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Apichatpong Weerasethakul
UNKNOWN FORCES: APICHATPONG WEERASETHAKUL April 18 – June 17, 2007 hold of and ask what I should do. I am consulting a fortune teller now for what the next film should be. She told me the main character (light skin, wide forehead), the locations (university, sports stadium, empty temple, mountain), and the elements (the moon and the water). RI: The backdrops of much of your work accentuate feelings of aloneness and isolation from others. Films like Tropical Malady (2004) and Worldly Desires (2005) traverse remote recesses of distant, even enchanted jungles. In FAITH (2006), you leave earth entirely in search of greater solitude in outer space. You seem interested in or at least drawn to obscure or enigmatic sites that have been left relatively unexplored, untouched, unimagined… AW: That’s what I got from the movies. When you are in a dark theater, your mind drifts and travels. In my hometown when I was growing up, there was nothing. The movie theater was a sanctuary where I was mostly addicted to spectacular and disaster films. Now, as a filmmaker, I am trying to search for similar feelings of wonder, of dreams. It’s quite a personal and isolated experience. Tropical Malady is more about a journey into one’s mind rather than Apichatpong Weerasethakul a real jungle. Or sometimes it is a feeling of “watching” movies. RI: Can you speak about your use of old tales and mythologies in your work? What significance do they hold for you? AW: It’s in the air. Thailand’s atmosphere is unique. It might be hard to understand for foreigners. -
Sight & Sound Films of 2007
Sight & Sound Films of 2007 Each year we ask a selection of our contributors - reviewers and critics from around the world - for their five films of the year. It's a very loosely policed subjective selection, based on films the writer has seen and enjoyed that year, and we don't deny them the choice of films that haven't yet reached the UK. And we don't give them much time to ponder, either - just about a week. So below you'll find the familiar and the obscure, the new and the old. From this we put together the top ten you see here. What distinguishes this particular list is that it's been drawn up from one of the best years for all-round quality I can remember. 2007 has seen some extraordinary films. So all of the films in the ten are must-sees and so are many more. Enjoy. - Nick James, Editor. 1 4 Months, 3 Weeks and 2 Days (Cristian Mungiu) 2 Inland Empire (David Lynch) 3 Zodiac (David Fincher) = 4 I’m Not There (Todd Haynes) The Lives of Others (Florian Henckel von Donnersmarck) 6 Silent Light (Carlos Reygadas) = 7 The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik) Syndromes and a Century (Apichatpong Weerasethakul) No Country for Old Men (Ethan and Joel Coen) Eastern Promises (David Cronenberg) 1 Table of Contents – alphabetical by critic Gilbert Adair (Critic and author, UK)............................................................................................4 Kaleem Aftab (Critic, The Independent, UK)...............................................................................4 Geoff Andrew (Critic -
The Jungle As Border Zone: the Aesthetics of Nature in the Work of Apichatpong Weerasethakul Boehler, Natalie
www.ssoar.info The jungle as border zone: the aesthetics of nature in the work of Apichatpong Weerasethakul Boehler, Natalie Veröffentlichungsversion / Published Version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Boehler, N. (2011). The jungle as border zone: the aesthetics of nature in the work of Apichatpong Weerasethakul. ASEAS - Austrian Journal of South-East Asian Studies, 4(2), 290-304. https://doi.org/10.4232/10.ASEAS-4.2-6 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de Diese Version ist zitierbar unter / This version is citable under: https://nbn-resolving.org/urn:nbn:de:0168-ssoar-286944 ASEAS 4(2) Aktuelle Südostasienforschung / Current Research on South-East Asia The Jungle as Border Zone: The Aesthetics of Nature in the Work of Apichatpong Weerasethakul Natalie Boehler1 University of Zürich, Switzerland Citation Boehler, N. (2011). The Jungle as Border Zone: The Aesthetics of Nature in the Work of Apichatpong Weera- sethakul. ASEAS - Austrian Journal of South-East Asian Studies, 4(2), 290-304. In Thai cinema, nature is often depicted as an opposition to the urban sphere, forming a contrast in ethical terms. This dualism is a recurring and central theme in Thai representations and an impor- tant carrier of Thainess (khwam pen Thai). -
Télécharger Le
ÉDITORIAL L’an passé, rappelez-vous, c’était la surprise. Le FIDMarseille 2020 avait bien lieu, en salles, en présence des spectatrices et des spectateurs, en présence des cinéastes venus certes de moins loin que d’ordinaire, mais la réjouissance était au rendez-vous : c’était fête de pouvoir retrouver le partage, fête de pouvoir échanger, débattre, s’étonner. Bref, de vivre, pleinement, ce moment unique qu’est et que se doit d’être un festival. À nouveau cette année, en dépit du chahut du calendrier festivalier mondial, le FIDMarseille 2021 se tient, un peu plus tard que de coutume en juillet : du 19 au 25. Si l’année dernière, durée et voilure du festival avaient été resserrées, nous retrouvons pour cette 32ème édition quasi pleine amplitude. Et pour marquer cette volonté de gommer les distances imposées jusque-là, c’est de Thaïlande que vient notre Grand Prix d’Honneur : Apichatpong Weerasethakul, un des cinéastes contemporains vivants les plus importants. Primé à plusieurs reprises à Cannes, puis Palme d’Or en 2010 avec Uncle Boonmee, celui qui se souvient de ses vies antérieures, cette année à nouveau en compétition avec Memoria, tourné en Colombie avec Tilda Swinton et Jeanne Balibar, Weerasethakul est à l’origine d’une vision du monde unique et fort précieuse : à la fois magique et sensuelle, d’une extrême délicatesse et d’une grande précision politique. Une large partie de sa filmographie sera projetée pendant le festival, du premier (restauré par les soins de Martin Scorsese) au dernier opus compris ; il présentera plusieurs séances et conduira une masterclass. -
Apichatpong Weerasethakul Bankonk, Thailand, 1970 Lives and Works in Chai Mai, Thailand
kurimanzutto apichatpong weerasethakul Bankonk, Thailand, 1970 lives and works in Chai Mai, Thailand education & residencies 2016 Member of the Academy of Motion Picture Arts and Sciences, United States. Jury member for the Sundance Film Festival, United States. 2001 Artist Residency at Sapporo Artist In Residence Program (S-AIR), Japan. 1997 MFA in Film-making at The School of the Art Institute of Chicago. 1994 BA in Architecture at Khon Kaen University, Thailand. grants & awards 2018 International Federation of Film Archives (FIAF) Award, Thailand. 2017 Commandeur de l'Ordre des Arts et des Lettres awarded by the Minister of Culture, France. 2016 The Prince Claus Awards awarded by The Prince Claus Fund, The Netherlands. Grand Prize awarded by the Bildrausch Film Festival, Basel, Switzerland. (Cemetery of Splendour) Asia Pacific Screen Award awarded by Brisbane City Council, Australia. (Cemetery of Splendour) 2015 Gijon Film Festival Award awarded by City Council of Gijón, Spain. 2014 The Yanghyun Art Prize. Korea. 2013 Fukuoka Prize (Art and Culture) awarded by The Fukuoka City International Foundation, Japan. The Sharjah Biennial Prize awarded by the 11th Sharjah Biennial, United Arab Emirates. The Silver Mirror Honorary Award awarded by the Films From the South kurimanzutto Festival, Norway. 2011 Commandeur de l'Ordre des Arts et des Lettres awarded by the Minister of Culture, France. 2010 Palme d’Or awarded by the Cannes Film Festival, France. (Uncle Boonmee Who Can Recall His Past Lives) Asia Art Award Forum awarded by the Asia Art Award Forum Committee, CJ Culture Foundation, Alternative Space LOOP, Korea Sports Promotion Foundation, Korea. Hugo Boss Award Nominee awarded by the Solomon R. -
Film Festivals, Film Criticism, and the Internet in the Early Twenty-First Century
Portland State University PDXScholar University Honors Theses University Honors College 1-1-2012 Instant Canons: Film Festivals, Film Criticism, and the Internet in the Early Twenty-First Century Morgen Ruff Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/honorstheses Let us know how access to this document benefits ou.y Recommended Citation Ruff, Morgen, "Instant Canons: Film Festivals, Film Criticism, and the Internet in the Early Twenty-First Century" (2012). University Honors Theses. Paper 13. https://doi.org/10.15760/honors.13 This Thesis is brought to you for free and open access. It has been accepted for inclusion in University Honors Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. INSTANT CANONS: FILM FESTIVALS, FILM CRITICISM, AND THE INTERNET IN THE EARLY TWENTY- FIRST CENTURY by Morgen Ruff A thesis submitted in partial fulfillment of the requirements for the Bachelor of Arts degree in Film Studies in the School of Fine and Performing Arts of Portland State University May 2012 Thesis Supervisor: Professor Mark Berrettini 2 Above and beyond the loss of material, the living history of cinema, like any other history, is riddled with memory losses which, while aggravated and accelerated by the physical extinction of so many works, also encompass vast amounts of significant achievement extant but little seen or heard of. What were revered classics for one generation of filmgoers slip into oblivion for the next, the result of everything from changes in taste to trends in the economics of theatrical and non-theatrical distribution to the withering of repertory cinema -- conditions all symbiotically linked to a host of other factors as well. -
The Political Theology of Apichatpong Weerasethakul's Cemetery Of
Sick Bodies and the Political Body: The Political Theology of Apichatpong Weerasethakul’s Cemetery of Splendor Masato Fukushima Introduction: The king’s two bodies My first encounter with Apichatpong Weerasethakul’sCemetery of Splendor left me with the strange—and perhaps somewhat obsessive—impression that this film has something to do with an exotic legal theory prevalent during the Tudor dynasty in early modern England. This is about the two bodies of a king, a theory that claims that whereas one of them may die, the other does not. Superficially, the reason this movie elicited an association of this sort is not difficult to surmise. The film starts with the story of a weird tropical illness that causes some soldiers to require abnormal amounts of sleep. As the story develops, it is revealed that underneath the hospital where the sick soldiers are being treated lies an ancient cemetery of kings, who are, in fact, alive and fighting each other by dint of imbibing the soldiers’ energy, which eventually causes this sleeping disease among the soldiers. In the film, this is narrated as a story about the past; however, I have been wondering if Apichatpong really meant it to be regarded in this way. In sixteenth-century England during the time of King Henry VIII, the country was in turmoil from a series of events, starting with the issue of the king’s divorce from Catherine, which prompted his efforts to take England from the reign of the Roman Church. This move eventually led to the establishment of the Anglican Church, followed by the systematic abolition of traditional monas- teries, the search for a new liturgy, and so forth. -
Four Asian Filmmakers Visualize the Transnational Imaginary Stephen Edward Spence University of New Mexico
University of New Mexico UNM Digital Repository American Studies ETDs Electronic Theses and Dissertations Spring 4-17-2017 "Revealing Reality": Four Asian Filmmakers Visualize the Transnational Imaginary Stephen Edward Spence University of New Mexico Follow this and additional works at: https://digitalrepository.unm.edu/amst_etds Part of the American Studies Commons, Film and Media Studies Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Recommended Citation Spence, Stephen Edward. ""Revealing Reality": Four Asian Filmmakers Visualize the Transnational Imaginary." (2017). https://digitalrepository.unm.edu/amst_etds/54 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in American Studies ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. i Stephen Edward Spence Candidate American Studies Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Rebecca Schreiber, Chairperson Alyosha Goldstein Susan Dever Luisela Alvaray ii "REVEALING REALITY": FOUR ASIAN FILMMAKERS VISUALIZE THE TRANSNATIONAL IMAGINARY by STEPHEN EDWARD SPENCE B.A., English, University of New Mexico, 1995 M.A., Comparative Literature & Cultural Studies, University of New Mexico, 2002 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy American Studies The University of New Mexico Albuquerque, New Mexico May, 2017 iii ACKNOWLEDGEMENTS This project has been long in the making, and therefore requires substantial acknowledgments of gratitude and recognition. First, I would like to thank my fellow students in the American Studies Graduate cohort of 2003 (and several years following) who always offered support and friendship in the earliest years of this project. -
Apichatpong Weerasethakul Periphery of the Night
COMMUNIQUÉ DE PRESSE APICHATPONG WEERASETHAKUL PERIPHERY OF THE NIGHT EXPOSITION DU 2 JUILLET AU 31 OCTOBRE 2021 VISITES PRESSE MERCREDI 30 JUIN À 16H & JEUDI 1ER JUILLET À 11H VERNISSAGE JEUDI 1ER JUILLET L’IAC de Villeurbanne accueille une De films en œuvres, d’environnements en vidéos, monographie d’envergure, d’une ampleur on y retrouve les mêmes lieux – la province de encore inédite pour une institution publique l’Isaan et les hôpitaux ruraux où il a grandi, une française, de l’artiste et cinéaste thaïlandais jungle épaisse, des caves obscures – les mêmes Apichatpong Weerasethakul (né en 1970 à acteurs, les mêmes motifs, les mêmes questions. Bangkok), Palme d’or à Cannes en 2010, pour Dans un temps cyclique et dilaté, se dégage son film Oncle Boonmee, celui qui se souvient une atmosphère hypnotique. La lenteur et la de ses vies antérieures. nuit rendent tout possible, d’autant plus que l’artiste multiplie et entrelace les strates de sons Pour Periphery of the Night, l’artiste et d’images ensommeillées, créant des entre- propose pour l’intégralité des espaces de mondes où coexistent les êtres, humains et non- l’IAC un projet qui offrira aux visiteurs une humains, fantômes et apparitions magiques, expérience à la fois psychique et physique, vivants et réincarnés. À travers l’ordinaire entre projections filmiques, dispositifs du quotidien, filtrent doucement des figures immersifs, créations de lumière et dispositifs surnaturelles, les exactions communistes du holographiques. L’exposition présentera passé, les marges délaissées de notre réalité. une vingtaine d’œuvres et 28 dispositifs de Le cinéma, perçu comme un déploiement de projections combinant différentes techniques notre âme, devient un intermédiaire avec les en matière d’image (rétro-projection, diverses réalités, visible et invisible, temporelle et projections suspendues, hologrammes), de spatiale, qui nous apparaissent alors. -
Apichatpong Weerasethakul Bankonk, Thailand, 1970 Lives and Works in Chai Mai, Thailand
kurimanzutto apichatpong weerasethakul Bankonk, Thailand, 1970 lives and works in Chai Mai, Thailand education & residencies 2016 Member of the Academy of Motion Picture Arts and Sciences, United States. Jury member for the Sundance Film Festival, United States. 2001 Artist Residency at Sapporo Artist In Residence Program (S-AIR), Japan. 1997 MFA in Film-making at The School of the Art Institute of Chicago. 1994 BA in Architecture at Khon Kaen University, Thailand. grants & awards 2018 International Federation of Film Archives (FIAF) Award, Thailand. 2017 Commandeur de l'Ordre des Arts et des Lettres awarded by the Minister of Culture, France. 2016 The Prince Claus Awards awarded by The Prince Claus Fund, The Netherlands. Grand Prize awarded by the Bildrausch Film Festival, Basel, Switzerland. (Cemetery of Splendour) Asia Pacific Screen Award awarded by Brisbane City Council, Australia. (Cemetery of Splendour) 2015 Gijon Film Festival Award awarded by City Council of Gijón, Spain. 2014 The Yanghyun Art Prize. Korea. 2013 Fukuoka Prize (Art and Culture) awarded by The Fukuoka City International Foundation, Japan. The Sharjah Biennial Prize awarded by the 11th Sharjah Biennial, United Arab Emirates. The Silver Mirror Honorary Award awarded by the Films From the South kurimanzutto Festival, Norway. 2011 Commandeur de l'Ordre des Arts et des Lettres awarded by the Minister of Culture, France. 2010 Palme d’Or awarded by the Cannes Film Festival, France. (Uncle Boonmee Who Can Recall His Past Lives) Asia Art Award Forum awarded by the Asia Art Award Forum Committee, CJ Culture Foundation, Alternative Space LOOP, Korea Sports Promotion Foundation, Korea. Hugo Boss Award Nominee awarded by the Solomon R. -
Nocturnal-Fabulations.Pdf
UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title Nocturnal fabulations: Ecology, vitality and opacity in the cinema of Apichatpong Weerasethakul Author(s) Bordeleau, Érik; Pape, Toni; Rose-Antoinette, Ronald; Szymanski, Adam Publication date 2017 Original citation Bordeleau, É., Pape, T., Rose-Antoinette, R. and Szymanski, A. (2017). Nocturnal Fabulations: Ecology, Vitality and Opacity in the Cinema of Apichatpong Weerasethakul. London: Open Humanities Press. DOI: 10.26530/oapen_630752 Type of publication Book Link to publisher's https://openhumanitiespress.org/ version http://dx.doi.org/10.26530/oapen_630752 Access to the full text of the published version may require a subscription. Rights © 2017 Érik Bordeleau, Erin Manning, Toni Pape, Ronald Rose- Antoinette and Adam Szymanski. This is an open access book, licensed under Creative Commons By Attribution Share Alike license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy their work so long as the authors and source are cited and resulting derivative works are licensed under the same or similar license. No permission is required from the authors or the publisher. Statutory fair use and other rights are in no way affected by the above. Read more about the license at creativecommons.org/licenses/by-sa/4.0 https://creativecommons.org/licenses/by-sa/4.0/ Item downloaded http://hdl.handle.net/10468/5667 from Downloaded on 2021-10-06T14:50:43Z Nocturnal Fabulations Ecology, Vitality and Opacity in the Cinema of Apichatpong Weerasethakul Immediations Series Editor: SenseLab “Philosophy begins in wonder. -
Communication and Memory Studies in Apichatpong Weerasethakul's Film
Social Science Asia, Volume 2 Number 4, p 24-31 DOI: 10.14456/ssa.2016.27 Communication and Memory Studies in Apichatpong Weerasethakul’s Film Viroj Suttisima1 Abstract As Thai and ASEAN films, Apichatpong Weerasethakul’s films have various scopes of communication and memory started from intrapersonal communication to interpersonal communication, cultural communication and the other communication about culture. Simultaneously, they also reflect dimensions of memory in the light of director’s memory and characters’ memory in the screenplay started from individual memory to social memory, communicative memory and cultural memory. The flow of memorization is considered as distinctiveness originating identity of memory based on rebounded flow of communication in various levels. This primary analysis would become the example for studying on the relationship between communication, memory, and meaning of films. Keywords: Communication, Memory Studies, Southeast Asian Cinema, Apichatpong Weerasethakul Introduction From his first film, Mysterious Object at Noon released in 2000, the name of a film director, Apichatpong Weerasethakulm has become in the public eye of the world’s film industry as the new generation film director from Thailand with unique original story and distinctive storytelling. Even in 2016, his films still motivate art of films continuously. During over these ten years, Apichatpong’s works have been able to grab several important awards from many film festivals, especially Palm D’Or from Cannes Film Festival (from Uncle Boonmee Who Can Recall His Past Lives). In addition, three of his films are also ranked in 100 Greatest Films of the 21st Century of BBC (Tropical Malady, Syndromes and a Century and Uncle Boonmee Who Can Recall His Past Lives).