Thai fiction writer Chartvut Bunyarak recently noted that “[p]olitical issues permeate all forms of media, art, film and literature” in Thailand. So for example, he appropriates a run-on monologue in his short story “Thor Sor 2549” to depict a growing everyday cynicism surrounding the September 19 2006 coup

Bangkok’s Suvarnabhumi Airport is today the world’s most publicized heterotopia.

What can anyone say about the political stand-off between the PAD and the Thai government that hasn’t already been said? Is it a class hierarchy being turned on its head, of an urban middle class rallying against Thaksin Shinawatra’s reforms for the poor since 2001? Or, Thailand’s internal geopolitics vigorously accelerated since the anti-military coup of 1992?

Style: Often, simple stylistics are applied to literature and film as a means of positioning them as a part of a broader discourse (through mediums, codes, characterizations, and structures), as Paul Simpson (2004) underscores. This conversation runs through Jean Paul Sartre’s What is Literature (1966 [1947]) to Barthes’ Writing Degree Zero (1968 [1953]) where form, style, and language necessarily color the large majority of literary fiction exhibiting either a detached bourgeois conscience or a repressive social realism.

This Week: Chotiudompant, Suradech. 2008. Thai Magical Realism and Globalization.380-396. In Chong, Terence, Ed. Globalization and its Counter-forces in Southeast Asia. Singapore: Institute of Southeast Asian Studies.

See these two films: Jonathan Caouette’s Tarnation and Gary Tarn’s Black Sun.

Black Sun

I’ve finished the book mentioned below (Hutangkul’s Daughter of an Ascetic). The  book is full of self-deprivation, transitions in visibility/audibility that comport well with Ranciere’s theory of the distribution of the sensible, role changes, internal critiques of conformity, and metatextual references to soundtracks, film techniques, and the plastic arts. The book transformed an otherwise tragic weekend into something worthwhile. 





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