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Focused on Mise-En-Scène Element Somi Nah
World Academy of Science, Engineering and Technology International Journal of Humanities and Social Sciences A Study on Fantasy Vol:6,Im No:6,ag 2012e s represented on the Films: Focused on Mise-en-Scène Element Somi Nah Abstract—The genre of fantasy depicts a world of imagine that Losing technisches Kuriosum [2], the competence of reality triggers popular interest from a created view of world, and a fantasy is replication in earlier periods cannot fascinating audience any defined as a story that illustrates a world of imagine where scientific or longer. Consequently, film makers soon began to pay attention horror elements are stand in its center. This study is not focused on the narrative of the fantasy, i.e. not on the adventurous story, but is to novel possibilities of the film media. Georges Méliès, a concentrated on the image of the fantasy to work on its relationship contemporary figure along with the Lumière brothers, tried not with intended themes and differences among cultures due to meanings to reproduce reality via films but to visualize what was of materials. As for films, we have selected some films in the 2000's impossible to realize in reality by the properties of optical that are internationally recognized as expressing unique images of devices serving for making up films. The train in Méliès's films fantasy containing the theme of love in them. The selected films are 5 does not arrive at a station in reality but does fly to travel pieces including two European films, Amelie from Montmartre (2001) and The Science of Sleep (2005) and three Asian films, Citizen Dog through the universe. -
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. -
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. -
Deborah's M.A Thesis
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. -
Fourth Southeast Asian Film Festival Returns with 20 Singapore Premieres – the Freshest and Most Compelling Cinematic Work Emerging from the Region
MEDIA RELEASE For Immediate Release Fourth Southeast Asian Film Festival returns with 20 Singapore premieres – the freshest and most compelling cinematic work emerging from the region 11 April (Friday) to 4 May (Sunday) 2014, Moving Image Gallery, SAM at 8Q 19 March 2014, Singapore – Featuring the region’s best contemporary art expressed via the moving image, the Singapore Art Museum (SAM) is proud to present the fourth Southeast Asian Film Festival (SEAFF). Organised by SAM, along with prominent film critic Philip Cheah, veteran arts administrator Teo Swee Leng and SAM curator Sam I-shan, this annual Festival puts the spotlight on Southeast Asia through the compelling contemporary visual art genre of film. This year’s festival will highlight 20 films created by both established and up-and-coming directors from across the region including Cambodia, Indonesia, Malaysia, Myanmar, Philippines, Singapore and Thailand. All the films will be making their Singapore premieres at the Festival, including four Asian premieres and one world premiere. Festival-goers from the region will explore some of the most urgent contemporary challenges facing this diverse and rapidly developing region through the lenses of the directors, from the religious sectarian conflict in Mindanao to cross-border migration between Myanmar and China, to the hardship of ordinary families and more. Visitors will also get a glimpse of life in turbulent regions across Asia through War is a Tender Thing by Adjani Arumpac, The Journey of the Stars into the Dark Night by Arnel Mardquio, Letters of Solitude by Gutierrez ‘Teng’ Mangansakan II and Ice Poison by Midi Z, that tell the stories of communities that live through adversity. -
Re-Thinking Politics in Film: Thai Independent Cinema After the Coup D’État 2014
Re-Thinking Politics in Film: Thai Independent Cinema After the Coup d’état 2014 Sopawan Boonnimitra, Chulalongkorn University, Thailand The European Conference on Media, Communication & Film 2017 Official Conference Proceedings Abstract During the period of political instability that led to the coups d’état of 2006 and 2014, the independent cinema flourished both domestically and internationally. The political conflicts of the past decade have become an important backdrop for independent filmmakers to explore various issues. With a certain degree of freedom, their films created a discourse on independent films that offered both an alternative mode of filmmaking and an alternative discourse to mainstream cinema during the coup d’état periods. For this paper, I would like to take a closer look at some of the recent independent films that were made and internationally shown after the 2014 coup d’état, particularly the most recent films, including Motel Mist (Prabda Yoon, 2016), The Island Funeral (Pimpaka Towira, 2016), and By the Time It Gets Dark (Anocha Suwichakornpong, 2016), and how each of them offers an alternative vision of the country following the coups d’état and made it possible for us to rethink the subject of politics in Thai cinema, particularly at a time when political subjects are under the microscope of the authoritarian government. Keywords: Thai independent cinema, politics, coup d’état iafor The International Academic Forum www.iafor.org Introduction Since the coup d’état of 2006, followed by political conflicts and another coup in 2014, international audiences have paid much attention to Thai cinema and attempted to look at what these events have meant for the people living in the country, as evidenced by the visibility of Thai cinema at international film festivals. -
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. -
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. -
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. -
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. -
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). -
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.