Unleashed

Boris Johnson’s memoir Unleashed is almost 800 pages long, though there are only a handful of genuinely interesting passages amid the self-congratulatory prose. The most curious of these is an anecdote implying that Israeli Prime Minister Benjamin Netanyahu planted a bug in the UK Foreign Secretary’s private bathroom: Johnson writes that Netanyahu used the room during a visit to the Foreign Office, and that during a subsequent security sweep “they found a listening device in the thunderbox.”

Johnson is clearly aware of his reputation, characterising himself in his opponents’ eyes as “the monstruous Johnson, the beast of Brexit and the big bullshitting bus, the Pied Piper who played the devil’s tunes and led the people to perdition.” He later describes the Vote Leave campaign bus as “the great red bus of truth”, just one of numerous misleading and unretracted claims about the European Union. When he decided to campaign for Brexit, he says that David Cameron told him: “I will fuck you up forever.”

He acknowledges making “many goofs”, though he is unrepentant about his major failings. He refuses to accept the Supreme Court’s ruling that his prorogation of parliament was illegal, and nicknames Brenda Hale “Spiderwoman” after a brooch she wore while reading the judgement. He is also unapologetic about ‘partygate’, and in fact he now regrets the “rather pathetic apologies” he made at the time. Despite a Privileges Committee report accusing him of repeatedly lying to the House of Commons, he insists that he “hadn’t misled Parliament, certainly not intentionally,” and calls the committee members “my enemies.” This is a consistent theme, as he also blames his partygate fine on people “determined to bring me down.”

Anthony Seldon’s Johnson at Ten is a much more objective account of Johnson’s premiership (as is Tim Shipman’s new book Out), and Sebastian Payne’s The Fall of Boris Johnson is a detailed study of the final months of the Johnson government. The other recent memoirs by former UK prime ministers are A Journey by Tony Blair, My Life, Our Times by Gordon Brown, For the Record by David Cameron, and two less conventional examples: The Abuse of Power by Theresa May and Ten Years to Save the West by Liz Truss.

“une exploration inédite du cinéma thaïlandais...” (‘a unique exploration of Thai cinema...’)

Thai Cinema Uncensored is reviewed in the new issue of JSS: The Journal of the Siam Society (pp. 149–152). In his review, written in French, Bruno Marchal describes the book as “une exploration inédite du cinéma thaïlandais... une ressource précieuse pour ceux qui cherchent à comprendre l’évolution et la diversité du cinéma thaïlandais à travers les époques” (‘a unique exploration of Thai cinema... a valuable resource for those seeking to understand the evolution and diversity of Thai cinema through the ages’).

JSS (vol. 112, no. 2) was published this month. Thai Cinema Uncensored has also been reviewed by the International Examiner and Bangkok Post newspapers, the journal Sojourn, the magazines Art Review and The Big Chilli, and the 101 World website.

Sarit Thanarat

Sarit Thanarat, military prime minister during the Cold War, died in December 1963. After his death, the floodgates opened, and exposés of his love life were rushed into print. His lovenest was a private residence nicknamed the ‘pink palace’ (วิมานสีชมพู), and this was the title of a Sarit biography published in 1964, which included a dossier of photographs of Sarit’s alleged lovers. Several erotic novels of the period, including แม่ม่ายผ้าขะม้าแดง (‘red-headed widow’), were also thinly-veiled portrayals of Sarit’s mistresses.

Almost fifty years later, the phrase ‘pink palace’ was censored by Channel 3 when it broadcast the lakorn คุณชายพุฒิภัทร (‘khun Chai Puttipat’) on 5th May 2013. In the third episode, a former military general played by Montree Jenuksorn (who slightly resembles Sarit) discussed his ‘pink palace’, though the sound was muted, presumably to avoid any possibility of a libel suit from Sarit’s descendents. (The novel on which the drama was based refers to Sarit more obliquely.)

Potential defamation also prevented director Banjong Kosallawat from making a planned Sarit biopic in 2002, which was to have been titled จอมพล (‘marshal’). Sarit did feature briefly in the horror movie Zee Oui (ซี-อุย), ordering the swift execution of the murderous title character for political expediency. And Sarit’s statue looms ominously over the characters in Song of the City, Apichatpong Weerasethakul’s segment of the portmanteau film Ten Years Thailand.

After Sarit led a coup in 1957, he was portrayed as a hero by pliant newspaper cartoonists. One example of such propaganda showed Sarit cradling a rescued child in his arms, returning the boy (who represents the Thai people) to his grateful mother. In contrast, a July 1958 cartoon in the liberal ประชาชน (‘people’) newspaper depicted Sarit as a monkey wrapping his tail possessively around Democracy Monument. Sixty years later, in the wake of the 2014 coup, Sarit satire was too sensitive, and the Guerrilla Boys self-censored their mural Junta Connection (วิ่งผลัดเผด็จการ), which originally depicted Sarit passing his (literal) baton of dictatorship to Prayut Chan-o-cha.

Art and Culture (ศิลปวัฒนธรรม) magazine analysed cartoonists’ caricatures of Sarit (vol. 43, no. 1), and the journal Same Sky (ฟ้าเดียวกัน) examined the lurid books published shortly after his death (vol. 20, no. 2). Thai Cinema Uncensored discusses the portrayal of Sarit in Thai films.

Fragmentary Forms: A New History of Collage

The standard histories of collage as an artistic practice, such as Collage by Brandon Taylor, trace its origins to 1912, and the newspaper cuttings appliquéd to Cubist paintings by Pablo Picasso and Georges Braque. Herta Wescher’s Collage (Die Collage), the definitive work on the subject, discussed nineteenth century examples in addition to the Cubists and their successors. The recent exhibition Cut and Paste antedated the technique by 400 years, though Freya Gowrley’s groundbreaking book Fragmentary Forms: A New History of Collage, published this week, traces the history of collage over thousands of years.

As she writes in her introduction, Gowrley (who contributed to the Cut and Paste exhibition catalogue) “aims to provide a more expansive history of collage than has previously been produced.” The book’s publisher calls it a “global history of collage from the origins of paper to today”, and at 400 pages it lives up to that description. All previous histories of collage have focused entirely on European and American artists, though the scope of Gowrley’s book is truly international, with coverage of collage in Asia, the Middle East, and elsewhere. Again, unlike previous histories of the topic, Fragmentary Forms considers collage not only as fine art, but also examines its role in taxonomic collections, devotional objects, printed ephemera, and domestic craftmaking.

Priyanandana Rangsit v. Nattapoll Chaiching

The Civil Court has dismissed a defamation lawsuit filed in 2021 by the aristocrat Priyanandana Rangsit against the historian Nattapoll Chaiching and his publisher, Same Sky Books. Nattapoll is the author of the bestselling ขุนศึก ศักดินา และพญาอินทรี (‘feudal warlords and the eagle’). His earlier book ขอฝันใฝ่ในฝันอันเหลือเชื่อ (‘I dream an incredible dream’) also saw a revival in sales after it was among five titles seized by police from the offices of Same Sky.

On 5th March 2021, aristocrat Priyanandana Rangsit sued Nattapoll and Same Sky for defamation, seeking ฿50 million in damages. According to the lawsuit, Nattapoll’s books incorrectly assert that her grandfather, Prince Rangsit Prayurasakdi, sought an improper political influence over Phibun Songkhram’s government in the 1940s. She argued that this allegation about her long-dead ancestor tarnished her family name, and was thus defamatory to her personally.

Yesterday, the court came to the obvious conclusion that Prince Rangsit, having died in 1951, was not affected by the content of Nattapoll’s books. In the court’s judgement, Priyanandana’s legal case was therefore invalid from the beginning. This ruling is hardly surprising, though more questionable is the fact that it took almost four years for such a spurious case to be dismissed.

Stanley Kubrick’s The Shining

Taschen published The Stanley Kubrick Archives as a limited coffee-table book in 2005. Then, in 2009, came their collector’s edition of Kubrick’s Napoleon, limited to 1,000 copies: ten volumes inside one enormous book. Another collector’s edition followed in 2014: the making of Kubrick’s 2001, limited to 1,500 copies in a metal slipcase. Of course, these books were far from cheap, though last year’s collector’s edition on the making of Kubrick’s The Shining (limited to 1,000 copies) cost a prohibitive $1,500 (almost as much as the other three titles combined).

Fortunately, a year after its release, Stanley Kubrick’s The Shining is now available in a more modest edition, costing around a tenth of the original price. (How times have changed: this version is the same price as the limited edition of The Stanley Kubrick Archives was in 2005.) The new edition consists of two volumes in a slipcase: a book of photographs (many previously unpublished) styled to look like a scrapbook; and The Making of Stanley Kubrick’s The Shining, a comprehensive account of the film’s production.

The Making of Stanley Kubrick’s The Shining is credited to both J.W. Rinzler and Lee Unkrich, though Rinzler wrote the majority of the text. During the project’s gestation, there was some confusion around the authorship: Unkrich (a Pixar film director) initially referred to it as his book, without mentioning Rinzler’s input, and then implied that he had hired Rinzler. In fact, Rinzler had begun the manuscript independently, and the two later agreed to collaborate.

Stanley Kubrick’s The Shining benefits both from Rinzler’s expertise as a writer of making-of books (such as The Making of Alien), and Unkrich’s passionate interest in The Shining. (He wrote the introduction to Danel Olson’s book, also titled Stanley Kubrick’s The Shining.) The original collector’s edition also included supplemental volumes such as a Saul Bass sketchbook and a reproduction of the film’s continuity script.

War

Bob Woodward’s most recent books on presidents Donald Trump and Joe Biden all have one-word titles: Fear, Rage, Peril, and now War. Woodward covered the first few months of the Biden administration in Peril, and War—released earlier this month—is his account of Biden’s responses to the Russian invasion of Ukraine and Isreal’s war with Gaza. (He previously wrote a similar book on Barack Obama’s foreign policy, Obama’s Wars.)

Woodward’s reporting is always extraordinary—his and Carl Bernstein’s investigation into the Watergate scandal ultimately led to Richard Nixon’s resignation—but War is a remarkable book. Almost every chapter features direct quotes from secure telephone calls and private meetings between Biden, Israeli Prime Minister Benjamin Netanyahu, Ukrainian President Volodymyr Zelensky, and others.

The US intelligence services were aware of Putin’s plan to attack Ukraine, and tried several times to convince Zelensky that it would happen. Woodward reports that Secretary of State Anthony Blinken told a skeptical Zelensky: “we believe there is a very high risk that the Russians will re-invade your country.” Zelensky was equally dismissive when CIA director Bill Burns reiterated: “There is going to be a significant invasion of your country”. Even a week before the war began, Zelensky remained unconvinced when Vice President Kamala Harris warned him: “You face a potentially imminent invasion.”

After the 7th October 2023 attack on Isreal by Hamas, Woodward shows how Biden and his most senior diplomats were focused on seeking assurances from Netanyahu that his retaliation would be proportionate. Netanyahu insisted that “not an ounce of anything will go into Gaza to help people,” though Blinken and Biden convinced him to reconsider. As the war dragged on, Biden sought to minimise any potential escalations, and Woodward quotes at length from a wide-ranging 4th April call between Biden and Netanyahu debating an invasion of Rafah, humanitarian aid, and the hostage crisis.

Biden’s private opinion of Netanyahu is clear from War. Woodward reports that Biden called the Israeli PM “a fucking liar,” and added for good measure: “That son of a bitch Bibi Netanyahu, he’s a bad guy. He’s a bad fucking guy!” But it was the book’s reporting about former president Donald Trump that made more headlines: Woodward quotes Mark Milley, chairman of the Joint Chiefs of Staff during Trump’s presidency, describing Trump as “fascist to the core.” (Trump’s former chief of staff John Kelly agreed with Milley in a recent New York Times interview.)

Woodward’s own assessment of Trump (who is suing him after the release of The Trump Tapes) is also unequivocal. He ended Rage by describing Trump as “the wrong man for the job” though he goes much further in War: “Donald Trump is not only the wrong man for the presidency, he is unfit to lead the country. Trump was far worse than Richard Nixon, the provably criminal president... Trump was the most reckless and impulsive president in American history and is demonstrating the very same character as a presidential candidate in 2024.”

Chris Whipple (The Fight of His Life) and Franklin Foer (The Last Politician) have also written books on the Biden White House. Simon Shuster’s The Showman is an account of Zelensky’s presidency and the war in Ukraine.

Wordslut: A Feminist Guide to Taking Back the English Language

Amanda Montell’s aim in Wordslut: A Feminist Guide to Taking Back the English Language is to encourage and empower women “to reclaim a language that for so long has been used against us.” Wordslut, published in 2019, is not the first book to show how gender-neutral terms have been transformed into sexist insults: Jane Mills did so in Womanwords thirty years previously. And the notion of reappropriating those pejoratives is older still: Germaine Greer attempted to reclaim the c-word, for example, in the early 1970s. Mills and Greer are not cited in Wordslut (and the book has no bibliography), though Montell did interview Deborah Cameron, author of Feminism and Linguistic Theory.

Montell begins her book by calling for “a language revolution”, though her ultimate conclusion is more measured. She argues that reappropriation is a gradual process: “A word doesn’t have to lose its negative meanings completely to be considered reclaimed. The path to reclamation is almost never that smooth... As long as the positive varieties of a word steadily become more common, more mainstream, by the time the next generation starts learning the language, they will pick up those meanings first.” The book’s title is itself a reappropriation of ‘slut’, though Montell doesn’t mention Katharine Whitehorn’s pioneering self-identification with that word sixty years ago.

Infiltrating Society: The Thai Military’s Internal Security Affairs

Internal Security Operations Command, the political arm of the Thai military, has called for sales of a new book to be halted. The book in question is ในนามของความมั่นคงภายใน การแทรกซึมสังคมของกองทัพไทย, a Thai translation of Infiltrating Society: The Thai Military’s Internal Security Affairs by the distinguished academic Puangthong Pawakapan. Infiltrating Society was published in English in 2021, and the Thai translation will be released on 25th September by Same Sky Books.

ISOC posted a written statement on its Facebook page on 14th September, questioning Puangthong’s academic credentials and research methods, and challenging her findings. It also requested that the book was removed from sale (“ขอเรียนว่าการนำหนังสือและบทความทางวิชาการที่มีข้อมูลในลักษณะที่เป็นเท็จ”), and threatened legal action against the author.

Thailand’s modern political history has been dominated by military rule, with thirteen successful coups. But Puangthong argues that, even during periods of civilian government, ISOC’s influence is ever present, creating a constant atmosphere of military surveillance and propaganda. She makes the crucial point that ISOC’s activities are fundamental to the military’s agenda: “Internal security affairs, rather than external threats, have long been the raison d’être of the Thai military”.

God and the Devil:The Life and Work of Ingmar Bergman

Peter Cowie is a leading authority on director Ingmar Bergman, and God and the Devil: The Life and Work of Ingmar Bergman, published last year, is his comprehensive account of Bergman’s entire career. Beginning in the late 1950s, Cowie was in regular contact with Bergman for more than thirty years, and in his critical biography he also quotes from letters and journals from the Bergman archive.

The book’s stark cover shows the personification of Death from Bergman’s masterpiece The Seventh Seal (Det sjunde inseglet). God and the Devil examines not just Bergman’s acclaimed filmography, but also his often overlooked theatre productions and his complicated private life. Cowie’s ultimate assessment of Bergman is as follows: “Forever obsessed with God and his demons, reckless in love, and relentless in his commitment to film and theatre.”

Cowie has written and published dozens of books on cinema, specialising in works on the pantheon of great directors, including an early monograph on Orson Welles (A Ribbon of Dreams). He wrote a lavish guide to the films of Akira Kurosawa, and his books on the making of The Godfather and Apocalypse Now are indispensable. His second Godfather book was published fifteen years after the first, and he also wrote a book on another 1970s classic, Annie Hall.

Truss at Ten:How Not to Be Prime Minister

“Is it all over?”
“Yes, Prime Minister, I think it probably is.”

That exchange, between Liz Truss and Cabinet Secretary Simon Case, is one of several blunt conversations documented by Anthony Seldon in Truss at Ten, which was published last month. Seldon has written profiles of every UK prime minister since John Major, and his previous book covered Boris Johnson’s aberrant premiership. Some PMs cooperate with Seldon, and others don’t; Truss and David Cameron did, while Johnson and Theresa May didn’t.

Truss at Ten features new reporting on the key moments from the shortest British government in history: the reversal of the 45p tax rate policy (“the biggest U-turn in modern prime ministerial history”), the sacking of Chancellor Kwasi Kwarteng, and the appointment of Jeremy Hunt as his replacement. Surprisingly, given her reckless self-confidence, Truss seemed to defer to Hunt, telling her Principal Private Secretary: “Jeremy will do the domestic side and I’ll do the foreign.”

Seldon has been headmaster of three schools, and his Truss book reads like a wayward student’s end-of-term report card. He sets out ten requirements for a successful PM, and demonstrates how Truss failed at all of them. (The book is subtitled How Not to Be Prime Minister.) Making frequent historical comparisons, Seldon argues that Truss’s period of office was uniquely damaging to the country’s economy. Ultimately, he criticises her “total failure to understand the nature of leadership and the job of being Prime Minister.”

There have been other accounts of the Truss premiership, the best of which is Out of the Blue by Harry Cole and James Healey. Ben Riley-Smith’s The Right to Rule (retitled Blue Murder in paperback) also covers Truss in office, and Truss herself wrote an unapologetic memoir, Ten Years to Save the West.

The Prince: The Turbulent Reign of Justin Trudeau

Journalist Stephen Maher’s first impression of Justin Trudeau was not particularly favourable: “He looked like a charismatic lightweight”. Maher’s new political biography of Trudeau portrays the Canadian Prime Minister as narcissistic and superficial, “a leader of limited ambitions, a transactional rather than a transformational leader.” Surprisingly, Trudeau agreed to be interviewed for the book earlier this year.

The biography takes its title, The Prince: The Turbulent Reign of Justin Trudeau, from a 1977 interview with Trudeau’s mother, who described him as “a prince—a very good little boy”. But the term also has other connotations, and Maher describes Trudeau’s sense of entitlement, “his princely certainty in the importance of his ideas,” his “princely capriciousness” and “princely vanity.” There is also a Machiavellian reference, and the book includes withering epigraphs from the Italian philosopher’s The Prince (Il principe).

Maher gives Trudeau due credit for a successful domestic social agenda, with “real progress for children, women, families, and the most significant effort to fight poverty in a generation.” But mindful of Canada’s election next year, he sums up Trudeau’s three terms in office with an unambiguous conclusion that echoes the PM’s current low approval rating: “After eight years of Trudeau, we are obviously in a weaker position.”

บทปราศรัยคัดสรรคดี 112 (‘speeches on 112’)

A student has received a three-year prison sentence, suspended for two years, after being found guilty of lèse-majesté for attempting to distribute copies of a booklet, บทปราศรัยคัดสรรคดี 112 (‘speeches on 112’). The booklet, published by the United Front of Thammasat and Demonstration, features a collection of speeches calling for the abolition of the lèse-majesté law, which is article 112 of the Thai criminal code.

The graduate student, whose name has not been released, was accused of carrying a box containing copies of the booklet at a Naresuan University commencement ceremony on 30th December 2021. Police confiscated all copies before they could be handed out to anyone attending the event. (Copies had previously been distributed at Three Kings Monument Square in Chiang Mai, and at the Bangkok Art and Culture Centre.) The student was sentenced yesterday, though the booklet itself has not been banned from publication.

Tectonism: Architecture for the Twenty-First Century

In a 2009 issue of Architectural Digest (vol. 79, no. 4), Patrik Schumacher grandly announced “the enunciation of a new style: Parametricism.” His article, Parametricism: A New Global Style for Architecture and Urban Design, even argued that this new architectural style was the successor to the Modernist movement: “Parametricism is the great new style after modernism.”

Schumacher’s book Tectonism: Architecture for the Twenty-First Century, published last year, introduces another new ‘ism’—tectonism—which is apparently a revised version of parametricism: “tectonism is classified here as a subsidiary style within the the overarching epochal style of parametricism. Tectonism is a logical continuation and refinement of earlier stages of parametricism, such as foldism, blobism, and swarmism.”

It’s hard to take Schumacher and his self-proclaimed epochal movements seriously. He makes sweeping, grandiose claims—“Tectonism is the most advanced and most sophisticated contemporary architectural style”—that have no real foundation, and he believes that parametricism/tectonism should become a global architectural hegemony: “The plurality of styles must make way for a sweeping parametricism”.

ตาดูดาว เท้าติดดิน (‘looking at the stars, feet on the ground’)

In 2013, Thaksin Shinawatra published a comic adaptation of his autobiography, ตาดูดาว เท้าติดดิน (‘looking at the stars, feet on the ground’). The book, published by Thaksin’s own Thaicom company, was a vanity project that reimagined his life as an inspirational rags-to-riches tale. (As Pasuk Phongpaichit and Chris Baker wrote in Thaksin, their book on the former PM, “Thaksin has mythologized his life story as a poor boy made good.”) The comic was later converted into a seven-part animated series, aimed at an even younger audience, released on YouTube in 2014.

Surprisingly, ตาดูดาว เท้าติดดิน was the second comic biography of Thaksin. The first was published shortly after the 2006 coup that removed him from office. ชีวิตทักษิณ บันทึกประวัติศาสตร์ นายกของไทยคนที่ 23 ที่มีทั้งคนรัก คนชัง สุดท้ายถูกยึดอำนาจ! (‘Thaksin’s life: a historical record of how the 23rd Prime Minister of Thailand, who had both lovers and haters, finally seized power!’) is similarly hagiographic, though drawn in a more realistic style for a slightly older readership.

The Notebook: A History of Thinking on Paper

The Notebook: A History of Thinking on Paper is the first general history of writing pads and their various uses. Roland Allen devotes his first few chapters to Florentine notebooks, including domestic examples such as the ricordanzi (account book), ricordi (memoir), and zibaldoni (“a personal anthology, or miscellany”, similar to later collections of quotations known as common-place books).

The book’s scope extends from the Middle Ages to the present day, and it includes concise histories of diaries, logbooks, and other types of personal journal. It also has an annotated bibliography. There are a couple of notable omissions: spiral-bound reporters’ notebooks (used for shorthand notation) and yellow legal pads.

“...destabilize the socio-political situation in Russia.”

A novel about a zombie apocalypse has been banned in Russia, after Roskomnadzor—the state media regulator—accused its author of attempting to “destabilize the socio-political situation in Russia.” The book, Мышь (‘mouse’) by Ivan Philippov, is a dystopian satire in which a medical facility has been created to develop a serum allowing President Vladimir Putin to prolong his life: “Хотя бы до 120 лет Владимир Владимирович дожить бы очень хотел. И денег на опыты он не пожалеет” (‘Putin would love to reach 120 years old, and will spare no expense in funding experiments to make this possible’).

A mouse infected with the serum escapes from the secret laboratory, spreading a virus that turns Russian citizens into zombies. The novel was published last year by Freedom Letters, based outside Russia, which specialises in Russian-language literature that would be banned if it were submitted to Russian censors.

The 12-Hour Film Expert:Everything You Need to Know about Movies

The 12-Hour Film Expert: Everything You Need to Know about Movies, by brothers Noah and James Charney, has a reductivist title, but the book itself is a reasonably detailed history of American cinema. On the other hand, foreign-language films are squeezed into a single chapter, which the writers admit—and demonstrate—“is well-nigh impossible to do”.

The book is organised into twelve chapters, each of which begins with a list of a few key films, “the most important ones to watch.” An appendix, The Movie Playlist, lists further genres and subgenres, each with twelve recommended films. At the end of the Playlist, the “rule of twelve” gives way to a list of directors from various countries outside the US, each represented by their best-known films.

There’s a general emphasis on more recent films, and there are some odd omissions: numerous genres, such as war, gangster films, period dramas, documentaries, and animation, are excluded. Stanley Kubrick’s films are conspicuously absent from any of the book’s lists.

These are the twelve chapters and their key films:

The Invention of the Movies —

• A Trip to the Moon
• The Great Train Robbery

The Golden Age of Silent Movies —

• The Gold Rush
• Sunrise

Classic Hollywood —

• Casablanca
• Citizen Kane

The Western —

• Stagecoach
• The Searchers
• Red River

Film Noir —

• Double Indemnity
• Out of the Past
• Touch of Evil
• Chinatown

Comedy —

• Bringing up Baby
• Airplane!
• When Harry Met Sally

Musicals —

• Top Hat
• Singin’ in the Rain
• Moulin Rouge!

Suspense —

• The Wages of Fear
• The Birds
• The Italian Job

Horror —

• Cat People
• Halloween
• The Babadook

Action —

• The Bourne Identity
• Nobody
• Run Lola Run

Sci-Fi, Fantasy, and Superhero Films —

• X-Men
• Star Wars IV–VI
• The Lord of the Rings I–III
• Harry Potter and the Philosopher’s Stone

International Art House —

• Bicycle Thieves
• Seven Samurai
• Nostalghia

The Movie Book (2nd edition)

The Movie Book was first published in 2015 as a guide to the most influential films from cinema history: “The movies gathered here are those that the authors feel... to have had the most seismic impact on both cinema and the world.” The book was written by a team of authors (Louis Baxter, John Farndon, Kieran Grant, and Damon Wise), led by Danny Leigh.

116 films were included, cross-referenced and arranged chronologically, with entries ranging from a single page to six pages per film. There was also an appendix of eighty-eight extra films, “a selection of the movies that came close to being included in the main section, but did not quite make the final cut.”

The second edition appeared in 2022, with minimal changes. It included only one additional film, Parasite (기생충), making a new total of 117 main entries. Five films were deleted from the appendix, replaced by five new entries. The deletions from the appendix are Dr. Mabuse, the Gambler (Dr. Mabuse, der Spieler), The Jazz Singer, Rosemary’s Baby, Good Bye, Lenin!, and Times and Winds (Beş Vakit); the additions are The Exorcist, Twelve Years a Slave, Black Panther, Portrait of a Lady on Fire, and Nomadland.

These are the 117 main entries in the second edition:

• A Trip To The Moon
  
• Intolerance
  
• The Cabinet of Dr. Caligari
  
• Battleship Potemkin
  
• Sunrise
  
• Metropolis
  
• Steamboat Bill Jr
  
• The Passion of Joan of Arc
  
• The Blue Angel
  
• People on Sunday
  
• City Lights
  
• M
  
• Duck Soup
  
• King Kong
  
• Zero for Conduct
  
• The Bride of Frankenstein
  
• Snow White and the Seven Dwarfs
  
• The Wizard of Oz
  
• The Rules of the Game
  
• Gone with the Wind
  
• His Girl Friday
  
• Citizen Kane
  
• Casablanca
  
• To Be or Not to Be
  
• Ossessione
  
• Laura
  
• Children of Paradise
  
• La belle et la bête
  
• A Matter of Life and Death
  
• It’s a Wonderful Life
  
• Bicycle Thieves
  
• Kind Hearts and Coronets
  
• The Third Man
  
• Rashomon
  
• Sunset Boulevard
  
• A Streetcar Named Desire
  
• The Night of the Hunter
  
• Singin’ in the Rain
  
• Tokyo Story
  
• The Wages of Fear
  
• Godzilla
  
• All That Heaven Allows
  
• Rebel Without a Cause
  
• Pather Panchali
  
• Kiss Me Deadly
  
• The Searchers
  
• The Seventh Seal
  
• Vertigo
  
• Ashes and Diamonds
  
• Some Like It Hot
  
• The 400 Blows
  
• La Dolce Vita
  
• Breathless
  
• Saturday Night and Sunday Morning
  
• Last Year at Marienbad
  
• La jetée
  
• The Umbrellas of Cherbourg
  
• Black God, White Devil
  
• Dr. Strangelove
  
• The Sound of Music
  
• The Battle of Algiers
  
• The Chelsea Girls
  
• Playtime
  
• Bonnie and Clyde
  
• 2001
  
• The Wild Bunch
  
• Easy Rider
  
• Le boucher
  
• The Godfather
  
• Aguirre, the Wrath of God
  
• The Discreet Charm of the Bourgeoisie
  
• Don’t Look Now
  
• The Spirit of the Beehive
  
• Chinatown
  
• Ali
  
• Jaws
  
• Picnic at Hanging Rock
  
• Taxi Driver
  
• Annie Hall
  
• Star Wars IV
  
• Alien
  
• Stalker
  
• Das Boot
  
• Blade Runner
  
• Blue Velvet
  
• Wings of Desire
  
• Women on the Verge of a Nervous Breakdown
  
• sex, lies, and videotape
  
• Do the Right Thing
  
• Raise the Red Lantern
  
• Pulp Fiction
  
• Three Colours (Red)
  
• The Shawshank Redemption
  
• Toy Story
  
• La haine
  
• Fargo
  
• The Sweet Hereafter
  
• Central Station
  
• Festen
  
• The Ring
  
• Crouching Tiger, Hidden Dragon
  
• Spirited Away
  
• Amelie
  
• Lagaan
  
• The Lord of The Rings I
  
• City of God
  
• Oldboy
  
• The Lives of Others
  
• Pan’s Labyrinth
  
• Slumdog Millionaire
  
• The Hurt Locker
  
• Man on Wire
  
• The White Ribbon
  
• Once Upon a Time in Anatolia
  
• Gravity
  
• Boyhood
  
• Parasite

These are the eighty-eight films in the appendix:

• The Great Train Robbery
  
• Nosferatu
  
• Un chien andalou
  
• Freaks
  
• The Grapes of Wrath
  
• The Maltese Falcon
  
• Sullivan’s Travels
  
• Meshes of the Afternoon
  
• Double Indemnity
  
• Brief Encounter
  
• Murders Among Us
  
• Out of the Past
  
• The Red Shoes
  
• All About Eve
  
• Los Olvidados
  
• The Big Heat
  
• La strada
  
• Seven Samurai
  
• Rififi
  
• Invasion of the Body Snatchers
  
• Touch of Evil
  
• Elevator to the Gallows
  
• Peeping Tom
  
• Psycho
  
• West Side Story
  
• The Innocents
  
• Jules et Jim
  
• The Manchurian Candidate
  
• Dry Summer
  
• Jason and the Argonauts
  
• Onibaba
  
• I Am Cuba
  
• Closely Observed Trains
  
• Persona
  
• The Graduate
  
• Belle de jour
  
• Salesman
  
• Once Upon a Time in the West
  
• Kes
  
• Midnight Cowboy
  
• A Clockwork Orange
  
• Harold and Maude
  
• Land of Silence and Darkness
  
• Walkabout
  
• The Harder They Come
  
• The Exorcist
  
• A Woman Under the Influence
  
• Sholay
  
• Xala
  
• Eraserhead
  
• Dawn of the Dead
  
• Days of Heaven
  
• Apocalypse Now
  
• Raging Bull
  
• The Shining
  
• ET
  
• Scarface
  
• Blood Simple
  
• Paris, Texas
  
• Come and See
  
• Brazil
  
• Down by Law
  
• Jesus of Montreal
  
• Hearts of Darkness
  
• Hard Boiled
  
• Reservoir Dogs
  
• Naked
  
• Short Cuts
  
• Heavenly Creatures
  
• Drifting Clouds
  
• Breaking the Waves
  
• Taste of Cherry
  
• Werckmeister Harmonies
  
• Amores Perros
  
• In the Mood for Love
  
• Mulholland Drive
  
• Tsotsi
  
• Caché
  
• Ten Canoes
  
• There Will Be Blood
  
• The Secret in Their Eyes
  
• The Kid with a Bike
  
• Holy Motors
  
• Twelve Years a Slave
  
• The Grand Budapest Hotel
• Black Panther
  
• Portrait of a Lady on Fire
  
• Nomadland

(Note that Some Like It Hot is the 1959 Billy Wilder classic, Scarface is the 1983 remake, and The Maltese Falcon is the 1941 remake.)

รวมผลงานคัดสรรจากเพจ อยู่เมืองดัดจริต ชีวิตต้องป๊อป พ.ศ. 2557–2554(‘living in a pretentious city, life must be pop’)

Prakit Kobkijwattana used to work in advertising, but now he uses commercial techniques in his art, to satirise Thailand’s militarism and materialism. Like many Thai artists, Prakit experienced a political awakening—known in Thai as ta sawang—after the 2010 massacre of pro-democracy protesters in Bangkok. Prakit was profiled in the Bangkok Post in 2021: “Ever since the Ratchaprasong intersection incident in 2010, the 57-year-old has radically changed his point of view toward art and society”. Sayan Daenklom coined the term “Post-Ratchaprasong art” to describe works produced in response to the massacre, in the journal Read (อ่าน; vol. 3, no. 2).

Prakit created a Facebook page, อยู่เมืองดัดจริต ชีวิตต้องป๊อป (‘living in a pretentious city, life must be pop’), in 2011, posting memes and graphic art commenting on the Ratchaprasong massacre and the following four years of Thai politics, culminating with the 2014 coup. In 2015, these were collected in the book รวมผลงานคัดสรรจากเพจ อยู่เมืองดัดจริต ชีวิตต้องป๊อป พ.ศ. 2557–2554 (‘living in a pretentious city, life must be pop: a collection of selected works, 2014–2011’), edited by Kasada Satayahurak. (Note that the date range in the title is in reverse, to show the country’s political regression during that period.)