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Chinese Film Studies Online: Technological Innovations, Pedagogical Challenges, and Teaching Chinese-Language Cinema in the Digital Age

  • Gina Marchetti

    Gina Marchetti teaches courses in film, gender, and sexuality, critical theory and cultural studies at the University of Hong Kong. She is the author of Romance and the ‘Yellow Peril’: Race, Sex and Discursive Strategies in Hollywood Fiction (University of California, 1993), From Tian’anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens (Philadelphia: Temple University Press, 2006), The Chinese Diaspora on American Screens: Race, Sex, and Cinema (Philadelphia: Temple University Press, 2012), Andrew Lau and Alan Mak’s INFERNAL AFFAIRS—The Trilogy (Hong Kong: Hong Kong University Press, 2007), and Citing China: Politics, Postmodernism, and World Cinema (Hawaii, 2018). Visit the website https://hkwomenfilmmakers.wordpress.com/ for more information about her work on Hong Kong women filmmakers since 1997.

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Abstract

Because of the impact of the COVID-19 pandemic on higher education, online initiatives have moved from the periphery to the very heart of teaching and learning across disciplines. However, the profession has just begun to consider the full impact these new technologies have on the way we research and teach Chinese-language cinema. Using the Massive Open Online Course (MOOC) and University of Hong Kong Common Core campus-based course, Hong Kong Cinema through a Global Lens, as my principal case study, I explore some of the ways in which the digital revolution has transformed research on and teaching about Hong Kong film. From surveying the types of material available for research to exploring the differences between MOOCs and flipped classrooms, this essay considers the positive implications and potential drawbacks of these new technologies in global, regional, and local educational contexts.


Corresponding author: Gina Marchetti, University of Hong Kong, Hong Kong, E-mail:

About the author

Gina Marchetti

Gina Marchetti teaches courses in film, gender, and sexuality, critical theory and cultural studies at the University of Hong Kong. She is the author of Romance and the ‘Yellow Peril’: Race, Sex and Discursive Strategies in Hollywood Fiction (University of California, 1993), From Tian’anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens (Philadelphia: Temple University Press, 2006), The Chinese Diaspora on American Screens: Race, Sex, and Cinema (Philadelphia: Temple University Press, 2012), Andrew Lau and Alan Mak’s INFERNAL AFFAIRS—The Trilogy (Hong Kong: Hong Kong University Press, 2007), and Citing China: Politics, Postmodernism, and World Cinema (Hawaii, 2018). Visit the website https://hkwomenfilmmakers.wordpress.com/ for more information about her work on Hong Kong women filmmakers since 1997.

Acknowledgements

The author’s thanks go to the organizers of the Chinese Cinema and Chinese Film Studies from Global Perspectives Forum, Institute of Chinese Cinema Studies at the Beijing Film Academy, October 12–13, 2018, for inviting her to Beijing to present this research. The author’s appreciation goes to Georgina Challen for helping to prepare this essay for publication.

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Published Online: 2021-03-12
Published in Print: 2021-05-26

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