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View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarBank@NUS Created in its own sound: Hearing Identity in The Thai Cinematic Soundtrack Deborah Lee National University of Singapore 2009 Acknowledgements Heartfelt thanks goes out to the many people that have helped to bring this thesis into fruition. Among them include the many film-composers, musicians, friends, teachers and my supervisors (both formal and informal) who have contributed so generously with their time and insights. Professor Rey, Professor Goh, Prof Irving, Prof Jan, Aajaarn Titima, Aajaarn Koong, Aajaarn Pattana, I really appreciate the time you took and the numerous, countless ways in which you have encouraged me and helped me in the process of writing this thesis. Pitra and Aur, thank you for being such great classmates. The articles you recommended and insights you shared have been invaluable to me in the research and writing of my thesis. Rohani, thanks for facilitating all the administrative details making my life as a student so much easier. Chatchai, I’ve been encouraged and inspired by you. Thank you for sharing so generously of your time and love for music. Oradol, thank you so much for the times we have had together talking about Thai movies and music. I’ve truly enjoyed our conversations. There are so many other people that have contributed in one way or the other to the successful completion of this thesis. The list goes on and on, but unfortunately I am running out of time and words…. Finally, I would like to thank God and acknowledge His grace that has seen me through in the two years of my Masters program in the Department of Southeast Asian Studies. It has truly been His provision that I found a safe place in my Masters program to rediscover my love for music in a singularly unique way. i TABLE OF CONTENTS Acknowledgements i Summary iv List of Tables v List of Figures v Chapter 1: How the Thai Identity is “Heard” on the Silver-screen 1 1.1 Thai Cinema’s “New Wave” 1 1.2. A Musical Language 6 1.3 Listening for Identifications in Thai Film-Music 8 1.4 Globalization = Cultural Imperialism? 10 1.4.1 Perceptual Association 12 1.5 Hybrid Scores ≠ Fusion Music 12 1.6 The Habitus of the Thai Middle Class 13 1.7 The “Use” and Reassignment of Meanings in Thai Film-Music 15 1.8 Tapping the Unconscious 19 1.9 Organization 21 Chapter 2: The History and Nature of Film Music in Thailand 24 2.1 Western Influence in Thai Music 24 2.2 The Early Beginnings of Thai Film-music 24 2.2.1 The Siamese Brass Band 28 2.3 Thai Classical Music 30 2.4 Plaeng Thai Sakon 33 2.4.1 Lukroong 33 2.4.2 Lukthoong 34 2.4.3 String 37 2.5 The Thai “Orchestral” Film-Score? 38 2.5.1 The Status of Thai Film Music Today 38 2.5.2 Some Characteristics of the Modern Thai Film-Score 41 2.6 “There is nothing new under the sun” 47 Chapter 3 “Occidentalizing” the West in Thai Film Music 49 3.1 An Alternative Thai Identity 49 3.2 Unpacking “Occidentalism” 49 3.3 The Thai Identity and the West 51 3.4 The Use of Stereotypes: Thai vs. Farang 59 3.5 “Hound Dog” 61 3.6 Forrest Gump vs. Dang Bireley 62 3.7 Contested Versions of the Thai Identity 66 ii Table 3.1 “Dang Bireley Movie Cues” 67 Fig 3.1 “James Dean pendant hanging from Dang’s Neck” 68 3.8 Cultural Fusion 69 Chapter 4: “Hearing Utopia”-The Musical Rural 74 4.1 Music and Utopia 74 4.2 Nostalgia and The Rural Thai Utopia 77 4.3 The Retro Traditional Rural Utopia 82 4.4 The Surrealistic Post-modern Rural Utopia 86 4.5 Musical Comedy and Rustic Pastiche 92 4.6 Perceptual Association and Rural Stereotypes 96 Chapter 5: Hearing Thailand: A Mere Matter of “Taste”? 98 5.1 Does “Taste” Transcend Passports? 98 5.2 Scoring the South 100 5.2.1 The Historical and Regional Identity of Southern Thailand 100 5.2.2 The Way We “Hear” the South 103 5.3 A “Taste” For Western Music (For Specific Personality Types) 108 5.4 Not Quite So Queerly Thai 111 Fig 5.1 “Love Of Siam (Thai Poster)” 113 Fig 5.2 “Love Of Siam –(Amazon.com / American Poster)” 115 5.5 Beautiful Boxer Vs. The Love of Siam 119 5.6 The Spectre of Nation 128 Chapter 6: Outro 132 6.1 The Ever Changing Formulations of “Thainess” 132 6.2 Ending Thoughts 136 Bibliography 139 Appendix 145 A) List of Movies Watched (By Alphabetical Order) 145 B) List of People Interviewed 146 C) DVD Contents 146 D) DVD 1 & 2 147 iii Summary The study of film-music is a rapidly growing field transcending purely musicological studies and crossing into the disciplines of gender, film and anthropological studies. However, most studies on film music have been limited to that of Hollywood and European Cinema. In contrast, there is a striking dearth of studies on the music of Asian cinema and more specifically, what these musics tell us about the societies in which they are produced. This paper attempts to fill in part of this gap by exploring representations of the Thai Identity in Thai Movie Soundtracks within the past fifteen years. Through this study, I approach film-music not only as a language and marker of identity but also as a mode of meaning production and consumption which sheds light on the inner workings of the Thai cultural system, revealing the “hidden codes” of unspoken rules and normative perceptions within the habitus of a Bangkok-based Thai-Middle class. iv List of Tables Table 3.1 ““Dang Bireley Movie Cues” 68 List of Figures Figure 3.1 “James Dean pendant hanging from Dang’s Neck” 69 Figure 5.1 “ Love of Siam (Thai Version)” 113 Figure 5.2 “Love of Siam (Amazon.com/American Version)” 115 v Chapter 1: How the Thai Identity is “Heard” on the Silver-screen 1.1 Thai Cinema’s “New Wave” Stark silence fills the office-room as twenty blue-uniformed bank secretaries look intently at their boss: a bald-patched, pot-bellied middle-aged man, gazing out from the office-window to the cityscape of Bangkok. Tum arrives late. She peeks in through the glass window in the door, opens it and creeps slowly into the office. As sneaks in to join the rank of secretaries at the back, the boss turns around and gazes at her, she returns his look sheepishly. “I’m sure that everyone here is well-aware of the current economic situation,” he says, breaking the silence as the leans back against the window, with two hands spread out on the railing. “During the past year the executive board and I have been fighting hard to maintain the company situation. However, today we have to face the hard facts…we now have to make a tough decision that nobody wants to make…” Pausing deliberately, he walks towards the desk and picks up a red canister of Buddhist prayer sticks and hands it towards one of the secretaries: an elderly lady who hesitates for a few moments before reluctantly taking the canister. She looks at him imploringly but he snaps, “come on, shake it and pass it on.” She nods and starts to shake it, her forehead creased. All the sticks fall out of the canister, leaving one. She picks this one out and then passes on the canister, now refilled, to the next employee, a bespectacled young lady who proceeds to shake the canister. “Three employees will be laid off today.” The young lady stops abruptly and peers at him from behind her glasses; after a pause, she then solemnly raises the canister to her forehead and says a silent prayer before resuming the shaking process. “You all know that I think of you as one big family, like brothers, like sisters…we’re just like relatives. I can’t bring myself to decide who will go and who will stay, I simply don’t want to do that. So I thought it best to let fate decide.” Finally after everyone has drawn the numbered prayers-sticks, the boss picks up an envelope on the table and draws out a letter to announce, “Seven…” The young lady draws in a sharp breath and crumples onto the floor. He glances at her fainted form on the floor cursorily before picking out the next victim. 1 “Three…” “No, how can this be?” The elderly lady cries out. ‘This is very unfair… how will I feed my family? I still have a mortgage to pay!” She stumbles out of the office, sobbing leaving all the other secretaries visibly distressed. Unfazed, the boss continues to read the last number, “Nine…” Tum’s eyes, widen in shock, it is hers. -------------------------------------------------------------------------------------------------------------- Tum is now heading back home in a bus with her box of office paraphernalia. The Bangkok city-scape fills the backdrop. The khlui (Thai flute) solos plaintively in the underscore juxtaposed against images of modernity and development gone wrong: we see building projects half-completed, a lone crane-operator sitting idly, perhaps even fallen asleep, in the crane. In the meantime, Tum sits in the bus, contemplating her rapid change of fate. This passage describes the opening scene of 6ixtynin9 (1999), Pen-Ek Ratanaruang’s second feature movie.
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