critique, Vol. 9, No. 2, (Fall 2001), pp Transnational Cinema, Hybrid Identities and the Films of Evans Chan, Postmodern Culture, Vol. 8, No. 2 (January 1998), virginia.edu /pmc/ "Excess and Understatement: War, Romance, and the Melodrama in Contemporary Vietnamese Cinema," Genders, No.10 (Spring 1991), pp "White Knights in Hong Kong: Race, Gender, and the Exotic in LOVE IS A MANY-SPLENDORED THING and THE WORLD OF SUZIE WONG," Post Script, Vol. 10, No. 2 (Winter 1991), pp "The Blossoming of a Revolutionary Aesthetic: Xie Jin's TWO STAGE SISTERS," Jump Cut #34

9 (March 1989), pp "'Four Hundred Years in a Convent, Fifty in Hollywood': Sexual Identity and Dissent in Contemporary Philippine Cinema," East-West Film Journal, Vol. 2, No. 2 (June 1988), pp "Class, Ideology and Commercial Television: An Analysis of THE A-TEAM," Journal of Film and Video, Vol. 39, No. 2 (Spring 1987), pp "FIRECRACKER: Contest and Contradiction," an analysis of the Cirio Santiago Philippine- American co-production, Jump Cut #32 (April 1987), pp "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," Journal of Communication Inquiry, Vol. 11, No. 1 (Winter 1987), pp "Romanticism Reconsidered: The Films of Sharon Couzin," co- written with Carol Slingo, Jump Cut #28 (April 1983), pp "Documenting Punk: A Subcultural Investigation," Film Reader #5 (1982), pp "Smut: WHERE THE BOYS ARE," co-written with Carol Slingo, Film Reader #5 (1982), pp "Readings on Women and Pornography: An Annotated Working Bibliography," Jump Cut #26 (December 1981), pp Translations of Book Chapters and Other Previously Published Essays Section entitled Passport Seductions reprinted in the Swedish journal, Filmhaftet, Vol. 87, No. 3 (1994), pp From Romance and the "Yellow Peril": Race, Sex, and Discursive Strategies in Hollywood Fiction (Berkeley: University of California Press, 1993). THE WEDDING BANQUET: Global Chinese Cinema and the Asian American Experience, Chung Wai Literary Monthly (in Chinese), trans. Tang Wei-Min, Vol. 28, No. 11 (April 2000), pp Transnational Cinema, Hybrid Identities and the Films of Evans Chan, From the New Wave to the Postmodern, ed. Evans Chan (Hong Kong: Hong Kong Film Critics Society, 2001), pp Reprinted from Postmodern Culture and translated into Chinese. Also, reprinted in Su Yeh Literature (in Chinese), trans. Cao Hong-Hui, No. 67 (July 2000), pp Book and Film Reviews

10 Paul Clark, The Chinese Cultural Revolution: A History (book review), China Perspectives No. 84 (2010), pp Bollyworld: Popular Indian Cinema through a Transnational Lens (book review), Asian Journal of Communication, Vol. 16, No. 2 (June 2006), pp Review Essay: American Orientalism (book review of Embracing the East and Cold War Orientalism), Pacific Historical Review, Vol. 72, No. 2 (May 2004), pp China into Film: Frames of Reference in Contemporary Chinese Cinema (book review), Journal of Asian Studies, Vol. 62, No. 4 (November 2003), pp Women Through the Lens: Gender and Nation in a Century of Chinese Cinema (book review), China Review International, Vol. 10, No. 1 (Spring 2003), pp New Chinese Cinema: Challenging Representations (book review), Journal of Asian Studies, Vol. 62, No. 3 (August 2003), pp Cinema and Desire: Feminist Marxism and Cultural Politics in the Work of Dai Jinhua (book review), Jump Cut, No. 46 (Summer 2003). Italian Cinema (book review), Quarterly Review of Film and Video, Vol. 20, No. 1 (January-March 2003), pp Review of Claude Grunspan s GAO RANG (GRILLED RICE), The Moving Image: Journal of the Association of Moving Image Archivists, Vol. 2, No. 2 (Fall 2002), For the Love of Pleasure: Women, Movies, and Culture in Turn-of-the Century Chicago (book review), H-Net Book Review, H-Film@h-net.msu.edu (September, 2001). "Fringe Cultures" (book review of Reconstructing Pop/Subculture: Art, Rock, and Andy Warhol and Bike Boys, Drag Queens, and Superstars: Avant-Garde, Mass Culture, and Gay Identities in the 1960s Underground Cinema), Jump Cut, No. 42 (December 1998), pp "Visions of the East: Orientalism in Film" (book review), Film Quarterly, Vol. 52, No. 1 (Fall 1998), pp Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan (book review), The Journal of Asian Studies, Vol. 55, No. 3 (August 1996), pp "Melodrama and Asian Cinema" (book review), Journal of Film and Video, Vol. 45, No. 4 (Winter 1993), pp

11 4. "Questions of Third Cinema" (book review), Film Quarterly, Vol. 45, No. 2 (Winter ), pp. 52- "Chinese Cinema: Culture and Politics Since 1949" (book review), Film Quarterly, Vol. 43, No. 3 (Spring 1990), pp

Associate Professor, Department of English Language & Literature

Dr. LO, Kwai Cheung 1 Dr. LO, Kwai Cheung B.A., M.Phil., The University of Hong Kong M.A., University of Minnesota, Twin Cities, U.S.A. Ph.D., Stanford University, U.S.A. Associate Professor, Department