DOCSLIB.ORG

DORISEA WP 23 Ainslie Thai Horror Film in Malaysia-2.Pdf (594.9Kb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DORISEA WP 23 Ainslie Thai Horror Film in Malaysia-2.Pdf (594.9Kb) Competence Network DORISEA – Dynamics of Religion in Southeast Asia 1 DORISEA WORKING PAPER ISSUE 23, 2016, ISSN: 2196-6893 MARY J. AINSLIE THAI HORROR FILM IN MALAYSIA URBANIZATION, CULTURAL PROXIMITY AND A SOUTHEAST ASIAN MODEL 23 DORISEA Working Paper, ISSUE 23, 2016, ISSN: 2196-6893 DORISEA WORKING PAPER SERIES EDITORS Peter J. Bräunlein Michael Dickhardt Andrea Lauser Competence Network “Dynamics of Religion in Southeast Asia” (DORISEA) The research network “Dynamics of Religion in Southeast Asia” (DORISEA) connects scholars from various academic institutions focused on Southeast Asia. It is coordinated by the Department of Social and Cultural Anthropology at the Georg-August-University of Göttingen. Its core is formed by scholars from the Universities of Göttingen, Hamburg, Münster, Heidelberg and Berlin (Humboldt University) who are involved in several projects that investigate the relationship between religion and modernity in Southeast Asia. How to cite this paper: Mary J. Ainslie (2016): Thai horror film in Malaysia. Urbanization, Cultural Proximity and a Southeast Asian model. In: DORISEA Working Paper Series, No. 23. Göttingen: Institute for Social and Cultural Anthropology. DOI: 10.3249/2196-6893-dwp-23 © 2016 by the author This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. http://creativecommons.org/licenses/by-nc/4.0 ISSN: 2196-6893 DOI: 10.3249/2196-6893-dwp-23 Research Network DORISEA Dynamics of Religion in Southeast Asia Project Office Georg-August-University Göttingen Institute of Social and Cultural Anthropology Theaterstr. 14 D - 37073 Göttingen Germany FUNDED BY: [email protected] www.dorisea.net Competence Network DORISEA – Dynamics of Religion in Southeast Asia 3 MARY J. AINSLIE THAI HORROR FILM IN MALAYSIA: URBANIZATION, CULTURAL PROXIMITY AND A SOUTHEAST ASIAN MODEL ABSTRACT This article examines Thai horror films as the most frequent and evident representation of Thai cultural products in Malaysia. It outlines the rise of Thai horror cinema internationally and its cultivation of a pan-Asian horrific image of urbanization that allows it to travel well. Through a comparison with Malaysian horror, the paper proposes a degree of ‘cultural proximity’ between the horrific depictions of these two Southeast Asian industries. This similarity then points to a particularly Southeast Asian brand of the horror film that is best understood through attention to structure and genre. Despite these similarities, I also argue that in the changing and complex context of contemporary Malaysia, the ‘trauma’ that is given voice in Thai horror may offer the new urban consumer an alternative depiction of and engagement with Southeast Asian modernity not addressed by Malaysian horror. INTRODUCTION from other ASEAN countries is still relatively low, suggesting that these are not yet circulating across In recent years, increased attention has been paid the wider region and are not yet connected to a to the movement of cultural products across nation- distinct image of Southeast Asian-ness (JWT Asia al borders within the Asian region. Such a develop- Pacific and A. T. Kearney 2013). Building upon this, ment is due, at least in part, to the success of East scholars note that there are two dominant regional Asian Popular culture which displaced much Amer- circuits of cultural products within Southeast Asia. ican cultural domination in the region. This began Firstly, there is a northern corridor across Thailand, with Japanese cultural products in the late 1990s, Laos, Cambodialakon and, to an extent, Myanmar. This and is now arguably dominated by the ubiquitous area is largely dominated by Thai cultural prod- ‘Korean Wave’, which has received much academ- ucts such as soap operas. The second circuit ic attention and continues to be a source of much is southern, reaching across the archipelagic region influence and enjoyment across Asia. With the rise of Malaysia, Indonesia and Brunei and consists of and conglomeration of the Association of South Malay-language products (Chua Beng Huat 2014; East Asian Nations (ASEAN), the Southeast Asian Jirattikorn 2008). The Philippines likewise appears region has also become the subject of increasing in- to interject into both circuits to some extent, while ter-Asian cultural analysis. The study of inter-ASE- Vietnam and Singapore enjoy a much closer cultur- AN cultural exchange has been recognized as par- al relationship to China. Alongside this, South Asian ticularly important in light of its role in creating and and Chinese products also circuit, largely due to the furthering much needed economic links, increasing substantial Indian and Chinese diasporic communi- cultural contact between countries that were for- ties across the region. However, there is a notable merly separated by the colonial powers and then absence of Thai cultural products below the South- influenced by strong nationalist movements. ern Thai border and, likewise, there is no substan- Recent research indicates that ASEAN people tial presence of Malay language products north of it. feel a strong cultural connection across the region, While these two circuits may otherwise seem and believe that they share key values (JWT Asia quite distinct (with exceptions due to niche fan Pacific and A. T. Kearney 2013). However despite communities and those with their own familial this, awareness of cultural productsDORISEA Workingand brands Paper, ISSUE 23,connections 2016, ISSN: 2196-6893 across such borders), there is anoth- Competence Network DORISEA – Dynamics of Religion in Southeast Asia 4 er instance of cultural exchange within ASEAN and even a thread solely discussing recommended Thai further across East Asia that must be added to such ghostShutter films, withLong commenters Khong displayingNang Nak an im- regional dynamics. This is the continuing popular- pressive knowledge of ThaiComing horror Soonfilms, Longmention Tor- ity of Thai cinema across the region, which in its Taiing/ The Coffin, the series, (dir. most visible and consistent form seems to comprise FaedNonzee/Alone Nimibutr 1999), , 4 mainly of horror films and, to a lesser extent, ro- (dir. EkachaiDek Uekrongtham Hen Pee/Colic 2008), mantic comedies. These continue to dominate the (dir. Banjong PisanthanakunSi Phraeng and /Park4bia- horrific representation of Southeast Asia interna- poom Wongpoom 2007), Buppah (dir. tionally and cross borders over which Thai cultural RahtreePatchanon/Rahtree Thammajira Flower of2006), The Night products do not otherwise flow. In doing so, they (dir. Parkpoom Wongpoom et al. 2008), may bypass and break down these two circuits. 303 Klua Kla Akhat/303 Fear Faith (dir. YuthlertRevenge Such is the case in Malaysia. While Thai pop Sippapak 2003) and even older, 5more obscure films music and TV-dramas are beginning to challenge such as the hegemony of the previous Japanese and Korean (dir. Somching Srisupap 1998). In another thread products (and are gaining increasing popularity in which opens by listing “top asian horror films (sic)” the northern region of Southeast Asia and in China) for Japan, South Korea and Hong Kong, the first re- these do not appear to have a substantial, recogniz- ply moves the discussion straight to Thailand stat- able presence in Malaysia. Rather, it is Thai horror ing “I find Shutter from Thailand quite scary”. The films which are the most frequent and evident ex- discussion then turns almost completely to Thai ample of Thai cultural products in Malaysia. The horror, with commenters mentioning favorite films vast majority of Thai films released cinematically and giving examples of scary scenes from Shutter, in Malaysia are horror films. Six out of seven Thai while one poster then states that6 “thailand very pro releases in the top 200 highest grossing films in Ma- in making horror movies (sic)”. laysia for 2013 were horror films, and five out of six In light of such success, this paper will examine in 2014. Likewise, a substantial portion of the Thai the significant and continuing presence of Thai hor- DVDs availableMuay-Thai in Malaysian stores are marketed as ror films in Malaysia. Despite its considerable ex- horror films. They outnumber both romantic come- pansion since the late 1990s, there is still very little dies and even boxing films. academic analysis of Thai cinema and even less at- Online Malaysian discussions indicate that these tention to the recent success of Thai cultural prod- Thai horror films have constructed a very definite ucts across Asia. Such success speaks of the recent and discernible presence and reputation, some- rise in economic prominence of Southeast Asia and thing that runs contrary to the previously noted ASEAN as a future economic and cultural hub. ASE- lack of awareness of ASEAN cultural products and AN appears to be carving out its own inter-Asian ‘brands’ within this region. For instance, popular cultural flows and could potentially challenge both Malaysian forum www.lowyat.net—said to be Ma- the traditional Western, and more recent East laysia’s largest online forum—has many discussion Asian, dominance. The paper will first address the threads attesting to the significant presence and rise of Thai horror cinema internationally, focusing popularity1 of Thai horror films among Malaysian on its cultivation of a pan-Asian image of urbaniza- viewers. In a thread entitled “What country punya tion which allows it to travel well. Through a com- horror movie gooding? (sic)” Thailand is mentioned parison with Malaysian
Load more

Recommended publications
  • Gmm Grammy Public Company Limited | Annual Report 2013
    CONTENTS 20 22 24 34 46 Message from Securities and Management Board of Directors Financial Highlights Chairman and Shareholder Structure and Management Group Chief Information team Executive Officer 48 48 48 50 52 Policy and Business Vision, Mission and Major Changes and Shareholding Revenue Structure Overview Long Term Goal Developments Structure of the and Business Company Group Description 82 85 87 89 154 Risk Factors Management Report on the Board Report of Sub-committee Discussion and of Directors' Independent Report Analysis Responsibility Auditor and towards the Financial Financial Statement Statements 154 156 157 158 159 Audit Committee Risk Management Report of the Report of the Corporate Report Committee Report Nomination and Corporate Governance Remuneration Governance and Committee Ethics Committee 188 189 200 212 214 Internal Control and Connected Corporate Social Details of the General Information Risk Management Transactions Responsibilities Head of Internal and Other Audit and Head Significant of Compliance Information 214 215 220 General Information Companies in which Other Reference Grammy holds more Persons than 10% Please see more of the Company's information from the Annual Registration Statement (Form 56-1) as presented in the www.sec.or.th. or the Company's website 20 ANNUAL REPORT 2013 GMM GRAMMY Mr. Paiboon Damrongchaitham Ms. Boosba Daorueng Chairman of the Board of Directors Group Chief Executive Officer …As one of the leading and largest local content providers, with long-standing experiences, GMM Grammy is confident that our DTT channels will be channels of creativity and quality, and successful. They will be among favorite channels in the mind of viewers nationwide, and can reach viewers in all TV platforms.
    [Show full text]
  • Annual Report 2010
    GMM GRAMMY PUBLIC COMPANY LIMITED ANNUAL REPORT 2010 CONTENTS Messsage From Chairman And Co-Chief Excutive Officers 004 Audit Committee Report 005 Board Of Directors 006 Executive Committee And Organization Chart 012 Business Structure & Investment Structure 013 Corporate Social Responsibility 016 Financial Highlights 030 Revenue Structure 031 General Information 032 Risk Factors 052 Captial, Management Structure And Corporate Governance 054 Connected Transactions 086 Corporate Governance Report 095 Management Discussion And Analysis 096 Report On The Board Of Director’s Responsibility 097 Towards The Financial Statements Independent Auditor’s Report And Financial Statements 098 Companies In Which Gmm Grammy Holds More Than 10% 147 Details of Board of Directors And Management Team 150 Other Reference Persons 159 MESSSAGE FROM CHAIRMAN AND CO-CHIEF EXCUTIVE OFFICERS MESSSAGE FROM CHAIRMAN AND CO-CHIEF EXCUTIVE OFFICERS Dear Shareholders, In 2010, the Company adjusted and developed its music The publishing business line has increasingly shifted over to business so that revenue streams primarily came from three new media. For instance, Maxim is published in an e-gazine. business lines: digital music, artist management, and show Content from this business line will also be increasingly business. This was accomplished by reducing the production applied to satellite business, as well as selling content capacity of physical products, and ramping up sales of digital through new electronic gadgets such as the iPad. music to better match the lifestyles of consumer behavior that The movie business line produced a total of three films, has shifted in tandem with modern technological innovations. of which “Kuen Muen Ho” (‘Hello Stranger’) brought in Baht The Company believes that making these changes will 126.3 million, making it the highest box office revenue making support and strengthen Grammy’s content so that it can be Thai film screened in 2010.
    [Show full text]
  • Asian Horror: the Factors Driving Thai and Japanese Horror Film Industry: an Analysis Towards Ringu (1998) and Shutter (2004)
    Conference Proceeding: 1st INTERNATIONAL CONFERENCE ON CREATIVE MEDIA, DESIGN & TECHNOLOGY (REKA2014) ASIAN HORROR: THE FACTORS DRIVING THAI AND JAPANESE HORROR FILM INDUSTRY: AN ANALYSIS TOWARDS RINGU (1998) AND SHUTTER (2004) Wong Siew Peng, Penny & Azizul Rahman Mahfudz Kolej IACT, MALAYSIA [email protected] [email protected] ABSTRACT This paper discusses theoretically on the factors driving the Thai & Japanese horror film industry. The appeal of horror films from these countries is due to the uniqueness of their culture, religious beliefs, as well as socio-political circumstances that helped shaping the film industry. Horror films resonate with cinemagoers in the sense that they connect with an individual‟s subconscious yet fundamental need to deal with the things or issues that frighten him or her. Derry (2009) stated, in the way they work upon the audience, films act as dreams while horror films are the nightmares. Kellner (1995) also stated that horror films unearth the “hopes and fears that contest dominant hegemonic and hierarchical relations of power” through the portrayal of both significant dreams and nightmares of a culture and that the culture is attempting to channel them to sustain its current copulations of power and domination. However, Asian countries possess their own unique set of traditions and superstition, urban legends, as well as religious beliefs that are fundamental elements of their national identities such as Buddhism in Thailand & Shintoism in Japan. Teo (2013) credits the global interest in Thai films to the filmmakers‟ ability to present horror as a combination of natural and supernatural force. Besides that, the popularity of the genre in the country is also partly rooted in the Buddhist belief of reincarnation.
    [Show full text]
  • Thai Horror Film in Malaysia. Urbanization, Cultural
    Competence Network DORISEA – Dynamics of Religion in Southeast Asia 1 DORISEA WORKING PAPER ISSUE 23, 2016, ISSN: 2196-6893 MARY J. AINSLIE THAI HORROR FILM IN MALAYSIA URBANIZATION, CULTURAL PROXIMITY AND A SOUTHEAST ASIAN MODEL 23 DORISEA Working Paper, ISSUE 23, 2016, ISSN: 2196-6893 DORISEA WORKING PAPER SERIES EDITORS Peter J. Bräunlein Michael Dickhardt Andrea Lauser Competence Network “Dynamics of Religion in Southeast Asia” (DORISEA) The research network “Dynamics of Religion in Southeast Asia” (DORISEA) connects scholars from various academic institutions focused on Southeast Asia. It is coordinated by the Department of Social and Cultural Anthropology at the Georg-August-University of Göttingen. Its core is formed by scholars from the Universities of Göttingen, Hamburg, Münster, Heidelberg and Berlin (Humboldt University) who are involved in several projects that investigate the relationship between religion and modernity in Southeast Asia. How to cite this paper: Mary J. Ainslie (2016): thai horror ilm in Malaysia. Urbanization, Cultural Proximity and a Southeast Asian model. In: DORISEA Working Paper Series, No. 23. Research Network DORISEA Dynamics of Religion in Southeast Asia Project Ofice Georg-August-University Göttingen Institut für Ethnologie Theaterplatz 15 D - 37073 Göttingen Germany [email protected] www.dorisea.net Competence Network DORISEA – Dynamics of Religion in Southeast Asia 3 MARY J. AINSLIE THAI HORROR FILM IN MALAYSIA: URBANIZATION, CULTURAL PROXIMITY AND A SOUTHEAST ASIAN MODEL ABSTRACT This article examines Thai horror films as the most frequent and evident representation of Thai cultural products in Malaysia. )t outlines the rise of Thai horror cinema internationally and its cultivation of a pan-Asian horrific image of urbanization that allows it to travel well.
    [Show full text]
  • Heroes and Representations of Masculinity in Thai Action Films
    manusya 22 (2019) 34-53 brill.com/mnya Heroes and Representations of Masculinity in Thai Action Films Natawan Wongchalard (นตวัน วงศ์ฉลาด) Lecturer, English Department, Faculty of Humanities, Chiang Mai University, Chiang Mai, Thailand [email protected] Abstract This paper contextualises a cultural construction of hegemonic masculinity and dis- cusses ways in which Thai action film heroes in historical and Muay Thai films are rep- resented. Traditionally, the quality of nakleng is desirable for Thai action heroes along with having mastery in a particular skill. In the moral realm, the idea of gratitude or khwam-katanyu in Thai, is prioritised and highly regarded to be the inevitable requisite for good men, which includes action heroes. This sense of gratitude extends to one’s ideological obligations to one’s motherland or matuphum, which is often thematically portrayed in Muay Thai and historical films through the struggle of the hero. Based on a reading of the two exemplar films, Ong Bak (Muay Thai Warrior 2003, dir. Prachya Pinkaew) and The Legend of King Naresuan: The Elephant Duel (2014, dir. Chatri Chal- erm Yukol), the different social backgrounds of the two heroes, their hegemonic mas- culinity, autonomy and lack can be explained in relation to the discourse of Buddhist spirituality. In addition, the ways in which the two heroes are differently depicted is a cinematic device with the aid of which, in addition to the observance of filmic verisi- militude, the representations are designed to cater to segmented subject/citizen au- diences. In psychoanalytic terms, each hero from the two films is similarly made to acquire autonomy and experience ‘lack’ in different realms of the symbolic order.
    [Show full text]
  • Cinema Diverse 2013
    วันเสารที่ 19 กรกฎาคม 2557 / Saturday 19 July 2014 จิระ มะลิกุล Jira Maligool / Autumn Spring (Czech Republic, 2001) Autumn Spring (สาธารณรัฐเช็ก 2001) กํากับภาพยนตรโดยวลาดิเมียร มิคาเลค Autumn Spring เปนภาพยนตรตลกเสียดสีเคลาน้ําตา กํากับโดยวลาดิเมียร มิคาเลค และนําแสดงโดย วลาสติมิล บรอดสกี้ (Closely Watched Trains และ Jacob the Liar) ในบทฟานดา ชายชราอดีตนักแสดงละครเวทีที่ยังรักความสนุกสนาน เหมือนเด็กไมยอมโต ฟานดาไมอยากคิดถึงสังขารที่กําลังรวงโรยลงทุกขณะ และไมยอมคิดถึง ‘ความตาย’ ทั้งที่ก็รูอยูเต็มหัวใจ วา มันกําลังจะเดินทางมาถึงในอีกไมชาไมนานนี้แลว แมวาเอมิลลี่ภรรยาและจาราลูกชายของเขาจะพยายามพร่ําบนใหเขาเลิก ทําตัวเปนเด็ก ๆ ก็ตาม ฟานดาก็ไมสนใจ และยังคงสนุกสนานกับการปลอมตัว สวมบทบาทเปนคนอื่น ปนหัวชาวบานไป เรื่อย ๆ ฟานดามีเพื่อนสนิทที่เคยรวมแสดงละครดวยกันคือเอดา คูหูวัยเฉียด 200 คูนี้ มักจะสุมหัวกันวางแผนคิดหาสารพันวิธีเพื่อ หยอกเยากลั่นแกลงคนอื่นอยูเสมอ พวกเขาจะแกลงสวมบทบาทไปเรื่อย ๆ วันหนึ่งอาจจะปลอมตัวเปนนักรองโอเปราชื่อดังที่ กําลังอยากหาซื้อบานในชนบท อีกวันอาจจะเปนพนักงานตรวจบัตรโดยสารรถไฟ แตแมวาจะหงุดหงิดแคไหน ลึก ๆ แลวเอมิล ลี่ก็รักเขาและรูดีวาอยางนอยชีวิตคูกับฟานดาก็ไมเคยนาเบื่อ แตความอดทนของเธอก็ถึงจุดสิ้นสุด เมื่อฟานดาแกลงตาย เอมิล ลี่ขอหยา แตในที่สุดทั้งคูก็เขาใจวาเขาทําไปเพราะอะไร แทนที่จะมัวนั่งกังวลถึงวันตายของตัวเอง บางทีชวงเวลาบั้นปลายชีวิต อาจจะเปนชวงเวลาที่เราควรจะละทิ้งความกังวลทั้งหมดและใชวันเวลาที่มีเหลืออยูใหเต็มที่ Autumn Spring เปนภาพยนตรที่ทั้งตลกและเศราในเวลาเดียวกัน หนังพูดถึงการเผชิญหนากับความชราภาพ ชีวิตคู มิตรภาพ และการใชชีวิตใหคุมคาที่สุด ภาพยนตรเรื่องนี้เปนการแสดงครั้งสุดทายของวลาสติมิล บรอดสกี้ หนึ่งในตํานานนักแสดงของ
    [Show full text]
  • Pee Mak Full Movie with Eng Subs
    Pee Mak Full Movie With Eng Subs Pee Mak Full Movie With Eng Subs 1 / 3 2 / 3 Pee Mak Mario Maurer, Beautiful Wife, Mixed Martial Arts, Baby Boy Newborn, ... Night 2017 Episode 32 English Subbed Full HD Online for Free New Movies.. When watching movies with subtitle. FshareTV provides a feature to display and translate words in the subtitle. You can activate this feature by clicking on the .... Watch Pee Mak Phrakanong, Thai Movie directed by Banjong Pisanthanakun, ... Kantaphat Phoemphunphatsuk and วิวัฒน์ คงราศรี full movie online in HD subs .... Subs HD. Rent. Apple iTunes. €3.99 HD. Buy. Apple iTunes. €7.99. Something's wrong? Let us know. DISCOVER. Pee Mak Phrakanong not available on your .... Mak” (Mario Maurer) was no exception and had to leave his pregnant wife to join the fight. Mak introduced them to his beautiful wife “Nak” (Davika Hoorne) and .... Pee Mak Thai Movie Eng Sub (2013). By Lakorn Addict on August 13, 2013. Mak served in the war during the beginning of the Rattanakosin Dynasty. At war he .... The following pee mak phrakanong Episode 1 English SUB has been released. Dramacool will always be the first to have the episode so .... Pee Mak. 2013TV-MA 1h 51mThai Movies. Mak's friends just want to protect him, ... This movie is... Scary, Goofy. Audio. Thai [Original], Thai [Original]. Subtitles. English, Thai ... Twenty years after witnessing a bus full of students disappear, Astrid runs into a man she recognizes as one of the victims and begins to investigate.. Pee Mak is a 2013 Thai comedy-horror-romance film directed by Banjong Pisanthanakun.
    [Show full text]
  • Queens of Langkasuka (2008) Azione, Fiaba E Pirati in Un Kolossal Thailandese
    Queens of Langkasuka (2008) Azione, fiaba e pirati in un kolossal thailandese. Un film di Nonzee Nimibutr con Ananda Everingham, Jarunee Suksawat, Sorapong Chatree, Winai Kraibutr, Chartchai Ngamsan, Attaporn Teemakorn. Genere Epico durata 147 minuti. Produzione Tailandia 2008. Nel XVII secolo il regno della Regina Hijau viene preso in scacco da un principe ribelle che ha preso accordi con i malvagi pirati del capitano Corvo Nero. Giancarlo Zappoli - www.mymovies.it Il potente cannone di Langkasuka è oggetto delle mire di pirati e di principi di dinastie differenti. Ognuno di loro cerca di impossessarsene a prezzo anche di gravi perdite in battaglia. Non si esita anche a mettere in gioco la forza dell'antica formazione dei guerrieri "Doo Lam". La regina di Langkasuka è fatta oggetto di un attentato che fallisce ma che le offre la prova della necessità (per lei e le sue due sorelle principesse) di tentare il tutto per tutto per difendere il regno.Nonzee Nimibutr è un regista relativamente giovane (si è laureato in comunicazione nel 1987) ma già molto famoso nel suo Paese per l'impulso che ha dato all'affermazione del cinema tailandese. Questo film costituisce un esempio paradigmatico di una cinematografia assolutamente in grado di emulare i kolossal made in Usa con in sovrappiù la conservazione di un piacere intatto per la narrazione epica priva di sovrastrutture. Una facile operazione di lancio lo ha paragonato a 'Pirati dei Carabi' dal quale invece si distanzia profondamente per la assoluta noncuranza nei confronti di sovratesti depistanti o di ammicchi allo spettatore. La mescolanza di molteplici generi (dal ninja alla pirateria, dalla fiaba all'epico) non nuoce affatto alla complessità del film (di una lunghezza considerevole).
    [Show full text]
  • Mak, Nak and People of Phra Khanong"
    Whose Voice? Love Legend of Phra Khanong: A Case of "Mak, Nak and People of Phra Khanong" Arunwadi Leewananthawet, Assumption University, Thailand The Asian Conference on Arts & Humanities 2016 Official Conference Proceedings Abstract The love legend of Mae Nak Phra Khanong was perceived and portrayed as a haunting, revenge and furious ghost story for almost a century. In 1999, Nonzee Nimibutr’s version of Nang Nak was claimed as the first version that humanized Mae Nak and depicted tragic aspect of her as a mournful young lady who devoted her life to her husband, a strong stereotype of how Thai girl (in the past) should conduct. However, Nimibutr had also highlighted the aspect of Buddhist Animism that finally ended ‘the life of Mae Nak’ in this story. The truth is Mae Nak has never died. In 2013, Banjong Pisanthanakun and his team had recreated a comedy version of this legend to retell a reverse aspect from Mak, Nak’s husband, and his friends. This version declared a turning point of how this legend has been perceived and also how the contemporary Thai society has evolved. The research began to question and revisited this legend. In order to investigating the roots of personal and political conflicts in the legend and in contemporary Thai society, the researcher embarked on the collaboration of revising the story of Mak, Nak as individuals and the society of Phra Khanong. This research paper examines and reinterprets individualism and community. The concept of ‘ghost’ and the sense of belonging in the community have been explored and questioned.
    [Show full text]
  • Festivalul De Film Asiatic / Asian Film Festival
    FESTIVALUL DE FILM ASIATIC / ASIAN FILM FESTIVAL Ediția a 4-a, București 19–28 Iunie 2009 / 4th Edition, Bucharest, 19–28 June 2009 ple şi un gol în peisajul cultural românesc. FestASIA’S NOT DEAD! FestASIA există în mare măsură datorită prieteni- lor de la Ogilvy, al căror ajutor a venit atunci când mai existau puţine şanse ca FestASIA să reînvie. Sloganul acestei ediţii este A Totally Different Ex- perience for the Eye, tot vizualul Ogilvy fiind con- ceput în jurul temei OCHI. Astfel încât ce poate fi mai potrivit anul acesta decât prezentarea După nenumărate amânări şi anulări, a IV-a ediţie trilogiei cult a fraţilor Danny şi Oxide Pang – The a unui festival neiubit de autorităţi, dar foarte iubit Eye? Poate doar descoperirea a două filmuleţe de public, va avea loc în Bucureşti. scurte cu OCHI scoşi: The Perfect Red Snapper Fish şi A Chalk, ambele venite de la Universitatea FestASIA este, deci, un festival punk. Şi asta nu Naţională de Arte din Coreea de Sud. doar pentru că a pornit cu buget zero, ci şi pentru 2 că, luptându-se cu aproape toată lumea, reuşeşte Focus Thailanda e unul din vârfurile ediţiei de anul 3 să supravieţuiască. Mai mult, continuă să îşi spo- acesta, cu patru lung-metraje şi patru scurt-me- rească numărul de spectatori şi de admiratori. traje în selecţie, iar în secţiunea Panorama puteţi vedea filme recente, prezentate la festivaluri mari FestASIA este singurul festival de film asiatic din din întreaga lume. Pe lângă acestea – secţiunile această parte a Europei. Filmul asiatic are un obişnuite: ShortASIA şi AnimASIA.
    [Show full text]
  • Download Download
    Singapore 98 By Toh, Hai Leong Fall 1998 Issue of KINEMA th April-2nd May) started just before the closing of the more established 22nd Hong Kong International Film Festival on18th April. Big is the word for this year’s festival and the 300 films shown is nearly twice the size of Hong Kong’s output of 160 films. Of course, more does not necessarily mean better. However, the Singapore festival this year did have an overwhelming number of entertaining features, avant garde feminist video works (Women About Women), a flood of South East Asian shorts and experimental films, seminar workshops with the proponents ofthe emerging Asian-American cinema, led by Chris Chan Lee (Yellow), Renee Tajima-Pena (My America ... Or Honk If You Love Buddha), lara Lee (Modulations), Jon Moritsugu (Fame Whore). There was a tribute to Cannes’ 50th Anniversary with a slew of l 5 French Golden Palm winners and a Wim Wenders’ retrospective comprising l5 films. Homage was also paid to Thailand’s Cherd Songsri with special focus on his country’s cinema. This time the Festival Fringe held a screening of 33 shorts, mostly documentary. Not forgotten were the American independent films and Canadian films, one of which was Clement Vigo’s memorable The Planet of Junior Brown as well as the usual array of notable World and Asian films. While the prestigious Hong Kong festival seems to have waned somewhat in quantity and quality, its Sin- gapore counterpart has continued on an aggressively eclectic path which has been rewarded with good attendances for the major Asian and international films.
    [Show full text]
  • Bangkok Is Burning: Queer Cultural Productions of Thainess in Diaspora
    BANGKOK IS BURNING: QUEER CULTURAL PRODUCTIONS OF THAINESS IN DIASPORA A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN AMERICAN STUDIES JULY 2018 By Pahole Sookkasikon Dissertation Committee: Vernadette Vicuña Gonzalez, Chair Lorena Joyce Zapanta Mariano Elizabeth Colwill Cristina Bacchilega Mariam Lam Keywords: Thai Studies, Thai American Studies, Cultural Studies, Diaspora, Gender and Sexuality, Popular Culture, and Media ©2018 By Pahole Sookkasikon All rights reserved ii DEDICATION: For everyday Thais who maintained the delicate balance. iii ACKNOWLEDGEMENTS This project would not be here today without the unwavering support of my dissertation committee. I owe an unpayable debt to my chair, Dr. Vernadette Vicuña Gonzalez, who helped deepen my project and its contributions to Thai American Studies. Throughout my tenure as a PhD student, Professor Gonzalez was tough mentor, pushing me to think about the importance of my project. “Bangkok is Burning” would not be possible without her guidance. In addition to her mentorship and help, she has been a friend, understanding that I, as a queer student of color and the child of immigrants, continually had pressing obligations outside of the academe. For her compassion, generosity, and much more, I am forever obliged. I am also indebted for the backing, intellectual growth, and friendship that my entire committee gave me throughout this process. In addition to Vernadette Gonzalez, my committee of Joyce Mariano, Elizabeth Colwill, Cristina Bacchilega, and Mariam Lam, helped cultivate my ideas, guiding me, in different ways, through the doctoral process.
    [Show full text]