DOCSLIB.ORG

Wisit Sasanatieng

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Wisit Sasanatieng Tears of the Black Tiger (Fa talai jone) : Wisit Sasanatieng Autor(en): Waeger, Gerhart Objekttyp: Article Zeitschrift: Filmbulletin : Zeitschrift für Film und Kino Band (Jahr): 44 (2002) Heft 238 PDF erstellt am: 26.09.2021 Persistenter Link: http://doi.org/10.5169/seals-865469 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch NEU IM KINO FILMBULLETIN 4.02 TEARS OF THE BLACK TIGER (FA TALAI JONE) Wisit Sasanatïeng In den Bildern, die die Vorspanndaten Tochter mit dem wackeren Polizeihauptmann te Schlange fällt, die Mahesuan sonst gebissen unterbrechen, regnet es in Strömen. Eine Kumjorn vermählen, dem geschworenen hätte. Dum hat seinem Feind das Leben hübsche Frau in rosa Bluse und rotem Jupe Feind des Gangsterbosses Fai, zu dessen gerettet und ihn (wenigstens vorübergehend) wartet in einem erhöht liegenden offenen Bande auch Dum gehört, der dadurch natur- als Freund gewonnen. Wie der Regisseur in Pavillon auf einen Mann, dessen Foto sie in gemäss in grosse Gewissensnot gerät. So verrät einem Interview erklärte, liess er sich zu Szenen Händen hält und sehnsüchtig anschaut. Es er dem Bräutigam der Geliebten einen dieser Art von einem «Likay» genannten, folgt eine wilde Schiesserei, in die der Mann geplanten Überfall der Räuberbande, was ihn in in Thailand populären volkstümlichen Theater auf dem Foto verwickelt ist und dadurch von der Folge sowohl bei den «Guten» als auch inspirieren. Doch die gemalten Kulissen seinem Rendezvous abgehalten wird. Dann bei den «Bösen» zum Aussenseiter macht. sind nicht der einzige Verfremdungseffekt in wird dem Zuschauer in einem Schriftzug die Dabei wird auch sein Freund Mahesuan, mit dieser melodramatischen Geschichte um Liebe, Frage gestellt: «Haben Sie begriffen? Sonst dem er einst Blutsbrüderschaft geschlossen Treue und Gewalt: tears of the black zeigen wir es nochmal!» Der Zuschauer hat hat, zu seinem Feind. tiger wird durchgehend von knalligen, begriffen: Hier ist Selbstironie im Spiel. Es Wenn Dum bereits in einer der ersten «unnatürlichen» Farben dominiert. Sasanatieng geht um Bilder, letztlich um eine Geschichte, Szenen seine Mundharmonika (die ihm einst erreichte dies mit einem neuartigen zu der man Distanz halten kann, die man von Rumpoey geschenkt worden ist) hervornimmt Einfärbeverfahren: Er transponierte das nicht für voll nehmen muss - über die man und eine traurige Melodie zu spielen Filmmaterial vorübergehend auf Video, was ihm letztlich auch lauthals lachen darf, ohne beginnt, glaubt man sich natürlich in einen die Möglichkeit gab, mit dem Computer zu deswegen ein schlechtes Gewissen haben zu Italowestern versetzt. Dazu passen auch die spielen. Im Endeffekt entstanden Bilder, die müssen. Eine Aufforderung, der man um so Schlapphüte, die die auf schnellen Pferden zuweilen an Andy Warhol erinnern. Die lieber Folge leistet, als es sich ja um einen quer durch die karge Landschaft rasenden raffinierte Verbindung dieser eigenwilligen Film aus Thailand, aus einer uns völlig fremden Männer tragen. Zahlreich sind in der Tat die Farbdramaturgie mit Actionszenen im Western- Kultur handelt, einen Film also, zu dessen Anspielungen und Zitate nicht nur auf den stil dürfte wohl den Ausschlag dafür gegeben Verständnis der Zuschauer hierzulande Italowestern, sondern auch auf klassische haben, dass tears of the black tiger auf Untertitel angewiesen ist, sofern ihm - Hollywoodwestern der Fünfziger- und letztes Jahr als erster thailändischer Film wie in diesem Falle - eine deutsche Sechzigerjahre. Doch TEARS OF THE BLACK nach Cannes (in die Sektion «Un certain Synchronfassung erspart geblieben ist. Ironische tiger ist weder eine simple Parodie auf die regard») eingeladen wurde. Verfremdungen und lakonischer Bildwitz verschiedenen Spielarten des Western noch lockern das thailändische Melodrama, in ein «Eastern», was immer man darunter Gerhart Waeger dem es um sehr viel Gewalt, jedoch nie um verstehen mag. Zwar bringt der auch fürs Drehbuch Sex geht, immer wieder auf. So werden verantwortliche Wisit Sasanatieng seine Regie und Buch: Wisit Sasanatieng; Kamera Nattawut Kit- tikhun; Schnitt: Dusanee Puinongpho; Art Director: Akra- beispielsweise einmal die beiden Projektile, die immense Kenntnis der Filmgeschichte dech Kaew Kotr, Rutchanon Kayangnan; Kostüme: Chaiwi- zwei auf sich abgeschossen immer wieder ins sein Gegner gleichzeitig Spiel, garniert chit Somboon; Musik und Ton: Amornbhong Methakuna- haben, auf ihrem Weg bis zum Zusam- unterhaltsames Spektakel indes mit soviel thailändischer vudh. Darsteller (Rolle): Chartchai Ngamsan (Seua Dum, menstoss in Zeitlupe und Grossaufnahme Folklore, dass daraus etwas völlig the "Black Tiger"), Stella Malucchi (Rumpoey), Supakorn vorgeführt. Eigenständiges entsteht. Kitsuwon (Mahesuan), Arawat Ruangvuth (Police Captain Kumjorn), Sombat Metanee (Fai), Pairoj Jaisingha (Phya Bei soviel kinematographischem Spass unverwechselbar wird Völlig tears of Prasit), Naiyana Sheewanun (Rumpoey's Maid), Kanchit Schicksalswendungen und Klamauk wird die an the black tiger durch die von Sasanatieng (Kamnan Dua), Chamloen Sridang (Sergeant Yam). Produktion: und Überraschungen reiche Handlung entwickelte Farbdramaturgie. Satte, für Film Bangkok, Bec-Tero Entertainment; Produzent: fast zur Nebensache, zum roten Faden für westliches Empfinden oft kitschige Farben (Rosa Nonzee Nimibutr; Co-Produktion: Aichi Arts Center, Five Produzenten: Pracha Malee- unerwartete Pointen. Die umworbene schöne und Grün dominieren) bestimmen das Bild - Star Productions; ausführende nont, Brian L. Marcar, Adirek Wattaleela. Thailand 2001. Dame reichem Hause, die sich die und dies auf zwei Ebenen: Einerseits aus um spielen Originalsprache: Thai; Dauer: 110 Min. CH-Verleih: Frenetic Männer reissen, kennen wir bereits aus der manche Szenen vor gemalten Kulissen, was Films, Zürich Eingangsszene. Es ist Rumpoey, die im strö- zuweilen humorvolle Effekte ergibt. So menden Regen vergeblich auf den zum Gangster stehen sich Dum und Mahesuan einmal in gewordenen Bauernsohn Seua Dum typischer Westernpose vor einer solchen Kulisse gewartet hat, den von seinen Kumpanen «Black drohend gegenüber. Dum zieht als erster und Tiger» genannten Titelhelden des Films. schiesst, allerdings in die Baumkrone über Rampoeys Vater allerdings möchte seine seinem Gegner, aus der auch prompt eine to¬ |;T Ï.
Load more

Recommended publications
  • 1997 Sundance Film Festival Awards Jurors
    1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J.
    [Show full text]
  • 1,000 Films to See Before You Die Published in the Guardian, June 2007
    1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
    [Show full text]
  • Wisit Sasanatieng
    Wisit Sasanatieng Underfundig humor og stærke farver er vigtige ingredienser i den thailandske instruktør Wisit Sasanatiengs to første film, der begge sprudler af visuelt overskud Thailand er flere gange inden for det en ellers ganske konventionel historie om seneste par år blevet udnævnt til en af de stor, ulykkelig kærlighed. mest interessante filmnationer i Asien. I Tears o f the Black Tiger, som havde sin deres evige, næsten desperate søgen efter internationale premiere på filmfestivalen noget nyt og originalt har filmkritikerne i Cannes for fem år siden og siden har det med at uddele den slags titler til højre rejst verden rundt, er en spøjs og meget og venstre. Men i Thailands tilfælde er der underholdende blanding af gammeldags rent faktisk noget om snakken. Efter at western og kulørt melodrama. Den foregår Thailand filmisk set har været et regulært i Thailand i en ikke nærmere defineret uland i mange år, har man på festivaler fortid og handler om den fattige Dum med rundt om i verden - ikke mindst NatFilm tilnavnet Black Tiger og hans gengældte Festivalen i Danmark - kunnet mærke et forelskelse i Rumpoey, datter af en lokal frisk pust fra en række unge og ofte meget guvernør. Skæbnen er ikke de unge forskellige instruktører, og nu har man elskende nådig, og Dum, der i desperation indtrykket af et mangfoldigt filmmiljø har sluttet sig til en bande hærgende, i rivende udvikling. Senest har den plyndrende cowboys, må kæmpe med både thailandske regering, i et ambitiøst forsøg politi og sine kammerater, da han finder på at fastholde succesen, tilmed etableret ud af, at Rumpoey står for mod sin vilje at en international filmfestival i Bangkok.
    [Show full text]
  • The Epic of Heroes---On the Creation of Thai Movie of Legend and Epic
    2018 7th International Workshop on Arts, Culture, Literature, and Education (IWACLE 2018) The Epic of Heroes---On the Creation of Thai Movie of Legend and Epic Yijie Wan Guangxi University for Nationalities, Guangxi Nanning, China Keywords: Thailand; Thai film; Hero; Epic Abstract: In 90s of 20th century, Epic movie is the most representative film type in the renaissance of Thai movie, which is mostly based on the classical legend and epic in Thai history and full of the unique feeling of religious and romantic poetry. Based on the origins of Thai epic and legend movie, our research has analyzed its story model and specifications of art as the classical movie model in contemporary Thailand, in order to find out the Thai national idea and the art imagination that shown in the movies. 1. Introduction In 21st century, a remarkable force has shown in the processing of the rise of Thai film, which is the rapid development of Thai legend epic movie (it will be called epic movie in following).This kind of movie can easily gain plenty of popularity, which can easily cross the boundaries and gaps between countries and cultures as the action movies, moreover, it is incline to gain more popularity from the panel group of every movie festival than other type of films. Although there are still lots of disadvantages in such kind of film, people also willing to spend money to watch this sort of film that made by some great scene and remarkable production. As for the content of this kind of movie, the famous battles in Thai history, especially the national anti-invasion campaigns are always the major subject, which pay a lot of attention to forge the national hero figures, and the scene of this kind of movie is always significant and splendid, digital and video technologies are also used a lot in the production, besides, the international mass epic story model is always used to present.
    [Show full text]
  • Film and History in Kansas and the Great Plains Edited and Introduced by Thomas Prasch
    INSURGENTS AND GUERILLAS , COWBOYS AND INDIANS , LIONS AND TIGERS AND BEARS Film and History in Kansas and the Great Plains edited and introduced by Thomas Prasch or anyone wondering how committed Hollywood is today to the historical film, this year’s Oscars provided ample evidence: four of the five pictures nominated for Best Picture (Frost/Nixon, Milk, The Reader, and The Curious Case of Benjamin Button; indeed, all but the winning Slumdog Millionaire) were rooted in historical situations; add in a few stray nominations in other categories (Foreign Language Film, Costume Design), and it is ample testimony to the continued fascination of Hollywood with the historical past. And if none of the films reviewed in this year’s selection for FKansas History quite made that grade (two of the films under review, 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, did garner nominations in 2008, but not for Best Picture), it is nevertheless clear that, as long as filmmak- ers continue to find in historical events a framework for understanding, Kansas and the Great Plains are bound to figure in the mix. Why? Just ask Bob Dylan. Dylan, interviewed by the London Times about our new president, had this to say about Barack Obama and Kansas: “He’s got an interesting background. He’s like a fictional character, but he’s real. First off, his mother was a Kansas girl. Never lived in Kansas though, but with deep roots. You know, like Kansas bloody Kansas. John Brown the insurrectionist. Jesse James and Quantrill.
    [Show full text]
  • The Cinema of Attractions Syllabus V.5 Gz
    THE CINEMA OF ATTRACTIONS/ H72.0106 Spring 2011 Department of Cinema Studies Tuesdays, 6pm-10pm Professor Gregory Zinman, [email protected] Office hours: by appointment COURSE BLOG: http://thecinemaofattractions.wordpress.com COURSE DESCRIPTION Tom Gunning’s theory of a “cinema of attractions” has led to a considerable reexamination of early film and its relationship to the cinematic avant-garde. This course seeks to extend the notion of an “attractions”-based cinema through the present day, via an investigation of diverse moving image practices that foreground spectacle via technological innovation. Cinema practices to be considered will include avant-garde film, video art, music video, online video, and Hollywood blockbusters. Such considerations will illuminate formal convergences while highlighting ideological differences, and will help to shape an understanding of how mainstream and avant-garde moving image practices operate as interpenetrating cinemas that inform one another. Readings will draw on film and cultural theory, with an emphasis on issues of aesthetics, visual pleasure, and the technologies that have shaped and refined spectacular cinema in its various manifestations. REQUIRED TEXT: The Cinema of Attractions Reloaded (Amsterdam: Amsterdam University Press, 2007) Available at the NYU Bookstore All other readings will be available as PDFs and weblinks on the course blog. Password for course readings: attractions SYLLABUS 1/25: The Cinema of Attractions Readings: Tom Gunning, “The Cinema of Attraction[s]: Early Film, Its Spectator and the Avant-Garde,” The Cinema of Attractions Reloaded (Amsterdam: Amsterdam University Press, 2007), 381-388. Charles Musser, “Rethinking Early Cinema: Cinema of Attractions and Narrativity,” The Cinema of Attractions Reloaded, 389-416.
    [Show full text]
  • Made in Thailand. Thainess, Performance and Narration in Contemporary Thai Cinema
    Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2010 Made in Thailand - Thainess, Performance and Narration in Contemporary Thai Cinema Böhler, Natalie Abstract: Her dissertation focuses on Thai cinema, nationalism and cultural globalization and contributes to an understanding of local cinema experience, as seen in the context of local exhibition practices, storytelling traditions and orality, and transnational media culture. Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-132492 Dissertation Published Version Originally published at: Böhler, Natalie. Made in Thailand - Thainess, Performance and Narration in Contemporary Thai Cinema. 2010, University of Zurich, Faculty of Arts. Made in Thailand. Thainess, Performance and Narration in Contemporary Thai Cinema Thesis presented to the Faculty of Arts of the University of Zurich for the degree of Doctor of Philosophy by Natalie Boehler of Mellikon AG Accepted in the spring semester of 2010 on the recommendation of Prof. Dr. Christine N. Brinckmann and Prof. Dr. A. Riemenschnitter 2012 Natalie Boehler: Made in Thailand. Thainess, Performance and Narration in Contemporary Thai Cinema Table of Contents 1. Introduction 5 2. Contemporary Thai Film and Its Role as National Cinema 10 2.1 Post-1997 Developments in Thai Cinema 10 Transnationality 14 Outlook 18 The Economic Meltdown and the Resurgence of Thainess 19 Thainess, State Representation and Censorship 21 Independent Film 29 2.2 The Idea of the Nation in Contemporary Thai Film 33 Nang yon yuk and Folklore: Stories of the Nation 33 The Country, the City and the Golden Age: «Authenticity» and Nostalgia 37 Images of the Self and the Foreign Gaze 42 Mirroring the Foreign Gaze: Deconstructive Thainess 44 2.3 National Culture and the Global Market 51 Transnational Influences and Coproductions 51 Thainess «Goes Inter»: Self-Exoticization and Dual Readings 55 «Made in Thailand» – Ambivalence and Source of Inspiration 60 3.
    [Show full text]
  • 2006 October World Cinema Schedule 2
    OCTOBER 2006 PROGRAMMING SCHEDULE - version 2 Time 10/01/06 - Sun 10/02/06 - Mon 10/03/06 - Tue 10/04/06 - Wed 10/05/06 - Thu 10/06/06 - Fri 10/07/06 - Sat 10/08/06 - Sun Time Passport to…Australia: October 6 (starts 8:00 pm) Passport to…Hong Kong: October 7 (starts 6:35 am) 6:00 AM BEYOND SILENCE LIGHT OF MY EYES THE BIG BLUE MOHAMMAD CONT'D (3:05 AM) KING OF HEARTS STRANGE FITS OF PASSION METADE FUMACA 6:00 AM CONT'D (5:20 AM) CONT'D (4:45 AM) CONT'D (5:30 AM) TV-PG CONT'D (5:05 AM) CONT'D (5:10 AM) CONT'D (5:50 AM) 6:30 AM TV-PG THERESE Passport to…Hong Kong 6:30 AM ELENA AND HER MEN 6:05 AM TV-PG-L TV-14-L 7:00 AM TV-PG 6:40 AM HOP PRINCESS D 7:00 AM YOTSUYA KAIDAN PART I 6:50 AM 6:35 AM 7:30 AM TV-14-V 7:10 AM R TV-14-V TV-MA-L 7:30 AM TEARS OF THE BLACK TIGER JESUS DE MONTREAL SUN VALLEY CUANDO TODO ESTA 8:00 AM 7:30 AM 7:30 AM 7:40 AM EN ORDEN 8:00 AM TV-PG Passport to…Hong Kong 7:35 AM 8:30 AM TV-PG GOLDEN COACH TV-PGTV-MA-V 8:30 AM YOTSUYA KAIDAN PART II 8:20 AM LIGHT KEEPS ME COMPANY VISIBLE SECRET 9:00 AM TV-14-V 8:40 AM 8:40 AM 8:15 AM 9:00 AM METADE FUMACA TV-PG-LV 9:30 AM 9:00 AM TV-14-LS TV-MA-LS INCH ALLAH DIMANCHE 9:30 AM TV-PG SWEET REVENGE VIGO: A PASSION FOR LIFE PG-13 9:15 AM 10:00 AM THE ART OF AMALIA TV-MA-L 9:30 AM 9:40 AM AY, CARMELA! Passport to…Hong Kong 10:00 AM 9:55 AM LIGHT OF MY EYES 9:55 AM PG-13 10:30 AM 10:05 AM CHUNGKING EXPRESS 10:30 AM TV-14-L 10:00 AM PG 11:00 AM PRINCESS D TV-14-V THE BIG BLUE 11:00 AM 10:45 AM TV-PG SUN VALLEY TV-PG 10:55 AM 11:30 AM YOTSUYA KAIDAN PART I 11:00 AM THERESE TV-14-V 11:30 AM 11:25 AM 11:25 AM KING OF HEARTS Passport to…Hong Kong 12:00 PM R 11:40 AM TV-PG-LV 12:00 PM TV-14-V THE CASTLE EASY MONEY 12:30 PM TEARS OF 12:00 PM 11:45 AM 12:30 PM THE BLACK TIGER TV-PG TV-PG 1:00 PM 12:25 PM YOTSUYA KAIDAN PART II PG TV-PG THE MAKIOKA SISTERS 1:00 PM 12:50 PM TV-PG THE BIG BLUE JESUS, YOU KNOW TV-PG Passport to…Hong Kong 12:55 PM 1:30 PM ELENA AND HER MEN 1:00 PM 1:00 PM LIGHT KEEPS ME COMPANY TV-14-LV 1:30 PM TV-14-V 1:25 PM 1:25 PM 2000 A.D.
    [Show full text]
  • BACC E-Journal 2021.Pdf
    1 Message from the Director Luckana Kunavichayanont 2 “Intelligence is the capacity to perceive the essential, The BACC agenda has begun its second decade with the what is; and to awake this capacity, in oneself an expansion of new possibilities, utilizing other and in others, is education.” – Jiddu Krishnamurti platforms for displays, participatory activities, and information dissemination to help us reach a larger Since its inception more than 12 years ago, the audience. Beyond organizing lectures by artists and Bangkok Art and Culture Centre (BACC) has aimed experts, we are thrilled to have these opportunities to be a source of learning based on the content of because they expand the potential for learning our artistic and cultural works relating to the history beyond the Pathumwan intersection. At the moment, of modern and contemporary art movements in the wonderful collaborative participation we have Thailand and around the world. It’s all a process of received from artists, curators, professors, and experts fostering inspiration, encouraging critical thinking in art and culture, as well as various fields of the and the posing of questions in order to awaken social sciences, can be seen in the articles they have understanding, make connections, and bring rational contributed to Volume 1 of the Bangkok Art and analysis to a variety of issues. Culture Centre E-journal. Learning in this space not only generates excite- The Bangkok Art and Culture Centre places a high ment and entertainment through forms of art that value on the presentation of diverse artistic and are beautiful, impressive, diverse, or represent new cultural works, as well as the promotion of cross- trends; it also trains us to read both past and present disciplinary collaboration.
    [Show full text]
  • Bangkok 2003
    Bangkok 2003 By Toh, Hai Leong Spring 2003 Issue of KINEMA BANGKOK INTERNATIONAL FILM FESTIVAL 2003 Last October, festival founder Brian Bennett attempted to mount what should have been the festival’s 5th edition but this was not to be due to lack of funds. This year’s edition has been taken over by main sponsor and organiser, the Tourism Authority of Thailand (TAT), and was simply called the 2003 Bangkok International Film Festival (10-21 January 2003). Interestingly, the presidency of the BKKIFF went to the governor of the cash-rich TAT, Juthamas Siriwan. Patrick de Bokay served as the festival’s executive director and Kriengsak ”Vic” Silakong, the festival’s programme director. The country’s number one English daily, The Nation, handled the festival operations. The declared aim of the organisers was to establish their first BKKIFF as a regional and international hub for film buffs as well as for potential film investors and those in the film trade. Its other equally important objective was to present some of the quirky, new Thai films which have been enjoying success at home and on the international film circuit. These works have been emerging since the late 1990s, and are mostlythe products of a group of overseas-trained local filmmakers and those working for post-production houses or MTV. Injected with a massive US$5 million budget (according to reliable sources), this Bangkok festival which aspires to become the ”Cannes of the East” exuded glamour and pomp with some 150 films and attracted some 200,000 people. However, with few small indie films, that intangible thing called passion looked likeit had been hijacked.
    [Show full text]
  • United States District Court Southern District
    Case 1:17-cv-09554 Document 1 Filed 12/06/17 Page 1 of 81 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK LOUISETTE GEISS, KATHERINE KENDALL, ZOE BROCK, SARAH ANN THOMAS (a/k/a SARAH ANN MASSE), No. MELISSA SAGEMILLER, and NANNETTE KLATT, individually and on behalf of all others similarly situated, JURY TRIAL DEMANDED Plaintiffs, v. THE WEINSTEIN COMPANY HOLDINGS, LLC, MIRAMAX, LLC, MIRAMAX FILM CORP., MIRAMAX FILM NY LLC, HARVEY WEINSTEIN, ROBERT WEINSTEIN, DIRK ZIFF, TIM SARNOFF, MARC LASRY, TARAK BEN AMMAR, LANCE MAEROV, RICHARD KOENIGSBERG, PAUL TUDOR JONES, JEFF SACKMAN, JAMES DOLAN, MIRAMAX DOES 1-10, and JOHN DOES 1- 50, inclusive, Defendants. Deadline 010717-11 1002900 V1 Case 1:17-cv-09554 Document 1 Filed 12/06/17 Page 2 of 81 TABLE OF CONTENTS Page I. INTRODUCTION ...............................................................................................................1 II. JURISDICTION AND VENUE ..........................................................................................5 III. THE PARTIES.....................................................................................................................6 A. Plaintiffs ...................................................................................................................6 B. Defendants ...............................................................................................................7 IV. FACTS ...............................................................................................................................10
    [Show full text]
  • Download Download
    Communication and Media in Asia Pacific (CMAP) 17 Psycho-Physical Character: The Double in Thai Film Entitled The Whistle (2003) Wanwarang Maisuwong Wanwarang Maisuwong ([email protected]) is a Ph.D. Candidate of Faculty of Social and Political Sciences University of Lausanne, Switzerland Abstract Article Info Received 17 October 2019 This article studies a psycho-physical character in a film entitled The Revised 6 March 2020 Whistle (2003). The film presents a romantic story that is unique in the Accepted 11 March 2020 Thai film industry. It is based on the doppelgänger concept which the film’s plot centers on a double character. Furthermore, the article focuses on the cause and impact of the double’s self-presentation, and the self Keywords: self-model that can relate to the main character. The doppelgänger in Self-Presentation, most films reflect the dark side of the character. However, the character’s Mind and Body, double in this film is a better version of himself. This paper aims to Double – Dualism – analyze the background of the characters’ insufficiency, study the Doppelgänger, inspiration behind the characters’ actions, observe the projection and Low Self-Esteem, functioning of the self-presentation, and discuss the main character’s Desire, Imagine – Imagination mind and body. To achieve these objectives, the author views the film under levels of impression monitoring, the double and social relations as well as dualism frameworks. In conclusion, this study can provide critical analysis of the appearance of the doppelgänger, the possible motivations of the self-presentation. Finally, the double creation will be indicated in this article.
    [Show full text]