The album is limited to 100 copies, each signed by the artist. It includes his single เผด็จกวยหัวคาน (‘get rid of the dickhead’), a no-holds-barred condemnation of Prayut Chan-o-cha and others in authority.
10 August 2021
The album is limited to 100 copies, each signed by the artist. It includes his single เผด็จกวยหัวคาน (‘get rid of the dickhead’), a no-holds-barred condemnation of Prayut Chan-o-cha and others in authority.
The song’s lyrics highlight the moment when Panusaya broke a longstanding taboo by reciting the protesters’ ten-point manifesto: “คืนที่รุ้งทลายเพดาน” (‘the night when Rainbow shattered the ceiling’). The music video is mostly animated, with drawings of yellow ducks (symbolising the protesters) and riot police. A monstrous spider, with a recognisable face, makes a brief appearance.
The band’s EP สามัญชน (‘commoner’) was released in 2019. Panusaya performed guest vocals on their single Commoner’s Anthem (บทเพลงของสามัญชน) earlier this year. She also appeared in Paeng Surachet’s music video กล้ามาก เก่งมาก ขอบใจ (‘very brave, very good, thank you’).
Today marks the first anniversary of her speech. On Monday, another core protest leader, Arnon Nampa, was charged with lèse-majesté following a speech he gave on 3rd August marking the first anniversary of a rally he organised. Arnon was denied bail, along with several other protest leaders (including Parit Chirawak and Panupong Jadnok) who were also arrested over the past few days.
07 August 2021
A rally organised by Free Youth was planned for this afternoon at Democracy Monument, though almost 6,000 riot police were stationed there to prevent protesters gathering in the area. Marches to the Grand Palace and Government House were called off, as both routes were blocked by shipping containers.
Instead, around 1,000 protesters assembled at Victory Monument and began marching towards Prayut Chan-o-cha’s residence on Viphavadi Rangsit Road. Police blocked this route also, forcing the protesters to retreat back to Victory Monument. The nearby BTS SkyTrain station was closed, and photographs by Voice TV show police firing rubber bullets from the elevated station.
The use of tear gas, water cannon and even rubber bullets is now routine for Thai police, as their crowd-control measures have become increasingly and disproportionately violent. Rubber bullets were used only six days ago, and were deployed at four other rallies earlier this year, on 28th February, 20th March, 2nd May, and 18th July.
02 August 2021
Early yesterday evening, after the protest ended, some stragglers remained near the Viphavadi Rangsit Road military barracks, and threw projectiles and firecrackers at police. Riot police deployed water cannon and tear gas to disperse them.
Rubber bullets were first used on 28th February against protesters on Viphavadi Rangsit Road, then on 20th March at Sanam Luang, and on 2nd May outside Bangkok’s Criminal Court. On 18th July, rubber bullets were used again, near Government House.
The Car Mob movement is led by former red-shirt activist Sombat Boonngamanong. Thais on both sides of the political divide use the word ‘mob’ to refer to the protests; this is not necessarily a reappropriation of the term by the protesters.
The music video for Rap Against Dictatorship’s Budget (งบประมาณ) was filmed at a Car Mob protest. The single (one of several recent anti-government songs) excoriates Prayut Chan-o-cha and his government for increasing the military budget while failing to provide sufficient vaccines or adequate healthcare during the coronavirus pandemic.
27 July 2021
Abhisit Vejjajiva authorised the use of live ammunition by the army for its violent suppression of red-shirt protesters. Pisitakun’s 10 Year: Thai Military Crackdown [sic], shown at the Conflicted Visions Again exhibition, included a poster documenting the victims who were shot on 18th May 2010. His album Absolute Coup was released on cassette by Chinabot last year. (Tetra Hysteria Manifesto celebrates Chinabot’s fourth anniversary.)
24 July 2021
- A Trip to the Moon (1902)
- The Great Train Robbery (1903)
- The Cabinet of Dr Caligari (1919)
- Nosferatu (1922)
- Nanook of the North (1922)
- Battleship Potemkin (1925)
- Metropolis (1927)
- The Jazz Singer (1927)
- Un chien andalou (1928)
- Man with a Movie Camera (1929)
- Frankenstein (1931)
- City Lights (1931)
- The Public Enemy (1931)
- Scarface (1932)
- 42nd Street (1933)
- It Happened One Night (1934)
- Bride of Frankenstein (1935)
- Grand Illusion (1935)
- Snow White and the Seven Dwarfs (1937)
- Port of Shadows (1938)
- Bringing up Baby (1938)
- Gone with the Wind (1939)
- The Rules of the Game (1939)
- Stagecoach (1939)
- Le jour se lève (1939)
- His Girl Friday (1940)
- The Maltese Falcon (1941)
- Citizen Kane (1941)
- Casablanca (1942)
- Cat People (1942)
- Double Indemnity (1944)
- Rome, Open City (1945)
- The Big Sleep (1946)
- Notorious (1946)
- Out of the Past (1947)
- The Lady from Shanghai (1947)
- Bicycle Thieves (1948)
- Red River (1948)
- Rashomon (1950)
- Sunset Boulevard (1950)
- Singin’ in the Rain (1952)
- Ikiru (1952)
- Tokyo Story (1953)
- On the Waterfront (1954)
- Seven Samurai (1954)
- Creature from the Black Lagoon (1954)
- Pather Panchali (1955)
- The Searchers (1956)
- The Seventh Seal (1957)
- The Incredible Shrinking Man (1957)
- Vertigo (1958)
- Touch of Evil (1958)
- Look Back in Anger (1959)
- Some Like It Hot (1959)
- The 400 Blows (1959)
- Breathless (1960)
- Psycho (1960)
- Night and Fog in Japan (1960)
- Saturday Night and Sunday Morning (1960)
- Chronique d’un été (1961)
- 8½ (1963)
- Dr Strangelove (1964)
- A Fistful of Dollars (1964)
- Black God, White Devil (1964)
- Closely Observed Trains (1966)
- The Good, the Bad, and the Ugly (1966)
- Yesterday Girl (1966)
- The Fireman’s Ball (1967)
- Dont Look Back (1967)
- 2001: A Space Odyssey (1968)
- Bonnie and Clyde (1968)
- Night of the Living Dead (1968)
- The Wild Bunch (1969)
- A Clockwork Orange (1971)
- Pink Flamingos (1972)
- The Godfather (1972)
- Chinatown (1974)
- Jaws (1975)
- Taxi Driver (1976)
- Annie Hall (1977)
- Alien (1979)
- Apocalypse Now (1979)
- Raging Bull (1980)
- Yellow Earth (1984)
- A Better Tomorrow (1986)
- Die Hard (1988)
- A City of Sadness (1989)
- GoodFellas (1990)
- A Brighter Summer Day (1991)
- Raise the Red Lantern (1991)
- Farewell My Concubine (1993)
- Pulp Fiction (1994)
- The Shawshank Redemption (1994)
- La haine (1995)
- Toy Story (1995)
- Taste of Cherry (1997)
- Memento (2000)
- Tears of the Black Tiger (2000)
- Spirited Away (2001)
- City of God (2002)
- Uncle Boonmee Who Can Recall His Past Lives (2010)
Categories: film lists
23 July 2021
The three books in question are all set in a ‘sheep village’ (羊村), which serves as a metaphor for contemporary Hong Kong in an example of political satire in the tradition of George Orwell’s Animal Farm. More than 500 copies of the books were seized and, at a press conference after the arrests, superintendent Steve Li said: “These three books have a lot of seditious material inside.”
One of the books, 羊村守衛者 (‘guardians of sheep village’) is an allegory of Hong Kong’s 2019 pro-democracy protests. Another, 羊村十二勇士 (‘twelve warriors of sheep village’), refers to a dozen Hong Kongers who were arrested last year when they attempted to escape into exile by speedboat. The last book in the series, 羊村清道夫 (‘the cleaners of sheep village’), is a reference to medical workers who went on strike in an attempt to force Hong Kong to close its border with China during last year’s coronavirus pandemic.
20 July 2021
Unlike all previous VHS and DVD editions, each of these discs has an altered version of the film’s opening title sequence: the first word, “DET” (‘the’) is missing, and the rest of the title (“SJUNDE INSEGLET”—‘seventh seal’) appears off-centre. This anomaly was corrected by Criterion for their Ingmar Bergman’s Cinema blu-ray collection, which featured a 2018 4k restoration of The Seventh Seal that restored the definite article to the title sequence.
19 July 2021
More than 1,000 protesters gathered at Democracy Monument, where they displayed a guillotine splattered with symbolic blue paint. Later, at nearby Nang Loeng intersection, they burnt Prayut Chan-o-cha in effigy. The event marked the one-year anniversary of Free Youth’s 18th July 2020 protest, which began the current student-led campaign against Prayut’s government.
Protesters at yesterday’s demonstration called for Prayut’s unconditional resignation, the reallocation of royal and military funding to tackle the coronavirus pandemic, and the procurement of mRNA vaccines (such as Pfizer or Moderna) rather than Sinovac. Today, Free Youth issued a statement in Thai and English condemning the police violence and reiterating one of their key demands: “Good vaccines, not rubber bullets or tear gas!”
This marks the fourth time that police have fired rubber bullets at protesters this year. They were first used on 28th February against protesters on Viphavadi Rangsit Road, then on 20th March at Sanam Luang, and on 2nd May outside Bangkok’s Criminal Court.
16 July 2021
The one-page-per-entry format also applies to the other sections, and while a single page is sufficient to summarise an individual film, it’s not really enough to cover entire genres or movements. Consequently, these potted histories are sometimes quite general, and often have better coverage of a genre or movement’s origins than its subsequent evolution. The book features an impressively diverse range of subgenres, and these are summarised in more detail than the major genres.
Other lists of fifty greatest films have also been compiled by Vanity Fair, The Spectator, MovieMail, Film4 (and Dateline Bangkok). Ian Haydn Smith updated 1001 Movies You Must See Before You Die for its tenth anniversary, and has edited each subsequent edition (2014, 2015, 2016, 2017, 2018, 2019, and 2020).
13 July 2021
Each of the works on display makes a strong political statement, though the most provocative are Kespada Moonsuwan’s oil painting God Is Dead (a head shrouded in red silk) and Narath Boriboonhiranthana’s holographic video projection I Will Wear Red at Your Funeral (a woman dancing in front of an upturned urn; ฉันหวังให้คุณตายและฉันจะใส่ชุดสีแดงในงานศพของคุณ). Both works refer to the same person, who is, of course, not mentioned by name.
The gallery is dimly lit, and the walls are painted black, making the black labels accompanying each exhibit almost illegible. This is presumably intentional, as the explanatory texts are sometimes incendiary. In his artist’s statement, Kesapada says: “I WOULD LIKE TO SEE THE RUMOR TURNING TO THE REAL STORY” [sic], a reference to a recent viral rumour. In her statement, Narath is equally blunt: “I HOPE YOU DIE, AND I AM GOING TO WEAR A RED DRESS IN YOUR FUNERAL” [sic].
Thasnai Sethaseree, a lecturer at Chiang Mai University who publicly defended two students after they created a banner representing the Thai flag, has produced a series of four painted collages for the exhibition. Each painting reproduces the front page of a Thai newspaper dated 5th October 1976, the day before the 6th October massacre. Thasnai has covered the headlines in bright colours and given them optimistic titles taken from vintage pop songs, to show how the news coverage of the period ignored the impending political crisis.
The four collages are: Have You Ever Seen the Rain, based on the front page of Daily News (เดลินิวส์); Who Will Stop the Rain, based on เสียง ปวงชน (‘the people’s voice’); What a Wonderful World, based on Dao Siam (ดาวสยาม); and The Sound of Silence, based on ชาวไทย (‘people of Thailand’). Other Thai newspaper front pages from October 1976 are reprinted in Prism of Photography (ปริซึมของภาพถ่าย).
12 July 2021
Dark features portraits of anonymous military officers and state bureaucrats against black backgrounds, their faces obscured and their positions only identifiable from their uniforms. As the catalogue puts it, these figures occupy seats of power interchangeably, like a horrific game of musical chairs (“ณ ที่นั่งแห่งอำนาจอย่างกับเกมเก้าอี้ดนตรีสยองขวัญ”).
There are also equally dark paintings inspired by the recent anti-government protests. These are titled ประกาย (‘spark’) and สีสัน (‘colourful’), suggesting that the protesters and their symbols—such as Panusaya Sithjirawattanakul (ประกาย I) and an inflatable yellow duck (สีสัน I)—offer a ray of light in the darkness.
11 July 2021
The centrepiece, The Death in 2020-2021 [sic], is a vast, 10m-long canvas depicting the eponymous blue man amongst a sea of dead bodies. An inflatable yellow duck is also present, in reference to the protesters who used inflatable ducks to defend themselves from water cannon last October and November. The blue man also appears in a group of smaller paintings, this time in various sexual positions. In A Blue Man I, he is at the centre of an orgy, a representation of corrupt decadence similar to Vasan Sitthiket’s Ten Evil Scenes of Thai Politic [sic].
Unlike Manit Sriwanichpoom’s equally incongruous pink man (พิ้งค์แมน), the blue man’s colour has a symbolic meaning in Thailand, and he wears an ornate crown (of gold leaf). An artist’s statement affixed to the gallery wall offers some context: “With a knife in his hand, a blue man wounds people who denied him, also anyone who have no faith in his love” [sic]. This allusion to lèse-majesté is reinforced by the exhibition’s title, as Rama X described Thailand as “the land of compromise” during a walkabout on 2nd November last year.
10 July 2021
Aeon has since returned to Bangkok, though he (like the city) remains haunted by state violence against civilian protesters. Working as a history teacher, he sees first-hand how 6th October has been whitewashed from the national curriculum—a point made by Vasan Sitthiket in his video Delete Our History, Now! (อำนาจ/การลบทิ้ง)—and searches for what little evidence remains, “the seldom-seen photographs of semi-conscious students burned on funeral pyres made of tyres, and dead bodies hung from the tamarind trees on the parade ground.”
The novel is set in 2009, when red-shirt protesters instigated violence during the Songkran holiday. As one character says, “Did you hear they attacked the Prime Minister’s car?”—Abhisit Vejjajiva’s motorcade was mobbed, an incident recreated in Wisit Sasanatieng’s film The Red Eagle (อินทรีแดง). The red-shirt protests culminated in another state crackdown, in 2010, though the novel focuses on the aftermath of the 1992 ‘Black May’ massacre.
In the days following ‘Black May’, there were credible rumours of military vehicles disposing of hundreds of bodies, who were omitted from the official tally of victims. Larkin recounts the “talk of an army truck driving into a bone mill on the outskirts of Bangkok late one night, the cargo heaped under its tarpaulin conspicuously absent when it drove out again, and reports of military helicopters flying east from the city towards the border with Burma, dropping bodies into the impenetrable jungle below.”
The story’s starting point is a fictional incident that seems to confirm these rumours: bodies found in a sunken shipping container and buried in wasteland. The novel presents these grisly discoveries as proof of “an operation to deal with the ‘excess collateral damage’ resulting from the crackdown on protesters at Sanam Luang”, though a government spokesman dismisses the matter out of hand: “Gazing wearily at the nation, he appeared to ad lib as he took off his spectacles and said in a more casual, almost avuncular tone, ‘So, it’s best that you all go about your business now and forget this incident.’”
Larkin was inspired by two works of political history: William A. Callahan’s Imagining Democracy (now scarce, but the best account of ‘Black May’ in English) and Thongchai Winnichakul’s Moments of Silence. (Aeon “tracked down some of the leaders of the right-wing gangs that had massed in Sanam Luang”, in an echo of the Silence of the Wolf chapter in Thongchai’s book.) Comrade Aeon’s Field Guide to Bangkok is one of several recent novels set in times of Thai political conflict, including Sunisa Manning’s A Good True Thai, Duanwad Pimwana’s ในฝันอันเหลือจะกล่าว (‘indescribable fiction’), Uthis Haemamool’s ร่างของปรารถนา (‘shadow of desire’), and Jakkapan Kangwan’s Altai Villa (อัลไตวิลล่า).
09 July 2021
Thai Cinema Uncensored is reviewed in today’s Bangkok Post newspaper, on page 10 of their Life arts supplement. In his review, Chris Baker (who co-authored the excellent Thaksin) calls it a “splendid book.” He also describes it as a “fascinating book which has relevance for film, contemporary culture and politics in general.”
26 June 2021
The exhibition’s first room, Interlude, draws on Wittawat’s background as a landscape painter, though these landscapes have political subtexts. Two of the paintings refer to the 2010 massacre of red-shirt protesters: Intersection of Wills (ราษฎร์ประสงค์) shows Ratchaprasong, the focal point of the protest, and Interregnum (สิ้นสุดพุทธาวาส) depicts a relief sculpture from Wat Pathum Wanaram, a temple sheltering six protesters who were killed by military snipers. Like Pachara Piyasongsoot’s Anatomy of Silence (กายวิภาคของความเงียบ), these paintings represent politically-loaded locations; to use Dutch painter Armando’s term, they are ‘guilty landscapes’. The theme of this first room is transition, symbolised by expansive sunsets and tiny details (a traffic light about to turn green). The political significance of this transition is suggested by the exhibition’s other rooms.
The second room, Imagining Law-abiding Citizens, features paintings of four pro-democracy campaigners, all of whom have been charged with lèse-majesté. They include Captain Justice (ทนายอานนท์), a portrait of Arnon Nampa, who led protests last year calling for reform of the monarchy; and The Unforgiven Blues (หมอลำแบงค์), a portrait of Patiwat Saraiyaem, an actor who was jailed for his performance in the play เจ้าสาวหมาป่า (‘the wolf bride’) and later appeared in Ten Years Thailand. Each portrait has a blue background, in an allusion to that colour’s idiomatic and symbolic meanings: blue indicates the artist’s sadness at the persecution of the four subjects, though it also traditionally represents the monarchy, as in Wittawat’s previous exhibition, 841.594.
The other two rooms, Memorabilia and The Artist’s Trial, feature installations and projections. In the latter room is Jojo and the Bookstalk (โจโจ้ผู้ฆ่ายักษ์), a precarious pile of books and journals, the texts that led to Wittawat’s political awakening, known in Thai as ta sawang. The book stack includes the notorious banned issue of Same Sky (ฟ้าเดียวกัน). Two other installations in the same room are especially provocative: Creation-Conclusion (เริ่ม-จบ) is a painting of the sky on an upturned easel, and The Masterpiece (มาสเตอร์พีซ) is a weather-beaten painting hung back-to-front. The Thai word for ‘sky’ (fah) is a metaphor for the monarchy, and the upturned easel resembles a guillotine. The subject of the back-to-front portrait can be guessed from its propagandistic original title, พระเกียรติคุณ กว้างใหญ่ไพศาล (‘his honour spread far and wide’), which is still faintly visible on the reverse.
The L/Royal Monument opened at SAC Gallery in Bangkok on 22nd June, and was originally scheduled to run until 18th September but has now been extended to 31st October. Its opening coincides with the anniversary of Thailand’s 1932 transition to constitutional monarchy and, as Wittawat writes in the exhibition brochure, the “physical components—names, plaques, monuments” commemorating this have been systematically removed from public spaces.
21 June 2021
Two of these extinct creatures were native to Thailand: Schomburgk’s deer—a life-sized sculpture of which is the exhibition’s centrepiece—and a subspecies of the Bhutan glory butterfly. The exhibition includes a mounted butterfly specimen, alongside a drawing of it on a postage stamp and a description of it in a textbook. The effect is similar to Joseph Kosuth’s installations demonstrating the principles of semiotics.
Reincarnations III opened at Warin Lab Contemporary in Bangkok on 12th May, and runs until 10th July. Ruangsak’s sculpture Transformations was included in ห้องเรียนวาฬไทย (‘Thai whale classroom’) at HOF Art Space, and his similar Ash Heart Project installation was part of the Dialogues exhibition at BACC.
15 June 2021
11 June 2021
The Art of Thai Comics is both a coffee-table book with beautifully-reproduced illustrations and a meticulously researched, comprehensive survey of Thai comic history. In both aspects, it surpasses the leading Thai-language book on the subject, A 140-Year History of Cartoon in Thailand from 1874 to 2014 (140 ปี การ์ตูน เมืองไทย).
Scot Barmé discusses early Thai satirical cartoons—including Sem Sumanan’s caricatures of Rama VI—in Woman, Man, Bangkok. For more on Asian comics, see Mangasia (by Paul Gravett). Comics: A Global History (by Dan Mazur and Alexander Danner) covers American, European, and Japanese comics since 1968. The World Encyclopedia of Comics (by Maurice Horn) features biographies of hundreds of comic artists. Comics, Comix, and Graphic Novels (by Roger Sabin) is an introduction to the entire field of comic art.
10 June 2021
The opening chapters deal with the early history of Thai cartoons, followed by a decade-by-decade examination of Thai comics since 1957. (The authoritative text is accompanied by black-and-white illustrations, some of which appear to be photocopies.) An epilogue discusses political cartoons in Thai newspapers, including a 2014 example depicting a tank chasing a pencil around Bangkok’s Democracy Monument, highlighting military intimidation in the aftermath of the coup.
Scot Barmé discusses early Thai satirical cartoons in Woman, Man, Bangkok. For more coverage of Asian comics, see Mangasia (by Paul Gravett). Comics: A Global History (by Dan Mazur and Alexander Danner) covers American, European, and Japanese comics since 1968. The World Encyclopedia of Comics (by Maurice Horn) features biographies of hundreds of comic artists, and Comics, Comix, and Graphic Novels (by Roger Sabin) is an introduction to the entire field of comic art.
06 June 2021
Battle for the Soul’s title is adapted from an article Biden wrote for The Atlantic magazine in 2017, in the aftermath of the Charlottesville neo-Nazi rally: “We are living through a battle for the soul of this nation.” The book features Biden’s first Oval Office interview as President, in which he draws “a direct line” between Trump’s endorsement of the Charlottesville white supremacists and the 6th January storming of the Capitol.
Although Dovere covers the Democratic Party after Barack Obama’s presidency, it’s Obama who provides the book’s juiciest quotes. At off-the-record fundraising events with Democratic Party donors, he called Trump “a racist, sexist pig”, “that fucking lunatic” and, for good measure, “that corrupt motherfucker”.