Pub Date : 2019-01-31DOI: 10.1163/26659077-02201002
Natawan Wongchalard
This paper contextualises a cultural construction of hegemonic masculinity and discusses ways in which Thai action film heroes in historical and Muay Thai films are represented. 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 Chalerm Yukol), the different social backgrounds of the two heroes, their hegemonic masculinity, 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 verisimilitude, the representations are designed to cater to segmented subject/citizen audiences. 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.
本文将霸权男子气概的文化建构置于语境中，并探讨了历史电影和泰拳电影中泰国动作片英雄的表现方式。传统上，泰国动作英雄在掌握特定技能的同时，也需要有nakleng的品质。在道德领域，感恩的思想被优先考虑，并被高度认为是好人的必要条件，包括动作英雄。这种感激之情延伸到一个人对祖国或祖国的意识形态义务，这在泰拳和历史电影中经常通过英雄的斗争来描绘主题。基于对两部典型电影的阅读，《泰拳勇士》(2003)导演。Prachya Pinkaew)和The Legend of King Naresuan: The Elephant Duel(2014，导演)。两位英雄不同的社会背景，他们的阳刚之气、自主性和缺乏性，都可以用佛教精神话语来解释。此外，这两位英雄的不同描绘方式是一种电影手法，除了遵守电影的真实性外，这种表现方式是为了迎合细分的主体/公民观众。用精神分析的术语来说，这两部电影中的每个英雄都是为了在象征秩序的不同领域中获得自主权和体验“缺乏”。
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Pub Date : 2019-01-31DOI: 10.1163/26659077-02201005
Wisarut Painark
This study examines the deployment of magical realism along with cinematic techniques in Song of the Sea. Analysing the animated film as a cultural text in light of magical realism, it argues that the film intermingles two different worlds, the mundane and the fantastic, to provide audiences with a more inclusive view of reality. The existence of Celtic mythical beings, selkies, brought to life by magical realism, becomes the cornerstone in the protagonists’ healing process as their interactions with these mythical beings gradually reshape their conception of reality. A new “reality” is, thus, employed to vex the protagonists’ mind and make them reconsider reality in a new light by helping them vividly see Irish cultural aspects in their mundane life. Taking two selkies, Bronagh and Saoirse, as a metaphor for Irish cultural roots, this paper asserts that the protagonists’ embarking on their magical journey to retrieve the selkie’s coat not only heals their shattered selves but also induces them to hark back to their cultural roots. Ultimately, the research posits that the protagonist’s newly developed self, which eventually allows him and his family to come to terms with their loss, resolves his conflict with Saoirse, who successfully prevents the Irish cultural roots from being forgotten.
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