31 August 2022

Battleship Potemkin


Battleship Potemkin

The classic Battleship Potemkin (Бронено́сец «Потёмкин») will be shown at the Thai Film Archive in Salaya on 7th September. The film is an agitprop dramatisation of the 1905 Russian Revolution, though it also demonstrates director Sergei Eisenstein’s revolutionary montage editing technique, and the ‘Odessa steps’ massacre is arguably the most famous sequence in silent cinema.

The archive’s 16mm print was donated by the embassy of the Soviet Union and first shown as part of the หนังดีที่สุดในโลก (‘greatest films in the world’) programme, one of the inaugural events of the Thailand Cultural Centre in 1987. The print is an unrestored, edited version (just under an hour long), with an English-language voice-over that fills in the gaps in the narrative.

Battleship Potemkin was previously screened at the archive in 2011, with live music by Nipat Chaisap. It was shown twice at Bangkok Screening Room, in 2018 (with a soundtrack by the Pet Shop Boys) and 2020 (with live music by Viveka).

26 August 2022

“He went to an Imam Hatip school, that’s why he’s perverted...”


Lolipop

Gülşen, one of Turkey’s most popular singers, has been arrested after joking about the country’s religious school system. At a concert on 30th April, she teased a member of her band, saying: “İmam hatipte okumuş daha önce kendisi, sapıklığı oradan geliyor” (‘he went to an Imam Hatip school, that’s why he’s perverted’).

A video clip of the on-stage comment, filmed at the JJ Arena in Istanbul, was posted online by an audience-member. The singer has been charged with inciting hatred and division. She was detained in custody yesterday, after bail was denied. Ironically, she also appeared behind prison bars in the music video for her most recent single, Lolipop, released earlier this year.

24 August 2022

ไม่มีคนบนฟ้า
(‘no one in the sky)’


CD

The ไม่มีคนบนฟ้า EP was released on CD by t_047 last year. The title track, which was also released as a single, translates as ‘no one in the sky’, and in Thailand the sky is often used as a metaphor for the monarchy. The lyrics also criticise “people who claim to be deities which I find so lame”. But, perhaps to avoid accusations of lèse-majesté, the band added a disclaimer on their YouTube channel: “ไม่ได้มีเจตนาเพื่อโจมตีบุคคลใดบุคคลหนึ่ง แต่มีความตั้งใจตักเตือนบุคคลหลายกลุ่ม ที่ตั้งตนสูงส่งกว่าสามัญชนคนธรรมดา” (‘it was not intended to attack any individual, but with the intention of admonishing many groups who elevate themselves above ordinary people’).

The ไม่มีคนบนฟ้า music video features footage of riot police deploying water cannon against anti-government protesters. The EP also includes ความฝันยามรุ่งสาง (‘dreaming at dawn’), which was one of several singles released on the 45th anniversary of the 6th October 1976 massacre.

Songs by a more controversial Thai band, Faiyen, have resulted in lèse-majesté charges against the band members themselves and protesters who sing the tracks. Protesters sang Faiyen’s song โชคดีที่มีคนไทย (‘lucky to have Thai people’) outside Bangkok South Criminal Court on 28th July; they also sang it, along with another Faiyen track—ใครฆ่า ร.8 (‘who killed Rama VIII?’)—at Victory Monument yesterday.

22 August 2022

The Genius of Prince


Prince Vanity Fair The Genius of Prince

The US Supreme Court will rule later this year on a long-running copyright lawsuit between photographer Lynn Goldsmith and the Andy Warhol Foundation. Warhol was commissioned by Vanity Fair to create a portrait of Prince, and the magazine paid Goldsmith for the rights to use her black-and-white Prince photograph as the basis for Warhol’s painting. Both Warhol and Goldsmith were credited when the image was published in the November 1984 issue (on p. 67), to illustrate an article titled Purple Fame.

The dispute stems not from that original publication, but from a commemorative magazine, The Genius of Prince, released in 2016 by the publisher of Vanity Fair. The cover illustration for The Genius of Prince was another Warhol portrait, also based on Goldsmith’s photo, and this time she wasn’t credited. Goldsmith sued the Warhol Foundation, though the Foundation counter-sued and argued that Warhol’s manipulation of her image was sufficiently transformative that it did not infringe her copyright.

The precedent for transformative works constituting fair use dates to a 1993 Supreme Court verdict that permitted The 2 Live Crew’s sampling of Roy Orbison’s single Oh, Pretty Woman. Even more directly relevant is the case of another photographer, Patrick Cariou, who sued the artist Richard Prince for copyright infringement. In that instance, most of Prince’s images were deemed fair use, though the legal status of five works remains unresolved, as the appeals court was unable to “make a determination about their transformative nature” and the case was ultimately settled out of court.

15 August 2022

Uninspired by Current Events:
Sorry Stories


Uninspired by Current Events

Saratta Chuengsatiansup, the artist behind the Uninspired by Current Events page on Facebook, has released a book of his work. Uninspired by Current Events: Sorry Stories reproduces some of the digital artworks he has been posting daily since last year, alongside a handful of new images.

Despite the ironic disclaimer in its title, Uninspired by Current Events provides a topical, satirical commentary on Thai news and politics. The book also features short poems, in both English and Thai, to accompany each illustration, and the poetry is as sharp and subversive as the images themselves.

14 August 2022

WeVo


WeVo

An exhibition in Bangkok yesterday and today marked two years since the formation of WeVo (We Volunteer), a group of volunteer guards who provide protection for protesters at anti-government rallies. The guards, led by Piyarat Chongthep, have previously been labelled agitators, and they were accused of using violent tactics—throwing firecrackers and other projectiles—to repel riot police (on 28th February last year, for example).

The 2nd Anniversary of We Volunteer (งานครบรอบ 2 ปีกลุ่ม We Volunteer) exhibition was held at the Jam Factory. Rubber bullets fired by riot police were on display, as was the mock guillotine previously seen at Democracy Monument on 18th July last year. Supong Jitmuang’s documentary Mob 2020–2021 was shown at the event yesterday.

12 August 2022

Quote of the day...


Quote of the day

“Prayut will respect the court’s opinions because he has never thought of himself as being above the law.”
— Thanakorn Wangboonkongchana

Today sees the resurrection of Dateline Bangkok’s ‘quote of the day’ feature, an occasional series of I-can’t-believe-they-said-that quotes from Thailand. A government spokesman was quoted by the Bangkok Post newspaper today, assuring Prayut Chan-o-cha’s critics that the Prime Minister “has never thought of himself as being above the law.” This is, to say the least, somewhat ironic given Prayut’s role as leader of the junta that overthrew an elected government in 2014.

Prayut himself has provided two previous quotes of the day: he claimed that “we respect democracy” barely a fortnight after his coup, and he admitted that the army still used GT200 devices three years after they were exposed as a hoax. Other quotes of the day from yesteryear: a yellow-shirt leader said that Thailand should be more like North Korea, the Information and Communication Technology Minister openly admitted to violating the Computer Crime Act, Suthep Thaugsuban hypocritically condemned protesters for blocking roads, an Election Commission spokesman claimed that an election would lead to a coup, and a Ministry of Culture official dismissed the work of Thailand’s most acclaimed filmmaker.

11 August 2022

“I have decided to take legal action against The Economist...”



An Iraqi soap opera actress has announced that she plans to sue The Economist over its use of her photograph. The magazine used a photo of Enas Taleb to illustrate an article about female obesity in the Middle East. Taleb told the online magazine New Lines: “I have decided to take legal action against The Economist... I am demanding compensation for the emotional, mental and social damage this incident has caused me.”

The article, headlined Weighty Matters, appears on p. 34 of the current issue (vol. 444, no. 9,307) of The Economist, published on 30th July. The Economist was last successfully sued for damages in 2004, after it alleged “a whiff of nepotism” in the appointment of the Singaporean Prime Minister’s wife as head of a state investment agency.

08 August 2022

Dianagate


The Sun

This month marks the thirtieth anniversary of the so-called ‘Dianagate’ scandal, the publication of a telephone conversation between Princess Diana and James Gilbey, with whom she was having an affair. A transcript of their phone call was printed in The Sun newspaper on 24th August 1992, under the banner headline “MY LIFE IS TORTURE”. The headline is a quote from the tape: Diana says that Prince Charles “makes my life real, real torture, I’ve decided.” (The tape was later sampled by the techno band House of Windsor for their novelty single Squidgy, a reference to Gilbey’s pet name for Diana, and Dianagate is also known as ‘Squidgygate’.)

According to The Sun, the call was accidentally recorded by a radio ham, Cyril Reenan, on New Year’s Eve 1989. A second amateur radio enthusiast, Jane Norgrove, subsequently provided the paper with her own tape of the call. The clarity of the tapes, and the unlikely coincidence of two accidental recordings of such a significant conversation, led to (as yet unproven) allegations that landlines in royal residences had been tapped.

Such speculation increased when a phone call between Charles and his mistress, Camilla Parker-Bowles, was also leaked. The transcript of this so-called ‘Camillagate’ tape—recorded a fortnight before Diana’s call, on 18th December 1989—was first published by New Idea on 23rd January 1993. At the time, the magazine was owned by Rupert Murdoch, proprietor of The Sun, and it’s likely that the story was planted in an Australian magazine to provide some distance from Murdoch’s UK tabloids. Camillagate caused even more of a sensation than Dianagate, as the conversation was more directly sexual, and Charles was recorded joking about being reincarnated as his lover’s tampon: “God forbid, a Tampax!”

Ornament and Crime:
Thoughts on Design and Materials


Ornament and Crime

Ornament and Crime (Ornament und Verbrechen), first delivered as a lecture in Vienna and later published as an essay, is one of the most famous polemics in the history of architecture and design. Architect Adolf Loos abhorred the decorative ornamentation of Art Nouveau and the Vienna Secession, as he proclaimed in Ornament and Crime’s succinct central thesis: “the evolution of culture comes to the same thing as the removal of ornament from functional objects.

Linking ‘primitive’ ornamentation to evolution is the most problematic aspect of Ornament and Crime, as Loos equated the tribal tattoos of Papua New Guinea with “degeneracy”. The essay is stridently moralistic, though it’s also arguably one of the first modernist manifestos, anticipating the functionalist architecture of Le Corbusier. Ornament and Crime: Thoughts on Design and Materials features two dozen essays by Loos, newly translated by Shaun Whiteside.

The Grammar Of Ornament, by Owen Jones, was the first systematic analysis of ornamental art, influencing Auguste Racinet’s L’ornement polychrome (‘polychromatic ornament’) and many other compendiums. Stuart Durant’s Ornament is a comprehensive history of pattern design and ornament since the Industrial Revolution. The more recent Histories of Ornament, edited by Gülru Necipoğlu and Alina Payne, is the first attempt at a global history of the subject.

06 August 2022

Kenduri Seni Nusantara
(‘Nusantara arts festival’)


Kenduri Seni Nusantara

Kenduri Seni Nusantara (‘Nusantara arts festival’), featuring more than fifty artists exhibiting at various venues in Pattani, opens on 13th August and runs until 30th November. The festival’s title refers to the Malay archipelago incorporating Indonesia, Malaysia, and the surrounding region, including Thailand’s southernmost provinces.

Thunska Pansittivorakul will be showing three video works at the ETAM Gallery: his short film Middle-earth (มัชฌิมโลก), an extract from his feature film Supernatural (เหนือธรรมชาติ), and a preview of his forthcoming collaboration with Nontawat Machai. Middle-earth premiered at the 11th Thai Short Film and Video Festival (เทศกาลภาพยนตร์สั้นครั้งที่ 11) in 2007, and has also been shown at the 5th Bangkok Experimental Film Festival (หนังทดลองครั้งที่ 5) in 2008 and at the Jim Thompson Art Center in 2010.

05 August 2022

Material Gworrllllllll!


Material Gworrllllllll! Finally Enough Love

Madonna and rapper Saucy Santana have collaborated on a remix of his song Material Girl, which was, of course, inspired by Madonna’s classic 1985 single. Their new single, retitled Material Gworrllllllll!, is released on streaming platforms today, accompanied by an animated video. They previously performed it at Terminal Five in New York on 23rd June.

The Terminal Five show was titled Finally Enough Love, which is also the title of Madonna’s new dance remix album. Available on vinyl and CD, it features edited remixes of Madonna’s dance singles from throughout her career, though no new material. The title is a line from the lyrics to I Don’t Search I Find, from her Madame X album. (You Can Dance, her previous dance remix compilation, was released in 1987.)

The Finally Enough Love track list is: Everybody, Into the Groove, Like a Prayer, Express Yourself, Vogue, Deeper and Deeper, Secret, Frozen, Music, Hollywood, Hung Up, Give It 2 Me, Girl Gone Wild, Living for Love, Medellín, and I Don’t Search I Find.

16 July 2022

Come Here


Come Here

A group of four young friends, on vacation in Kanchanaburi, arrive at the Hellfire Pass Memorial Museum, only to discover that it’s closed for renovation. After their initial disappointment, they decide to explore the woodlands surrounding the museum instead, and their interest in the World War II ‘death railway’ soon wanes. Their (improvised) dialogue is deliberately inconsequential, highlighting the contrast between the area’s dark historical past and the oblivious group’s contemporary preoccupations.

Anocha Suwichakornpong’s Come Here (ใจจำลอง) is one of a handful of recent Thai films that explore what the Dutch artist Armando called ‘guilty landscapes’: tranquil spaces that bore silent witness to past violence. (Anocha’s black-and-white cinematography is a reminder of the area’s historical significance, and another contrast to the film’s youthful protagonists.) Apichatpong Weerasethakul’s A Letter to Uncle Boonmee (จดหมายถงลงบญม) and Thunska Pansittivorakul’s Santikhiri Sonata (สันติคีรี โซนาตา) also examine Thailand’s ‘guilty landscapes’ (as discussed in Thai Cinema Uncensored), though Come Here has a closer connection to Taiki Sakpisit’s Seeing in the Dark, which also begins at the site of a state memorial.

Come Here also includes archive footage of the Ananta Samakhom Throne Hall and Dusit Zoo, two Bangkok landmarks that were closed to the public by royal decree. (Taiki’s Shadow and Act and Sorayos Prapapan’s Prelude of the Moving Zoo were also filmed at Dusit Zoo and, like Sorayos, Anocha captures the zoo’s final day of operation.) The zoo footage in Come Here seems unrelated to the film’s main narrative, though there is much that remains unexplained. Most puzzling is a subplot in which a young woman wanders around in distress, before morphing into a man, in a sequence inspired by An American Werewolf in London (and perhaps Michael Jackson’s Black or White music video).

Anocha is one of the most original voices in independent Thai cinema; her films Mundane History (เจ้านกกระจอก) and By the Time It Gets Dark (ดาวคะนอง)—and Krabi, 2562 (กระบี่ ๒๕๖๒), codirected by Ben Rivers—are truly unique. Like Come Here, Mundane History and By the Time It Gets Dark also draw on Thailand’s political history and feature repetition as a narrative device. Come Here feels less profound by comparison, though perhaps that’s inevitable, as its subtext of historical amnesia remains hidden beneath the surface.

10 July 2022

Kaali


Kaali

Indian filmmaker Leena Manimekalai is facing potential blasphemy charges after public outrage over the poster for her film Kaali. Manimekalai, who is based in Canada, portrays the Hindu goddess Kali in the short film, which was shown at the Aga Khan Museum in Toronto on 2nd July. In the film’s poster, Kali is depicted smoking a cigarette and waving an LGBTQ rainbow flag. Complaints have been lodged with police in Delhi and Uttar Pradesh.

05 July 2022

Thai Cinema Uncensored


Sojourn

Thai Cinema Uncensored is reviewed in the new issue of Sojourn: Journal of Social Issues in Southeast Asia (vol. 37, no. 2). In her review (pp. 374–377), Annette Hamilton writes: “This is a great read not just for those interested in film, but for anyone trying to understand the nexus between culture and politics in Thailand in recent times.” She concludes: “This book is a valuable addition to Thai cinema studies. It is well-written and instructive.” (The book has previously been reviewed by the Bangkok Post newspaper, Art Review and The Big Chilli magazines, and the 101 World website.)

Thai Cinema Uncensored


The 101 World

The Thai news website The 101 World reviewed Thai Cinema Uncensored on 21st January 2021. (The book has also been reviewed by the Bangkok Post newspaper, and Art Review and The Big Chilli magazines.)

In his 101 World review, headlined “ภาพยนตร์ไทยไม่ต้องห้าม” (‘Thai movies are not forbidden’), Matt Changsupan writes: “นอกจากข้อมูลที่อัปเดตมากๆ... ได้ให้ภาพของการตั้งคำถามเกี่ยวกับการเมืองการปกครองร่วมสมัยผ่านภาพยนตร์ได้อย่างค่อนข้างครบถ้วน” (‘in addition to its very up-to-date content... it provides a rather complete picture of the questioning of contemporary politics through film’).

02 July 2022

Mob 2020–2021


Moving Images Screening Night

Mob 2020-2021

The third Moving Images Screening Night (คืนฉายภาพเคลื่อนไหว) took place at Doc Club and Pub in Bangkok on 30th June. (The first Moving Images Screening Night, on 28th April, featured Jittarin Wuthiphan’s powerful short film Still on My Mind, his record of a mob in Phuket attacking a man they accused of disrespecting King Rama IX. The second event, on 25th May, included Suwaporn Worrasit’s Ratchadamnoen Route View 2482+.) Each screening is divided into two themed programmes, which for the third event were Eclipse and Lucid Memory.

The highlight of the evening was Supong Jitmuang’s Mob 2020–2021, a chronicle of the current student protest movement. Supong told me that the film is “handmade”, emphasising the intricate nature of this two-hour documentary. Audience members received a Moving Images Screening Night brochure (Phase 01: Program Book), which the organisers also describe as “handmade”: a zine-style publication with a limited print run. Mob 2020–2021 postcards were also available.

Mob 2020–2021 covers the first twelve months of the anti-government protest movement. Supong and his camera were at Thammasat University on 19th September 2020, for the overnight rally that later occupied Sanam Luang. On 14th October 2020, he filmed the march to Government House, after which a state of emergency was declared. On 17th November 2020, he was on the front line when protesters used inflatable ducks to protect themselves from water cannon fired by riot police. (Sorayos Prapapan’s short film Yellow Duck Against Dictatorship documents the same event.)

The protests intensified last summer, and Mob 2020–2021 shows the rally at Democracy Monument on 18th July 2021 marking the first anniversary of the anti-government campaign. Last August, there were almost daily confrontations between riot police and protesters, but rather than filming each event, Supong summarises them in a general written caption noting the “multiple continuous clashes that lasted many weeks” (Hopefully, the ongoing Sound of ‘Din’ Daeng documentary series will cover this period, and the violent tactics employed by the riot police, in more detail.)

The closest equivalent to Mob 2020–2021 is probably Ing Kanjanavanit’s Bangkok Joyride (บางกอกจอยไรด์) though, of course, the two directors are from opposite ends of the political spectrum. Two renditions of Do You Hear the People Sing? in Mob 2020–2021, for example, serve as a counterpoint to Bangkok Joyride’s fetishisation of the national anthem. Bangkok Joyride and Mob 2020–2021 both provide an exhaustive record of street politics, though Mob 2020–2021 is a more objective account.

Mob 2020–2021 is the first feature-length documentary covering the recent protest movement. (The only other example, The Evil of Time’s Growth, focuses solely on the Thalufah group.) It’s an invaluable record of a profound social and political change in Thailand. Supong’s film also includes a written timeline of the protests, and its matter-of-fact neutrality is maintained throughout, except for a single reference to the “parasitic” government.

01 July 2022

กรุงเทพ กลางแปลง
(‘Bangkok open air’)



A three-week festival of open-air film screenings will take place around Bangkok later this month. The event, กรุงเทพ กลางแปลง (‘Bangkok open air’), is the brainchild of the city’s popular new governor, Chardchart Sittipunt, who was elected last month. (His unelected predecessor, appointed by the 2014 junta, had been in office for the past six years.)

The festival includes recent and classic films, all screening at outdoor venues between 7th and 31st July. Highlights include Dang Bireley’s and Young Gangsters [sic] (2499 อันธพาลครองเมือง) on 7th July at Lan Khon Mueang Square; and Monrak Transistor (มนต์รักทรานซิสเตอร์) on 7th July at True Digital Park, and (with an introduction by director Pen-ek Ratanaruang) on 15th July at Khlong Toei Youth Center. (Dang Bireley’s and Young Gangsters was previously shown at an outdoor screening in 2010. Monrak Transistor had previous outdoor screenings in 2011 and 2018.)

29 June 2022

Boiled Angels:
The Trial of Mike Diana


Boiled Angels

Boiled Angel / Answer Me!

In 1994, cartoonist Mike Diana was convicted of producing and distributing obscene material, after Florida police obtained copies of his zine Boiled Angel (no. 7–8). Its twisted humour was certainly provocative—zine bible Factsheet Five described it as “designed to turn your stomach”—though this was precisely Diana’s intention. As he says in the excellent documentary Boiled Angels: The Trial of Mike Diana: “My goal was to make the most offensive zine ever made.”

Following the guilty verdict, Diana was denied bail. After four days in custody, he was fined $3,000 and sentenced to 1,248 hours of community service. The documentary, by horror director Frank Henenlotter, features interviews with Diana, his family, and the defence and prosecution attorneys. It’s a thorough recounting of Diana’s trial, and it also gives plenty of historical background on the Comics Code and the underground comix movement.

Diana’s case was very similar to that of Mark Laliberté, whose comic zine Headtrip (no. 1–2) was accused of obscenity in Canada. Laliberté and Diana had traded zines, and Laliberté’s copies of Boiled Angel were also cited in the Headtrip obscenity trial. The failure to secure a conviction in Canada perhaps made the US authorities all the more eager to prosecute Diana in Florida. (At least, that’s what Laliberté alleges in the documentary.)

Zap Comix / Nasty Tales / Meng and Ecker

Although Diana is the only artist ever convicted of obscenity in the US, there have been other prosecutions of comic art. Booksellers in New York were fined for stocking Robert Crumb’s Zap Comix (specifically the ‘family values’ parody Joe Blow in no. 4; charges against Zap’s publishers, the Print Mint, were later dropped). In a similar case in the State of Washington, booksellers were prosecuted in relation to Jim Goad’s zine Answer Me! (no. 4, with a cover illustration by Mike Diana), though they were eventually acquitted.

There have also been a handful of obscenity cases against comics in the UK. Charges against Oz magazine (no. 28) and the Nasty Tales comic (no. 1) were both related to Robert Crumb cartoons, and Crumb’s book My Troubles with Women was seized by customs in 1996. (In all three cases, the charges were eventually dropped or overturned.) David Britton was found guilty on obscenity charges relating to his novel Lord Horror and his comic Meng and Ecker (no. 1); the charge against the novel was overturned on appeal, though the conviction of the comic was upheld.

Ulysses


Ulysses

This year marks the centenary of James Joyce’s masterpiece, Ulysses, which was first published in Paris in 1922. The book was officially banned in the UK and the US for more than a decade, declared obscene by customs officers on both sides of the Atlantic. (The US ban even predated the novel’s Paris publication, as the editors of the literary magazine The Little Review were convicted of obscenity in 1921 after serialising it.)

Random House sought to publish an American edition, and imported a copy from Paris to test the waters in 1932. The following year, New York City District Court judge John M. Woolsey ruled that the book was not obscene, leaving Random House free to publish it in the US. In his summing up, the judge argued that the novel was disgusting rather than titillating: “whilst in many places the effect of Ulysses on the reader undoubtedly is somewhat emetic, nowhere does it tend to be an aphrodisiac.” (The same argument was made by the Appeals Court judge in the Oz obscenity trial almost forty years later.)

Despite having read only forty-two pages of the novel, the UK’s Director of Public Prosecutions, Archibald Bodkin, dismissed it as “a great deal of unmitigated filth and obscenity.” All copies brought into the UK were therefore confiscated by customs, until Bodley Head—encouraged by the US verdict—released a British edition in 1936. No longer imported from overseas and seized under the Customs Consolidation Act, the book was henceforth subject to the Obscene Publications Act, which has a higher burden of proof. The Attorney-General, David Somervell, advised that such a conviction would be unlikely, and the Bodley Head edition faced no legal challenge from the government.

The next landmark cases in US and UK obscenity law both came in the late 1950s. Samuel Roth was jailed in 1957 after the US Supreme Court ruled that his quarterly book series American Aphrodite (vol. 1, no. 3), published in 1951, was obscene. The case set a precedent as the judgement redefined obscenity as material which “taken as a whole appeals to the prurient interest”, thus preventing courts from convicting literature based on isolated extracts. Similarly, in 1959 the UK’s Obscene Publications Act added a stipulation that any material under scrutiny be considered in whole rather than in part. This led directly to the acquittal of D.H. Lawrence’s novel Lady Chatterly’s Lover in 1960.

24 June 2022

Keep ’em in the East:
Kazan, Kubrick, and the Postwar New York Film Renaissance


Keep 'em in the East

Ironically, some of the greatest films from the so-called New Hollywood era (The Godfather, The French Connection, Annie Hall) were made on location in New York rather than in Los Angeles. New York City established a film commission in 1966 (the first in the country), leading to an immediate and dramatic increase in film production, which has since become known as the New York film renaissance. Richard Koszarski’s Keep ’em in the East: Kazan, Kubrick, and the Postwar New York Film Renaissance offers a revisionist history of the 1940s and ’50s New York film scene, arguing that the roots of the renaissance stretch back long before 1966.

Koszarski discusses the documentary-like police procedural thrillers filmed on the streets of New York (The House on 92nd Street, The Naked City, Boomerang!), demonstrating that, although this style evolved alongside Neo-Realism, it was not directly influenced by Italian cinema. Only one Neo-Realist film, Rome, Open City (Roma cittá aperta), had been released in the US during the peak period of the New York docu-dramas, thus their similar modes of production were largely coincidental.

The book’s final chapters alternate between the production histories of Elia Kazan’s On the Waterfront and Stanley Kubrick’s Killer’s Kiss, which (incredibly) were among only three films made in New York in the winter of 1953 (the other being Hansel and Gretel). Interestingly, he reveals that Killer’s Kiss (under its original title, Kiss Me, Kill Me) was censored by four minutes by the MPAA, and that a further three minutes were cut by either Kubrick or the film’s distributor, United Artists, before its theatrical release.

21 June 2022

ลุกไหม้สิ! ซิการ์
(‘burning cigar!’)



ลุกไหม้สิ! ซิการ์ (‘burning cigar!’), a short collection of poems written anonymously by ‘Chatchon’ in 2010 and 2020, offers a literary commentary on Thailand’s political protests. The bulk of the poems are reflections on the red-shirt rallies that culminated in the May 2010 military massacre. Uneducated People! highlights the condescension aimed at the pro-democracy movement by the rival yellow-shirts. ความสงสัย (‘doubtfulness’) addresses the killing of protesters on 10th April 2010 (an event also memorialised by Tawan Wattuya’s Amnesia and Parinot Kunakornwong’s 10th April). เด็กหนุ่มในบทกวี (‘the boy in the poem’) is a remembrance of the final week of the 2010 massacre (as was Pisitakun Kuantalaeng’s installation Ten Year: Thai Military Crackdown [sic]).

Similarly, the poems written in 2020 address the student-led protest groups that have formed over the last two years. One poem is dedicated to Arnon Nampa, one of the protest leaders, who is himself a poet. Another is titled เก่งมาก กล้ามาก ขอบใจ (‘very good, very brave, thank you’), clearly evoking a comment made by the King to one of his supporters during a walkabout on 23rd October 2020—“กล้ามาก เก่งมาก ขอบใจ” (‘very brave, very good, thank you’)—which is also the title of a song by Paeng Surachet. This poem also quotes the protest chant “1 2 3 4 5 I Hear Too”, a pun on the Bottom Blues single 12345 I Love You. (“I Hear Too” is a homophone for ‘ai hia Tu’, an insult directed at Prayut Chan-o-cha.)

18 June 2022

Pääministerin morsian
(‘the Prime Minister’s bride’)



Matti Vanhanen, Prime Minister of Finland from 2003 to 2010, was largely seen as rather bland during his two terms in office. That reputation was briefly tested when a book by his former girlfriend, a caterer called Susan Kuronen, was published in 2007.

There was nothing scandalous about Vanhanen’s relationship with Kuronen—he and his wife were already divorced—so her somewhat tawdry kiss-and-tell book, Pääministerin morsian (‘the Prime Minister’s bride’), had no real public-interest defence. In fact, more than 50,000 Finns signed a petition calling on bookshops to refuse to stock it.

Vanhanen sued the publisher for invasion of privacy, as the book included personal text messages he had sent to Kuronen during their relationship. He sought $1,450 in damages (plus $83,200 in royalties and profits), and initially lost the case, though he won on appeal, a decision upheld by Finland’s Supreme Court in 2010. Kuronen lost her appeal at the European Court of Human Rights in 2014, seven years after Vanhanen’s lawsuit was first filed.

The case has interesting parallels with former UK prime minister John Major. Like Vanhanen, Major was perceived as grey and dull (a reputation caricatured by Spitting Image), and he also sued over reports of an alleged affair with a caterer. In that case, however, the allegation was false, though Major was having an affair with one of his ministers, Edwina Currie, at the time.

15 June 2022

My Own Private Idaho


My Own Private Idaho

Gus van Sant’s My Own Private Idaho opens at House Samyan in Bangkok this week. The film is an essential example of New Queer Cinema, the term coined by B. Ruby Rich to describe a wave of independent gay filmmakers in the early 1990s. It was previously shown at the (much missed) Bangkok Screening Room in 2019, as part of their LGBT+ Film Festival, and the upcoming screenings coincide with Pride Month. My Own Private Idaho will be shown at House on 17th, 18th, 19th, 24th, 25th, and 26th June.

12 June 2022

เดินไล่ตู่
(‘march to remove Tu’)


Voice TV

Riot police fired rubber bullets and tear gas at anti-government protesters in Bangkok yesterday, in the first clashes between police and protesters this year. A few hundred people marched from Democracy Monument to Victory Monument yesterday afternoon, in an event promoted online as เดินไล่ตู่ (‘march to remove Tu’, a reference to Prime Minister and coup leader Prayut Chan-o-cha).

Most of the protesters had dispersed by the early evening, though some stragglers (a hard core of around fifty people) attempted to make their way to the PM’s residence at the military barracks on Viphavadi Rangsit Road. They threw fireworks and other projectiles at riot police, who responded with rubber bullets and tear gas. A police pickup truck was also set alight.

Last night’s events were an echo of similar clashes that took place on multiple occasions last year, including almost daily street battles at Viphavadi Rangsit Road last August. Police fired rubber bullets against anti-Prayut protesters on 28th February; 20th March; 2nd May; 18th July; 7th, 10th, 11th, 13th, and 15th August; and 14th November 2021.

10 June 2022

A Conversation with the Sun


A Conversation with the Sun
A Conversation with the Sun

Apichatpong Weerasethakul’s new exhibition A Conversation with the Sun (บทสนทนากับดวงอาทิตย์) opened in Bangkok on 28th May. The centrepiece is a two-channel video installation, with a smaller image projected onto the center of another. The footage, which the gallery calls “a personal memory archive,” was filmed by Apichatpong over the course of several years. A white scrim on motorised rails glides slowly up to and away from the screen, partially obscuring the image.

A Conversation with the Sun continues until 10th July at CityCity Gallery, and Apichatpong is developing a virtual reality version for next year’s Thailand Biennale in Chiang Rai. The Biennale will run from 9th December 2023 to 30th April 2024, with VR screenings of A Conversation with the Sun from 25th to 29th January 2024.

09 June 2022

“A young man 23 years old by the name of Stanley Kubrick...”


Stanley Kubrick

The story behind the premiere of Stanley Kubrick’s Fear and Desire has been published by the organiser of the Venice Film Festival, La Biennale di Venezia. Kubrick’s first feature was shown out of competition in Venice in 1952, after Joseph Burstyn recommended it in a letter to the event’s director, Antonio Petrucci. Burstyn assured him that the film, “made by a young man 23 years old by the name of Stanley Kubrick... could be the great surprise of your Festival.” (He neglected to mention that he was the film’s US distributor: he was lobbying Petrucci, under the guise of a friendly recommendation.)

Petrucci cabled Kubrick, declining to show the film in competition due to its “LENGTH AND CHARACTER”. (Fear and Desire is barely an hour long, and Petrucci may have felt that it didn’t qualify as feature-length.) Instead, he agreed to screen it as part of a sidebar programme, though this prompted a surprisingly indignant reply from Kubrick, who asked for further clarification: “you can well understand the state of confusion I am presently in. Is there anything you can do to shed some light on my problem?”

The correspondence between Burstyn, Petrucci, and Kubrick—posted on La Biennale di Venezia’s website yesterday—was unearthed during research for a new book by Gian Piero Brunetta (author of The History of Italian Cinema), the foremost historian of Italian film. The Venice screening of Fear and Desire, under the working title Shape of Fear, was first reported by James Fenwick in Stanley Kubrick Produces. The version shown at Venice was also nine minutes longer than the general theatrical release of Fear and Desire.

08 June 2022

No Love Deep Web


No Love Deep Web

No Love Deep Web has one of the most provocative covers of any album: an uncensored photograph of an aroused phallus. Specifically, the organ belongs to Zach Hill, the drummer from the band Death Grips, and the record was released in 2013. (The album was rereleased in 2020 with a plain slipcase.) Frontal nudity on record sleeves is very rare, and this is the first and only erection on an album cover.

Perhaps the closest equivalent is the explicit H.R. Giger painting Penis Landscape, which was issued as a poster with the Dead Kennedys’ LP Frankenchrist. After a fourteen-year-old girl bought that album in California, her mother made a police complaint, and the record label was charged with distributing harmful material to minors. (Coincidentally, another music-related obscenity case was also unwittingly instigated by a fourteen-year-old girl: the daughter of a Canadian police officer bought the Dayglo Abortions albums Here Today Guano Tomorrow and Feed Us a Fetus, and her father filed an obscenity charge.)

02 June 2022

Johnny Depp v. Amber Heard:
“It sets back the clock...”


Fairfax County Circuit Court

Johnny Depp has won his defamation case against his ex-wife Amber Heard, after the trial concluded yesterday. Depp had sued Heard for libel in relation to three sentences in an op-ed she wrote, and Heard counter-sued Depp over three quotes attributed to his lawyer. Although Heard won in one of those instances, the trial was a victory for Depp, who won in all three of his cases and was awarded the maximum legal entitlement of $10 million in damages.

Depp’s lawsuit related to a Washington Post op-ed published in 2018, in which Heard described her personal connection to domestic violence: “I became a public figure representing domestic abuse, and I felt the full force of our culture’s wrath for women who speak out.” She also wrote: “I had the rare vantage point of seeing, in real time, how institutions protect men accused of abuse.” The jury determined that both statements defamed Depp, even though he was not named in the article. They also concluded that the op-ed’s online headline (“I spoke up against sexual violence — and faced our culture’s wrath. That has to change”) was defamatory, and that Heard was liable for this even though she had not written it. (Like other headlines, it was written by a subeditor.)

Heard counter-sued for $100 million over three statements issued by Depp’s lawyer, Adam Waldman, to the Daily Mail. Waldman was first quoted in the Mail on 7th April 2020 (on p. 38), and on the newspaper’s website the following day: “Amber Heard and her friends in the media use fake sexual violence allegations as both a sword and shield, depending on their needs. They have selected some of her sexual violence hoax ‘facts’ as the sword, inflicting them on the public and Mr Depp.” He was quoted again online on 27th April 2020: “we have reached the beginning of the end of Ms Heard’s abuse hoax against Johnny Depp.” Those statements were not regarded as defamatory by the jury.

A third quote from Waldman, which also appeared online on 27th April 2020, was deemed defamatory, for which Heard was awarded $2 million in damages. Waldman said: “They set Mr Depp up by calling the cops, but the first attempt didn’t do the trick. The officers came to the penthouses, thoroughly searched and interviewed, and left after seeing no damage to face or property. So Amber and her friends spilled a little wine and roughed the place up, got their stories straight under the direction of a lawyer and publicist, and then placed a second call to 911.” (The Mail has deleted each of these Waldman quotes from its website, though the Washington Post has not deleted Heard’s op-ed.)

The verdict was in stark contrast to the outcome of Depp’s libel case in the UK two years earlier. He had sued The Sun after it referred to him by name as a “WIFE-BEATER” in a headline, though he lost the case and the judge described the allegation as “substantially true”. US defamation law is much stricter than that of the UK, with a requirement to prove ‘actual malice’ in cases involving public figures, making the outcome all the more surprising. The jury’s verdict seemingly reflects their belief that Heard deliberately falsified her abuse claims in a vendetta against Depp.

Perhaps the key difference between the UK and US cases is that the former was decided by a judge whereas the latter was a jury trial. The US trial was televised, and Heard had been convicted in the court of public opinion long before the jury’s verdict was announced. It’s possible that the (unsequestered) jury was influenced by the extensive coverage the trial received on social media, which was overwhelmingly negative towards Heard, or that the jurors themselves formed the same opinion of her as the armchair pundits.

After the verdict, Heard described it as a retrograde decision: “It sets back the clock to a time when a woman who spoke up and spoke out could be publicly shamed and humiliated.” Depp, on the other hand, welcomed the apparent vindication of his “quest to have the truth be told”. (Heard and Depp were photographed in Fairfax County Circuit Court by Jim Lo Scalzo.)

30 May 2022

Bai Pid


Bai Pid Tears of the Black Tiger

Bai Pid (ใบปิด), an exhibition of Thai film posters, opened at the Woof Pack building in Bangkok last week. Organised by Doc Club and Pub (the boutique cinema and bar at Woof Pack) and the Thai Film Archive (the film museum at Salaya, near Bangkok), the exhibition features more than fifty vintage Thai posters, and some of the original paintings that they were based on. Most of the works are included in a large, glossy catalogue, Thai Cinema Poster Exhibition, edited by Chonnatee Pimnam and Suparp Rimtheparthip.

Bai Pid opened on 25th May, and runs until 17th July. It includes painted reproductions of posters for classic Thai films—notably A Man Called Tone (โทน) and Monrak Lukthung (มนต์รักลูกทุ่ง)—and Thai releases of American movies, such as จอว์ส (the Thai-language title of Jaws). A painting by Banhan Thaitanaboon based on his Tropical Malady: The Book poster (unveiled at the 2018 Bangkok Art Book Fair) is also on show, and Banhan designed the Bai Pid exhibition poster. (Similarly, new replicas of Artists’ Front of Thailand billboard artworks from 1975 were commissioned in 2003.)

Tone

The highlight of the exhibition is surely Somboonsuk Niyomsiri’s original painting for his Tears of the Black Tiger (ฟ้าทะลายโจร) poster, previously on display at the Film Archive’s Wisit Sasanatieng retrospective. Somboonsuk (also known as Piak Poster) directed more than two dozen films, including a A Man Called Tone, though he also had a prolific career as a poster artist. (A Man Called Tone will be screened at Doc Club and Pub on 5th June.) Wisit, director of Tears of the Black Tiger, created the posters for the 2008 and 2009 Bangkok International Film Festival.

The poster artists who emerged after Somboonsuk were either taught by him or influenced by his style. He ran his studio like a Renaissance workshop, creating posters bearing the master’s signature—effectively a brand logo for his studio—yet produced with the assistance of apprentice artists under his supervision. For the Monrak Lukthung poster, for example, Somboonsuk painted the two lead actors (Mitr Chaibancha and Petchara Chaowarat, Thai cinema’s greatest stars) while his assistants worked on the background. The poster for A Man Called Tone was also signed by Somboonsuk, though it was painted entirely by Banhan.

There have only been two previous exhibitions of Thai poster art: Thai Film Posters (ใบปิดหนังไทย, 1984) in Bangok, and Eyegasm: The Art of Thai Movie Posters (2012) in Palm Springs, California. Gilbert Brownstone’s Thai Movie Posters (Affiches de cinéma thaï/โปสเตอร์ภาพยนต์ไทย), published in three languages (French, English, and Thai) in 1974, was the first book on the subject. There’s a short essay on Thai film posters in Thai Cinema (Le cinéma thaïlandais), and vintage posters are illustrated in Dome Sukwong’s A Century of Thai Cinema and Philip Jablon’s Thailand’s Movie Theatres.

26 May 2022

สงครามเย็น (ใน)ระหว่าง โบว์ขาว
(‘the Cold War (in)between the white bow’)



Kanokrat Lertchoosakul’s book สงครามเย็น (ใน)ระหว่าง โบว์ขาว (‘the Cold War (in)between the white bow’), published last year, examines the roles of successive generations in the current Thai political protest movement. Kanokrat argues that the present government, which came to power in a military coup, is a remnant of the Cold War era, when authoritarianism was accepted by society at large. (Director Apichatpong Weerasethakul discusses this older generation’s submissive attitude in Thai Cinema Uncensored: “disruption of the flow and unity is a really big deal. Like my Mum... she is in the generation of Sarit [Thanarat], all these people who were very powerful.”) On the other hand, today’s students are much less tolerant of Thailand’s top-down culture, and in 2020 the Free Youth anti-government group encouraged high school students to wear white ribbons as a symbol of resistance.

What’s most remarkable about the book is its inclusion (on p. 57) of the Dao Siam (ดาวสยาม) front page that sparked the 6th October 1976 massacre. (The newspaper falsely accused Thammasat University students of lèse-majesté, and vigilantes stormed the campus.) For more than thirty years, there was an unspoken prohibition against reproducing Dao Siam’s incendiary headline and photo. Sarakadee (สำรคดี) magazine broke the taboo in its June 2012 issue, though other publications have only recently followed suit. The front page has appeared in only three other books, all published within the last three years: 45 ปี 6 (‘45 years of 6th Oct.’), Prism of Photography (ปริซึมของภาพถ่าย), and Moments of Silence. Heavily obscured by overpainting, it’s also part of Thasnai Sethaseree’s new Cold War exhibition at MAIIAM in Chiang Mai.

22 May 2022

Lost, and Life Goes On


Lost, and Life Goes On
Lost, and Life Goes On

Amnesty International Thailand has organised a new exhibition commemorating the thirtieth anniversary of ‘Black May’, the massacre of anti-coup protesters that took place in Bangkok in 1992. Chamlong Srimuang led a crowd of more than 200,000 protesters at Sanam Luang on 17th May 1992, and the following morning the army fired live rounds into the crowd. The protest spread to Democracy Monument on Ratchadamnoen Avenue, and the nearby Royal Hotel became a field hospital for the injured. After two more days of clashes, King Rama IX held a televised meeting with Chamlong and coup leader Suchinda Kraprayoon, after which Suchinda resigned as Prime Minister. This was the King’s most direct public intervention in politics, and footage of the two men kneeling in front of him created the impression that royal authority superseded political leadership.

The official death toll from ‘Black May’ was fifty-two, though there were persistent rumours of dozens more bodies piled into military trucks in the dead of night. (Such accounts are at the heart of Emma Larkin’s novel Comrade Aeon’s Field Guide to Bangkok.) The exhibition Lost, and Life Goes On (เลือนแต่ไม่ลืม), which opened yesterday at Palette Artspace in Bangkok, focuses on these missing victims who remain unaccounted for. In a video installation by Setthasiri Chanjaradpong, สุดปลายสาย (‘the end of the line’), a woman phones a suspected victim who never answers the call. The video periodically shows a live feed from a camera in the gallery, as if to say that anyone could disappear, as Thailand is still ruled by a coup leader.

Remember
Unexpected, Unfound, Unclear

The exhibition, which runs until 29th May, also includes a series of three Risograph prints by Thisismjtp: Unexpected (a reference to the violence of ‘Black May’), Unfound (referring to the missing victims), and Unclear (the state of limbo that still exists thirty years later). There are also portraits of eighteen victims by Thai Political Tarot (collectively titled Remember), newspapers from the period, and paintings based on news photographs. The opening day saw the premiere of a new half-hour documentary directed by Sumeth Suwanneth (also titled Lost, and Life Goes On), featuring interviews with relatives of victims of the massacre.

The only previous exhibition on ‘Black May’, Ratchadamnoen Memory (organised by the Campaign for Popular Democracy, and held at the Imperial Queen’s Park Hotel), took place a few months after the event. Audio recordings of the massacre were played during the recent Traces of Ratchadamnoen (ล่องรอยราชดำเนิน) exhibition. Vasan Sitthiket’s painting Death for Democracy 1992 (ตายเพื่อประชาธิปไตย 2535) was included in his Bangkok Art and Culture Centre retrospective, and สร้างสาน ตำนานศิลป์ 20 ปี (‘creating a chronicle of 20 years of Thai art’) features other paintings inspired by the massacre.

08 May 2022

The Evil of Time's Growth


The Evil of Time's Growth

The Evil of Time’s Growth, a feature-length documentary marking the first anniversary of the Thalufah anti-government protest group, was screened at Cartel Artspace in Bangkok yesterday. It’s now available on the group’s Facebook and YouTube channels. The documentary, which is more than 2½ hours long, includes footage of Thalufah marches and demonstrations filmed throughout last year, and interviews with group members and supporters. The most violent incidents from the protests—rubber bullets fired by riot police, and arson by demonstrators—are not included.

Thalufah was founded by Jatupat Boonpattararaksa, and his interview was filmed in front of a large painting by Lucky Leg, which the artist donated to the group. The film was shown as part of The Battle Wound of Thalufah, an exhibition organised by the group, which opened on 31st March. Thalufah previously organised the Specter exhibition, which was later expanded. Rap Against Dictatorship’s single Ta Lu Fah (ทะลุฟ้า) was a tribute to the group, as was the zine Break Through published last year.

[The Evil of Time’s Growth’s Thai title, การเติบโตของปีศาจแห่งการเวลา, is the direct equivalent of the English version, and includes the Thai word ปีศาจ (‘evil spirit’). But when promoting the film, Cartel Artspace replaced the letter with , a typo that changed the word’s meaning to ‘court’. In the English title, Growth is stylised as “GROIIITH”, a reference to the three-finger salute adopted by the protest movement.]

05 May 2022

“The world’s smallest...”


Thumby

Earlier this year, TinyCircuits launched the Thumby, the smallest games console in the world, which has a ridiculously tiny ½" black-and-white OLED screen. (The product was crowd-funded, as was the tiny Projecteo slide projector in 2013.) Designed and manufactured in Ohio, the Thumby was inspired by the Nintendo Game Boy (model DMG-01) from 1989, though it’s a fraction of the size. The Game Boy Camera accessory was the world’s smallest digital camera in 1998, and NHJ’s Snap camera was advertised as such in 2004. More recently, the smallest digital cameras on the market—notably Westminster’s model 4217 (2021), and the slightly smaller MellowCase model RX420 (2018)—have adopted a cubical form factor. (The MellowCase camera is also branded as MHDYT and NIYPS. Simplified versions of these cubical cameras, without internal batteries or recording functions, are used as vehicle reversing cameras.) The smallest digital pico projector, Orimag’s model P6, was released in 2017.

The smallest digital cassette formats were both developed by Sony: the NT (audio) in 1992, and the microMV (video) in 2001. (Sony’s final microMV camcorder, the DCR-IP1 from 2002, is the world’s smallest videocassette camcorder.) In digital audio, Samsung (model YP-T5 from 2004) and MobiBLU (model DAH-1500i from 2005) both briefly produced the world’s smallest MP3 players, though that title currently belongs to Apple’s third generation iPod Shuffle from 2009. (Most versions were aluminium, though the stainless steel edition was especially desirable.) In the UK, Goodmans released the world’s smallest digital radio (model GHDAB101) in 2008, though this was superseded in 2018 by the Hong Kong company Nuzamas. The Russian Edic-mini’s premium Tiny range of digital audio recorders—notably the B22 (2012) models—are the smallest in the world. The UK tech company Zini produced a range of Zanco miniature cellphones, including the world’s smallest, the Tiny T1 (2018).

Miniaturisation was a key selling point for consumer technology long before the digital era, and there have also been similar trends in other fields, such as transport, though for very different reasons. There was a mid-century vogue for microcars and ‘bubble cars’, for example: the Messerschmitt KR200, BMW Isetta, and Austin Mini were popular following the 1956 Suez crisis, due to their fuel efficiency. The tiny Peel P50 was the smallest production car ever made, and at more than 100 miles per gallon of petrol, Peel claimed that it was almost cheaper than walking.

But technological miniaturisation isn’t primarily driven by economic factors. Instead, smaller gadgets (such as Sony’s Walkman range, launched in 1979 with the model TPS-L2) are created because they’re more convenient, and because innovation makes them possible. Cameras, audio player/recorders, and other devices have been shrunk to pocket size thanks to the development of ever more complex transistors and integrated circuits, a trend that Gordon Moore noted in 1965. (‘Moore’s law’ states that processing power doubles every two years.)

Sony Ruvi

Miniature Photography and Video


The most famous subminiature cameras, and those with the highest optical quality, were produced by Minox in Germany. Their first model, from 1936, had a stainless steel body. After World War II, Minox released the model A, with the same design as the original in a lighter aluminium body. This was followed by the slightly larger model B, with an in-built light meter. At the other end of the quality spectrum, in the UK, Corona’s Midget camera (1935) was given away with breakfast cereal. The world’s smallest camera, the Petal, was released in Japan in 1947. This minuscule camera, manufactured by Sakura Seiki from chrome-plated brass, is barely larger than a coin. The original circular model was followed by the Everax A (engraved with a floral motif) and a rare octagonal version. In the 1950s, Tougodo’s Hit range became a generic term for all Japanese subminiature cameras (known in Japan as mame kamera or ‘bean cameras’). Polaroid launched its Go model in 2021, advertised as the world’s smallest analogue instant camera, though the Polaroid model 200 from 2004—the last in its popular i-Zone range aimed at teenagers—was even smaller.

The world’s smallest cine camera, the Bolsey 8, was released in 1956. With its stainless steel body, this is a beautiful machine, and it remains the smallest analogue moving-picture camera of any kind. Sony’s Ruvi (model CCD-CR1), from 1998, is the smallest analogue videocassette camera in the world. It used Hi8 videotape, in a reusable cartridge that also contained the tape mechanism, making it significantly smaller even than Sony’s hand-held Handycam range (which began with the model CCD-TR55 in 1989). The smallest movie projectors were manufactured by Kern of Switzerland in 1926—the Micro-Ciné and Presenta Pocket Ciné—both of which projected 9.5mm film cartridges using a bulb powered by an external battery pack.

When it comes to handheld televisions, two manufacturers dominated the market: Sony and Casio. The Sony Watchman (model FD-210) was launched in 1982, with a black-and-white CRT screen, and Casio introduced the first LCD screen only a year later (model TV-10). In 1992, Casio’s CV-1 model was the smallest TV thus far, though it needed an external battery and an earpiece antenna. Seiko released its TV watch in 1982, a breakthrough in wearable technology with a tiny 1¼" screen, though it required a separate tuner unit and an earpiece antenna. (Model numbers—DXA-001 and DXA-002 in Japan; T001-5000 and T001-5019 elsewhere—varied according to which accessories were included.) Another TV watch, NHJ’s VTV-101 (and its European model, VTV-201) from 2004, also needed an earpiece antenna. The world’s smallest self-contained TV was released in China less than a decade ago, branded as both MyTech (model MT-101) and Leadstar (model LD-777). Sony’s XDV-G200 from 2008, with a 2" screen, was one of the smallest digital TVs. The TinyTV Mini from TinyCircuits, announced this year and due for release next year, doesn’t receive TV broadcasts, but it is the world’s smallest self-contained video player, with a 0.6" OLED screen. MobiBLU’s Cube 2, from 2006 (and its successor from 2008, the Cube 3) had the same size screen, but in a slightly larger 1" case.


Bolex 8 Petal

Miniature Audio


The sleek Sony M-909 microcassette unit (1991) is often said to be the world’s smallest tape player/recorder, though the Olympus Pearlcorder L400 microcassette player/recorder, released a year later, is even smaller. Dictaphone’s picocassette from 1985 is the smallest cassette ever made, but was only compatible with its model 4250 player/recorder. (The 4250 is smaller than the M-909, though not as small as the L400.)

The first transistor radio, Regency’s TR-1, was launched in the US in 1954, but Japanese radios quickly dominated the market after the release of Sony’s iconic model TR-610 in 1958 (and the model TH-666 from Hitachi in 1959, which was briefly the world’s smallest). Miniature Japanese transistor radios were popular in the 1960s, a trend initiated by Standard’s Micronic Ruby range in 1962. (Like the Bolsey 8, Ruby radios were packaged in silk-lined boxes to equate them with items of jewellery.) The Belmont Boulevard (1945), with five subminiature tubes, was the world’s first pocket-sized radio. Later, Planatair’s model 76404 (circa 1960) crystal set and Sinclair’s Micromatic transistor unit (1967) were advertised as the world’s smallest radios, though they lacked in-built speakers. (The Micromatic design was copied by the Canadian firm Clairtone in 1968.) Circa 1995, the American Technology Company launched its Ultralite 2000, an earpiece radio with a digital tuner that was the world’s smallest.

Minox A

The smallest record players were sold as toys. The Poynter toy company released its Mighty Tiny children’s record player in 1967, promoted as the world’s smallest. Then, in 1987, the same company beat its own record, with a miniature plastic replica Victrola gramophone. The Soundwagon, made in Japan by Tamco (based on a 1976 Sony design), was sold as a toy, though the packaging for its 2018 relaunch—Stokyo’s Record Runner, also made in Japan—states that it’s not suitable for children. (It also includes a disclaimer that the product may scratch records; these devices were nicknamed ‘vinyl killers’, with good reason.) The Record Runner was promoted as the world’s smallest record player, though it’s bigger than Poynter’s Victrola. The smallest record in the world was released in 2017: Split, a 1" single by GX Jupitter-Larsen and Zebra Mu, lasting only eight seconds on each side. Since then, two other bands have also issued 1" records: Ten Seconds of Your Life You Will Never Get Back by The Rusty Nuts, and We Hate 2Minute Minor by 2Minute Minor (both released in 2020).