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Pongpanit, Atit (2011) the Bitter–Sweet Portrayals of Expressing and Maintaining “Non‐Normative” Genders and Sexualities in Thai Mainstream Cinema from 1980 to 2010

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Pongpanit, Atit (2011) the Bitter–Sweet Portrayals of Expressing and Maintaining “Non‐Normative” Genders and Sexualities in Thai Mainstream Cinema from 1980 to 2010 Pongpanit, Atit (2011) The bitter–sweet portrayals of expressing and maintaining “non‐normative” genders and sexualities in Thai mainstream cinema from 1980 to 2010. PhD thesis, SOAS (School of Oriental and African Studies). http://eprints.soas.ac.uk/12763/ Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. The Bitter–Sweet Portrayals of Expressing and Maintaining “Non-normative” Genders and Sexualities in Thai Mainstream Cinema from 1980 to 2010 Atit Pongpanit Thesis submitted for the degree of PhD in 2011 Department of South East Asia School of Oriental and African Studies University of London Declaration for PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the School of Oriental and African Studies concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. Signed: ____________________________ Date: _________________ iii Abstract This thesis explores and analyzes portrayals of Thai sexual minorities in relation to the practices of expressing and maintaining non-normative genders and sexualities. It examines how these practices affect the lives of sexual minority characters in three different genres of mainstream Thai cinema: tragedy, drama, and comedy. In the category of tragedy, the “bitterness” experienced by sexual minorities as a result of expressing and maintaining their non-normative gendered /sexual identities is analysed in two mainstream Thai films: Phleng sut-thai [The last song] and Pheuan…ku rak meung wa [Bangkok Love Story]. The contrasting genre of drama reveals “bitter- sweet” portrayals of sexual minority characters who are provided with some degree of manoeuvre to pursue their non-normative gendered/sexual identities in which the outcome is not always tragic. Nevertheless, the case studies of Beautiful Boxer and Rak haeng Siam [The Love of Siam] remain heavily coloured by negative stereotypes, myths and stigmas. In the comic genre Phrang chomphu kathoey prajanban [Saving Private Tootsie] and Plon na ya [Spicy Beauty Queen in Bangkok] permit sexual minority characters a “happy ending” and are defined by “sweetness” though characterisation remains coloured by stereotypes and stigmas. The “sweet moment” in the films therefore belongs primarily to the heterosexual/heteronormative spectators who enjoy watching the depiction of sexual minorities as a hilarious, abnormal, and inferior sexual “Other”. These three different genres reveal the degree to which sexual minority characters experience problems in expressing and maintaining their non-normative gendered/sexual identities in the heterosexual/heteronormative space that dominates the cinematic contexts. While homophobia and social sanctions against sexual minorities in Thai society are not as overtly practiced as in some other societies, the analysis of the films in this thesis provides strong evidence of the difficulty with which sexual minorities are visualised positively. This reflects ambiguous and ambivalent attitudes towards Thai sexual minorities in mainstream/heterosexual/ heteronormative Thai society as a whole. iv Acknowledgements I would like to express my deepest gratitude to the following: My beloved supervisors Dr Rachel Harrison and Dr Ben Murtagh. Their kindness, support, intelligence, encouragement, open-mindedness, and insightful suggestions helped me to complete this thesis. The Royal Thai Government for providing me with the full support I needed to pursue my academic goals. My beloved teachers at Silpakorn University, especially Dr Pak Silavipaporn, Dr Chalermsri Chantasingh and Ajarn Pimalaporn Chinawongsri. Their loving-kindness and wise suggestions help me to overcome many difficulties. My friends in the UK (Jonah, Isabella, Janit & George, Art, Lydia, Lissie, etc.) and in Thailand (Beijing, Golf, Bird, Som, etc.) for their wonderful academic and emotional support and friendship. Phra Dhammamangalajaan (Luangpu Tong Sirimangalo) and Luangpho Phetr at Wat Phradhatu Sri Chom Tong in Chiang Mai, Thailand, as well as Ven. Chao Khun Bhavanaviteht (Luangpor Khemadhammo) at The Forest Hermitage, Warwick, UK, for their insightful spiritual guidance in Satipatthana (the Four Foundations of Mindfulness). Ajarn Manapo Bhikkhu for his care, wonderful support and warm companionship, which provide me with a safe refuge. And finally to my Mum (Khun Premrudee Nubanyang Pongpanit) and my Dad (Khun Chalor Pongpanit) and all of my family members, whose unconditional love and care enabled me to complete this work. v Table of Contents Abstract iii Acknowledgements iv List of Tables and Illustrations vii Note on Transliteration and Referencing x Introduction 1 • Research Methodology 2 • Research Structure 3 • The Scope of the Study 4 Chapter One: Literature Review 8 • Section One: Texts on Sexual Minorities 8 • Section Two: Human Text – Interview with the “Vampires” 25 • Section Three: A Comparison of the Practices of Expressing and Maintaining Non-Normative Genders and Sexualities in Thai and Western Societies (with the emphasis on the British-American contexts) 35 Chapter Two: Theoretical Framework 47 • Postcolonial Theory and Thai Same-sex Subcultures 48 Chapter Three: Bitter Queer Thai Cinema 62 • Brief Overview on Thai cinema 62 • Thai Cinema and Sexual Minorities 64 • The Last Song (Phleng sut-thai) (1985) 71 • Bangkok Love Story (Pheuan…ku rak meung wa) (2007) 99 • Concluding Bitter Queer Thai cinema 119 vi Chapter Four: Bitter-Sweet Queer Thai Cinema 121 • Introduction 121 • Beautiful Boxer (2003) 123 • The Love of Siam (Rak haeng Siam) (2007) 140 • Concluding Bitter-Sweet Queer Thai Cinema 160 Chapter Five: Sweet Queer Thai Cinema 162 • Introduction 162 • Saving Private Tootsie (Phrang Chomphu Kathoey Prajanban) (2002) 163 • Spicy Beauty Queen in Bangkok (Plon na ya) (2004) 192 • Concluding Sweet Queer Thai Cinema 213 Conclusion 215 Bibliography 224 vii List of Tables and Illustrations Tables Chapter Three Table 3.1: Thai Films with a Focus on Sexual Minorities 65 Illustrations Chapter Two Figure 2.1: Ma Onapha Khritsadi 57 Figure 2.2: Poy Trichada Phetcharat 57 Figure 2.3: Film Thanyarat Jiraphatphakon 57 Figure 2.4: Emmy Ratchada Khutthamas 57 Chapter Three Diagram 3.1: Thai Films with a Sexual Minority Focus (1976 - 2010) 64 Diagram 3.2: Thai Films with a Non – Sexual Minority Focus (1974 - 2005) 67 Figure 3.1: Praew, with short haircut, drinking and smoking, is talking to her best friend, Somying. 82 Figure 3.2: Somying and his kathoey friends. Somying is in the front wearing a white dress. 85 Figure 3.3: Buntoem and Orathai decide to give up their same-sex relationship and pursue their heterosexual lives as a couple together in front of a huge Buddha statue. 86 Figure 3.4: Somying in The Last Song version 1985. 93 Figure 3.5: Somying in The Last Song version 2006. 93 Figure 3.6: Somying in the first version tries to seduce Buntoem to have sex with him. 95 Figure 3.7: Somying in the second version tries to push Buntoem away when he tries to have sex with him. 95 Figure 3.8: the opening scene of Bangkok Love Story in a 7-Eleven convenience store. 107 Figure 3.9: A beautiful firework display over the exotically magnificent Grand Palace in Bangkok. 110 viii Chapter Four Figure 4.1: Toom sits on a beautiful platform seat carried by men. 138 Figure 4.2: The film poster of The Love of Siam. 140 Figure 4.3: Korn and Sunee finally make up and hug each other in tears. 151 Figure 4.4: Mew romantically looks at Tong. 154 Figure 4.5: Tong embarrassingly smiles back at Mew. 154 Figure 4.6: June, “the fake Tang”, is curious and amazed by the way the boys romantically look at each other. 154 Figure 4.7: Mew contemplates his reflection on the mirror in his bedroom. 155 Chapter Five Figure 5.1: The kathoey characters run for their lives after being harassed by a group of soldiers from a minority tribe. 164 Figure 5.2: The film poster of Saving Private Tootsie. 170 Figure 5.3: The film posters of Saving Private Ryan (left) and Saving Private Tootsie (right). 171 Figure 5.4: The army officer fa ther is trying to persuade his son to join a military school. 184 Figure 5.5: The kathoey son responds to his father’s request that he might go to join the military school if the father could find him a husband. 185 Figure 5.6: Cheery is helped by the soldier walking down the path. 188 Figure 5.7: Chicha is left walking down the path alone, ending up falling down on the floor. 189 Figure 5.8: Kasem and the flight attendant are tied up holding an eggplant in his mouth. 189 Figure 5.9: Phrik 193 Figure 5.10: Seua 193 Figure 5.11: Nice 194 ix Figure 5.12: Kop 194 Figure 5.13: The opening scene showing Bangkok being enveloped by darkness. 204 Figure 5.14: Right after the opening scene, the film shows Seua transforms from a man into a woman. 205 Figure 5.15: The transsexual characters persuade Seua to go for a sexual operation to satisfy the owner of the transsexual night show.
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