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.
Her books include Romance and the “Yellow Peril”: Race, Sex and Discursive Strategies in Hollywood Fiction (University of California, 1993), Andrew Lau and Alan Mak’s _Infernal Affairs — The Trilogy_ (Hong Kong: Hong Kong University Press, 2007), From Tian’anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens (Philadelphia: Temple University Press, 2006), and The Chinese Diaspora on American Screens: Race, Sex, and Cinema (Philadelphia: Temple University Press, 2012). She has co-edited several anthologies, including Hong Kong Film, Hollywood and the New Global Cinema, with Tan See-Kam (London: Routledge, 2007), Chinese Connections: Critical Perspectives on Film, Identity and Diaspora, with Peter X Feng and Tan See-Kam (Philadelphia: Temple University Press, 2009), Hong Kong Screenscapes: From the New Wave to the Digital Frontier, with Esther M. K. Cheung and Tan See-Kam (HKUP, 2011), and most recently A Companion to Hong Kong Cinema, co-edited with Esther M.K. Cheung and Esther C.M. Yau (Hoboken, NJ: Wiley-Blackwell Press, 2015). Online articles include: Handover Women: Hong Kong Women Filmmakers and The Intergenerational Melodrama of Infidelity, Feminist Media Studies 16:4 (June 2016), The Gendered Politics of Sex Work in Hong Kong Cinema: Herman Yau and Elsa Chan (Yeeshan)’s Whispers and Moans and True Women for Sale.” Alphaville: Journal of Film and Screen Media 10 (Winter 2015); and The Blossoming of a Revolutionary Aesthetic: Xie Jin's Two Stage Sisters, Jump Cut #34 (March 1989), pp. 95-106. Affiliations include Women’s Studies Research Centre, and websites include Hong Kong Women Filmmakers since 1997.