Haunting and the Sociological Imagination Minneapolis: Thai Wathanaphanit, , She warned that drenched skimpy clothes would lead to sexual harassment and attempted to ban tank tops and shorts, suggesting traditional Thai dress instead. Nang Nak—Ghost Wife Figure 1. The sartorial detail of films like Nang Nak and, shortly thereafter, Suriyothai , has found great acclaim especially with the middle class. In the period between her death and her exorcism, Nak has traumatic memories of her first death while experiencing the slow process of her second death open-eyed. When the unsuspecting Mak returns to Phra Khanong, Nak awaits him as a ghost, accompanied by her ghost infant. The article explores Nonzee Nimibutr’s ghost remake Nang Nak as an exemplary instance of contemporary Thai bourgeois heritage cinema.
Prince- ton University Press, ], — In great measure, the efforts at sexual streamlining relied on anachronisms that were anchored in bodies and sartorial detail. Nang Nak—Ghost Wife The charming but ultimately cadaverous female forms that serve as object lessons for lovelorn monks beckon one moment and repulse the next. In what follows, Mak is called to the graveside, and the lovers have a last conversation about karma and conjugality. Currencies of Circulation and Dialectics of Spectatorship. Build- ing on this argument, this essay focuses on concomitant notions of embodiment in Thai film and politics. Rey Chow 19 Estimated H-index:
In this context, the ghost can be thought to represent a paradigmatic figure of minority subjectivity. Haunting and the Sociological Imagination Minneapolis: With both gender identities some- how bifurcated, theirs thus becomes a kind of ghostly male-female companionship marked by its ultimate untenability.
Nak resists her exorcism borugeois burning Nang Nak, dir.
Duke University Press, Yet it is their desires that furnish central themes especially of the film, but also of the hagiography. In great measure, the efforts at sexual streamlining relied on anachronisms that were anchored in bodies and sartorial detail.
A History of the Geo-body of a Nation [Honolulu: Their novelty in the Thai context lies in combining the aesthetics of the nostalgia film, the promotional practices of the high concept film, with the insistent claim of attentive historical representation as a mark of quality and seriousness.
Jungle pleasures, ultra-modernist cinema and the cosmopolitan Thai auteur New Cinemas: As a whole lock of her hair falls out, Nak mourns for the dissolution of her body and the inevitable end of her fantasy. For Mak, the instruction in the trailak impermanence, suffer- ing, nonidentity and in the necessity of detachment seems almost complete at this point.
South Asian Screen Studies. Cambridge University Press, ], — Following the ghosts is sometimes about writing ghost stories, stories that not only repair representational mistakes, but also strive to understand the conditions under which a memory was produced in the first place, toward a countermemory, for the future.
5 That’s the Spirit!: Horror Films as an Extension of Thai Supernaturalism
Mak also says that they have acquired too bourgeoiis bun Sanskrit, punyamerit, in this life to be able to stay together longer. Beginning at this turning point of Thai modernity, the film once again reconfigures the relation between Thai pasts and presents Thongchai Winichakul, Siam Mapped: In this sense, the cracks in the ghostly fantasy always point also ccinema soteriological resolu- tion.
Which version is the most hair-raising? Although this is the pedagogical intent of such stories, nany viewer or reader will, however, hardly be able to make the dhammic turn that most of its characters take at the end. That Nak mourns femininity at the fraught moment of national ist history in which the film is set establishes a historically inaccurate link of the femininity that she embodies to the nation.
The second flashback to a moment of play with Mak in the canal is followed by the view of a field of young rice. It is at this point that Upagupta decides that he will see her.
In the beginning of the s, the Ministry of the Interior and the newly established Ministry of Culture bouurgeois disciplinary campaigns designed to order the sexuality of broad sections of the population.
Mother India in Six Voices: Liz Wilson, Charming Cadavers: Abstract From the late s to the early s, history has been flooding commercial Thai cinema as never before. Jungle pleasures, ultra-modernist cinema and the cosmopolitan Thai auteur. University of California Press, ], — One of the lessons that the Buddha is said to have taught again and again in his bourgeoois as the head of the monastic order sangha is the utter perversity of pursuing sexual gratification when the human cinrma, in its natural state, emits substances as foul as those emitted by putrefying corpses.
Rachel Harrison 5 Estimated H-index: Thus, while the ghostly fantasy becomes symbolic of collec- tive, national life, the cracks in the fantasy also provide insight into the breakages of current dominant concepts of sexual cultural dif- ference. In his book about the making of Nang Nak, director Nonzee Nimibutr dedicates roughly twenty pages to the description of costume and to his understanding of dress and comportment in late-nineteenth-century Siam Nang Nak, 45—55, 93— You will get better papers this time.
Nang Nak: Thai bourgeois heritage cinema
In this context, bodies have come to bear some of the burden of representing a baseline cultural good onto which national economic and cultural hopes could be mapped. On Attachments and Unknowns.
The idea that haunting hyperbolizes sexual difference and that ghostly return is nationalist can thus not be upheld so seamlessly. In this history bourgeoie the abbot Somdej To, McDaniel shows, for instance, that Buddhist prac- tice in Thailand does not necessarily intend detachment but is in many instances straightforwardly directed toward attachment.
Kanae Kawamoto Ryukoku University.
In the course of this nzng, it becomes clear that even at this point she has not entirely given up on her desire: Columbia University Hheritage, forthcoming. In a key scene set late at night while Bourgwois is asleep, Nak combs her hair with the comb that was ritually broken after her death. Journal for Theoretical Studies in Media and Culture, In the realm of haunting, Nang Nak exemplifies both in its aesthetics and its content the ironies of demands for bodies and identities that are Thai and traditional in character but transnational in their implications for the national economic and cultural future.
Instead of beginning to detach from this fantasy, how- ever, she persists in her desires. This kind of transformation figures prominently in Theravadin Buddhist pedagogy, where the cienma and decaying female body at once represents the temporary object of desire and the object that is supposed to end all desire. Their novelty in the Thai context lies in combining the aesthetics of the nostalgia film, the promotional practices of the high concept film, with the insistent claim of attentive historical representation as a mark of quality and seriousness.
Where does their food come from? When her body heritagd covered with excellent clothes and bedecked with variegated ornaments, then it was better for those who have turned away from rebirth, and are set on liberation, not to see her.
Are you looking for Rey Chow 19 Estimated H-index: Timothy Koschmann 26 Estimated H-index: Nang Nak—Ghost Wife The charming but ultimately cadaverous female forms that serve as object lessons for lovelorn monks beckon one moment and repulse the next.