Chair of the Department of Humanities and Media Studies at Pratt Institute, Brooklyn, New York, Professor Gina Marchetti taught previously at the University of Hong Kong’s Department of Comparative Literature. Her essay on NOMADLAND may be accessed HERE.
Gina Marchetti on NOMADLAND and SORRY WE MISSED YOU
HOME/FAMILY | Guest Lecture
HOME/FAMILY | Guest Lecture
Gina Marchetti on NOMADLAND and SORRY WE MISSED YOU
Chair of the Department of Humanities and Media Studies at Pratt Institute, Brooklyn, New York, Professor Gina Marchetti taught previously at the University of Hong Kong’s Department of Comparative Literature. Her essay on NOMADLAND may be accessed HERE.
While not without controversy, the critical and popular success of NOMADLAND (2020) as a documentary-like treatment of how changing work conditions in an economic downturn have impacted the individual’s relationship to home and family was surprising perhaps only within an American cultural context, when such issues were routinely tackled in the UK and Europe by filmmakers such as Ken Loach (I, DANIEL BLAKE) and the Dardenne Brothers (ROSETTA).
Gina Marchetti hones in on the largely contemporaneous NOMADLAND and SORRY WE MISSED YOU (2019) – featuring respectively a female and male protagonist who becomes self-employed operating out of a van – to investigate both similarities and differences between the two films in representing the gig economy and its effects on the worker in relation to home, family, corporations, and the state.
Employing Lauren Berlant’s concepts of precarity and “cruel optimism,” Marchetti considers the ideological and affective nature of the two characters’ participation in the global economy, while contextualizing the films by Chloé Zhao and Ken Loach in terms of the respective cinematic traditions of realism that they draw upon.
While not without controversy, the critical and popular success of NOMADLAND (2020) as a documentary-like treatment of how changing work conditions in an economic downturn have impacted the individual’s relationship to home and family was surprising perhaps only within an American cultural context, when such issues were routinely tackled in the UK and Europe by filmmakers such as Ken Loach (I, DANIEL BLAKE) and the Dardenne Brothers (ROSETTA).
Gina Marchetti hones in on the largely contemporaneous NOMADLAND and SORRY WE MISSED YOU (2019) – featuring respectively a female and male protagonist who becomes self-employed operating out of a van – to investigate both similarities and differences between the two films in representing the gig economy and its effects on the worker in relation to home, family, corporations, and the state.
Employing Lauren Berlant’s concepts of precarity and “cruel optimism,” Marchetti considers the ideological and affective nature of the two characters’ participation in the global economy, while contextualizing the films by Chloé Zhao and Ken Loach in terms of the respective cinematic traditions of realism that they draw upon.
While not without controversy, the critical and popular success of NOMADLAND (2020) as a documentary-like treatment of how changing work conditions in an economic downturn have impacted the individual’s relationship to home and family was surprising perhaps only within an American cultural context, when such issues were routinely tackled in the UK and Europe by filmmakers such as Ken Loach (I, DANIEL BLAKE) and the Dardenne Brothers (ROSETTA).
Gina Marchetti hones in on the largely contemporaneous NOMADLAND and SORRY WE MISSED YOU (2019) – featuring respectively a female and male protagonist who becomes self-employed operating out of a van – to investigate both similarities and differences between the two films in representing the gig economy and its effects on the worker in relation to home, family, corporations, and the state.
Employing Lauren Berlant’s concepts of precarity and “cruel optimism,” Marchetti considers the ideological and affective nature of the two characters’ participation in the global economy, while contextualizing the films by Chloé Zhao and Ken Loach in terms of the respective cinematic traditions of realism that they draw upon.