502:(2004) is split into two separate narratives: the first half of the film is grounded in reality and focuses on the intimate relationship between two men in Northern Thailand and the second half shifts into an allegorical fantasy featuring a tiger in a forest, that draws on Thai folklore. Queer film scholars Karl Schoonover and Rosalind Galt, argue that through the shift from realism to fantasy just as the two male lead characters are about to kiss in front of a Thai flag, director Apichatpong Weerasethakul highlights the limitations of non-normative sexual desire in modern rural Northern Thailand. Schoonover and Galt also argue that the film is a dipthyc, meaning that the film consists of two parallel narratives that are "hinged" together and lead the audience to create a "third space" where the two film narratives are compared against each other. The film won the Jury Prize, or Prix du Jury, at the 2004
582:, receiving a master’s degree in 1997. Weerasethakul began his career in directing experimental short films and documentary shorts. He founded his own production company in 1999, called Kick the Machine productions and began making full length films both documentary and fiction. Weerasethakul’s films are commonly classified as independent art-house cinema and have garnered global critical acclaim through international film festival screenings and awards. Weerasethakul, who is gay himself, is known to explore themes of sexuality, gender, religion, and politics through fantasy and allegory in his films. While the majority of his films lack clear definitions of LGBT identity, queer desire is often central to Weerasethakul’s film narratives. He is also known for drawing on his experiences growing up in rural Northern Thailand. Some notable Apichatpong Weerasethakul films include:
459:: Satree Lek) is a film released in 2000 that is based on the true story of a Thai volleyball team making it to the national championships four years prior in 1996 and marked the beginning of a new era of queer film making in Thailand. The film was the highest-grossing Thai film the year it was released and the second highest-grossing film in Thailand of all time. The plot of the film follows an underdog volleyball team composed of kathoey and feminine queer men who make it to the Thai national volleyball championships in the face of discrimination with the help of their lesbian coach. Film scholar, Serhat Unaldi, stated that
259:(1985) was the first Thai film to center a queer storyline and the first Thai film to feature a kathoey actress as the leading role in a film. The film garnered substantial commercial success and was a top earning film in the box office the year that it was released in theaters. The plot revolves around a kathoey cabaret performer, Somying, who falls in love with an aspiring singer who leaves her for a cisgender woman. The loss of the love of her life leads Somying to commit suicide on stage during her final cabaret performance. The film’s director, Pisal Akkrasenee, a heterosexual man, stated in an interview that he wanted
245:(1968). This era of queer film was dominated by narratives that showed queer characters as people deserving sympathy from the audience and featured storylines dominated by stereotypes about the lives of queer people centering loss and depression, and often ending in the suicide of the queer character. Films in the first wave also often explicitly named “bad karma” as an explanation for the source of a character’s queerness. Thai cinema scholar, Oradol Kaewprasert, identified the following three films as the seminal films of the “first wave of Thai queer cinema.”
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309:(1968) and was named one of the 100 essential Thai films by the National Film Archive of Thailand. The plot of the film is similar to that of the play from which it was adapted, in which the storyline revolves around a birthday party. Through the main character, Toey’s, birthday party, the film depicts varying representations of male queerness in the eight party guest who make up the films other principal characters.
484:(2014) being featured in international film festivals. Film scholar, Sophia Siddiqi, argues that some independent Thai filmmakers choose to make art-house films in order to include restricted explicit sexual content that is censored by the Thai government. All Thai films must be submitted to the Film Censorship Board, which is a part of the Ministry of Culture, before being distributed to commercial movie theaters.
467:(2000) stands in contrast to previous films portraying kathoey characters which centered loss and elicited sympathy from the audience. Academic and film scholar, Brett Farmer, points to this film as a turning point for queer cinema in Thailand and as the beginning of the still very popular and commercial kathoey comedy genre of the Thai film industry.
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successful in their endeavor. Film scholars, Karl
Schoonover and Rosalind Galt, argue that by placing queer characters in sports films queerness can become the source of the underdog narrative. Sports films have become a popular sub-genre of Thai queer films through box-office record-breaking films including,
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their
Western counterparts. Film scholar, Brett Farmer, uses the term "vernacular queerness" to discuss how phet is represented in Thai queer cinema, highlighting how many films illustrate non-normative sexual desire and behavior but do not define the relationships nor the character's sexual identity.
183:
Within the genre of Thai queer cinema exist many sub-genres in both independent and commercial films. The sports film sub-genre was one of the first Thai queer cinema sub-genres to garner commercial success during the new wave of Thai cinema. Sports films center storylines revolving around sports and
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Sports films are films where sports, either individual or team, are central to the film's narrative. Many times sports films feature an underdog narrative, where a character or group of characters who are presented as unlikely to achieve success overcome an obstacle and by the end of the film become
413:
revolves around the story of Mew (Witwisit
Hiranyawongkul) and Tong (Mario Maurer) childhood friends who go on to have a romantic relationship. Film scholar, Brett Farmer, uses the term "vernacular queerness" to discuss the relationships portrayed in the film; meaning, that while the film does not
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in
Bangkok before beginning his filmmaking career. Through his films, Pansittivorakul, who is openly gay, commonly explores discrimination and oppression of expressions of gender, sexuality, and religion deemed not acceptable by the Thai State. He began his filmmaking career in documentary shorts
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was another factor in the increased representation of queer individuals in Thai film. The new Thai government, installed after the coup, was more open and liberal than the previous culturally conservative government that was known for censoring films that did not represent a proper Thai morality.
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coined the term "gendered sexuality" to discuss the lack of separation between the concepts of gender and sexuality in
Thailand. Jackson argues that for this reason, while the use of some English LGBT terminology has been adopted in Thailand, the meaning carried by these terms is not the same as
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according to an interview with
Pansittivorakul. Due to explicit scenes featuring queer eroticism the film was not distributed in mainstream movie theaters in Thailand, as explicit depictions of both heterosexual and same-sex sexual acts are censored by the Thai government. The film was instead
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and idealization of Thai history and culture. This period marked a turning point for Thai cinema in that films began to reflect new realities and global influences. Beginning in 1997, the Thai film industry drastically increased in size, slowly becoming the largest film industry in the region.
289:(1985), twin brother. The twin brother attempts to seek revenge on Somying’s former lover, Boonterm, for his role in Somying’s suicide, however, in the process Boonterm falls in love with Somying’s twin brother. The film ends with Boonterm deciding to reject all sexuality and become a monk.
212:(2014) have garnered critical success in the international film festival circuit. Thai film directors, Apichatpong Weerasethakul and Thunska Pansittivorakul, have been recognized both in Thailand and internationally as key figures in the Thai queer cinema genre.
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Art-house films are films that are usually independently produced and not intended for a mass market. The art-house film sub-genre is the most internationally critically acclaimed of any Thai queer cinema film genre with many films from this genre, including
172:(1987), part of the first wave of Thai queer cinema, and continued through the post-1997 Thai Film Revival, also called the new wave of Thai cinema. Currently, queer narratives are very popular in the Thai film industry. Prominent Thai film critic for the
363:
The teen drama sub-genre, sometimes called melodramas, depict non-heterosexual relationships between teens and young adults. This sub-genre of Thai Queer Cinema has become popular since the commercial success of the first Thai queer teen drama,
196:(2003). Teen dramas, also called melodramas, are another popular sub-genre of queer cinema in Thailand that portray the non-normative relationship and gender expression of teenagers. Prominent queer teen drama films include
664:(2008) explores religious and military tensions between Buddhists and Muslims in the south of Thailand through depictions of explicit queer sexual intimacy between a young couple, a buddhist boy and a muslim boy.
229:(1985). This film marked the beginning of what Thai cinema scholar, Oradol Kaewprasert, calls the “first wave of Thai queer cinema.” Other prominent films included in the “first wave of Thai queer cinema” include
151:
Thai language scholar, Monruedee
Laphimon, defines phet as gendered desires, expressions, behaviors, and sexual activities within a spectrum of masculinity and femininity. Thai gender and sexuality scholar
176:, Kong Rithdee, says that since the mid 1990s, queer narratives have become central to Thai cinema. Within an international context, Lisa Daniels, an international film-festival director, has identified
326:
released in 1997 is viewed by many film scholars as the first film in the new wave of Thai cinema. In 2000, the underdog sports film about a volleyball team made up
Kathoey and gay players,
463:(2000) is one of the first Thai films where kathoey and queer people are depicted positively and where community between queer people leads to character happiness and success. The plot of
652:(2004), won the grand prize at the 4th Taiwan International Documentary Film Festival in 2004. Other notable and critically acclaimed full-length documentaries by Pansittivorakul include
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as one of the first examples of what he calls "independent commercial films," low budget films that have widespread commercial success and become top-grossing films at the box office.
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in 2007. Thai pop culture scholar, Amporn
Jirattikorn, argues that the popularity of this film sub-genre with the heterosexual teen girl demographic has led to the production of many
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was one of the first Thai films to portray a romantic relationship between two teenage boys and one of the first on-screen same-sex kisses. Film scholar, Brett Farmer, identified
140:, is used by film scholars, Brett Farmer, Oradol Kaewprasert, Karl Schoonover, and Rosalind Galt, in an effort to fully capture the range of Thai gender and sexuality, or phet
317:
The new wave of Thai cinema, identified by film scholars Mary J. Ainsley and
Katarzyna Ancuta, began following the 1997 Asian Financial Crisis which led to an increase in
124:
is a category of Thai films that in some way represent non-normative gender and sexuality. In other words, the narratives explored in Thai queer cinema go beyond
1271:
1207:
Jackson, Peter A. (1997). "Kathoey >< Gay >< Man: The Historic Emergence of Gay Male Identity in Thailand". In Manderson, L.; Jolly, M. (eds.).
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explicitly define the relationship between Mew and Tong as a gay relationship, it explores the possibilities of love outside of heterosexual relationships.
610:) is a Thai film director who was born in Bangkok, Thailand in 1973, and was raised near the Thailand-Malaysia border. He studied art education at
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explores the parallels between the marginalization of Thai gay men and Burmese refugees in Thailand at the hands of the Thai nationalist state.
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1371:Ünaldi, Serhat (2011). "Back in the Spotlight: The Cinematic Representation of Kathoeys and Gay Men in Thailand". In Jackson, Peter A. (ed.).
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285:(1987) did not end up being nearly as successful. The plot of the film revolves around Somying’s, who committed suicide at the end of
1495:
Fuhrnmann, Arnika (2018). "Chapter 8 - Queer Cinema: This Area is Under Quarantine". In Ainsley, Mary J.; Ancuta, Katarzyna (eds.).
108:
1530:
1189:
Monruedee, Laphimon (2011). "Chapter 1 - Reuang Phet: Sexual Matters". In Boonmongkon, Pimpawun; Jackson, Peter A. (eds.).
619:(2000) and founded his own production company called Sleep of Reason Films in 2012. Notable Pansittivorakul films include:
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is a film released in 2014 and is Thai film director, Thunska Pansittivorakul's, first full-length fiction film. The film
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is considered the first queer film of the new wave of Thai cinema and also a turning point for queer cinema in Thailand.
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Farmer, Brett (2011). "Loves of Siam: Contemporary Thai Cinema and Vernacular Queerness". In Jackson, Peter A. (ed.).
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Farmer, Brett (2018). "Chapter 8: Queer Cinema - The Iron Ladies". In Ainsley, Mary J.; Ancuta, Katarzyna (eds.).
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Schoonover, Karl; Galt, Rosalind (2016). "Chapter 4 - The Queer Popular: Genre and Perverse Economies of Scale".
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Siddiqi, Sophia (2018). "Chapter 8 - Queer Cinema: Supernatural". In Aisley, Mary J.; Ancuta, Katarzyna (eds.).
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338:(2000) lead to new genres of film and more positive representations of queer and Kathoey individuals. The
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148:: phet) portrayed in film which may not be accurately represented through Western LGBT terminology.
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204:(2010). Art-house films are another prominent sub-genre of Thai queer cinema. Art-house films like
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is a film released in 2004 and directed by Thai film director Apichatpong Weerasethakul. The film
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281:(1985) and was produced in large part due to the commercial success of its predecessor. However,
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Rithdee, Kong (26 June 2006). "A pair of new Thai films touch on the subject of homosexuality".
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Farmer, Brett (2018). "Chapter 8: Queer Cinema". In Ainsley, Mary J.; Ancuta, Katarzyna (eds.).
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Below is a list of Thai films that in some way represent non-normative gender and sexuality.
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1430:"Thai Popular Culture: A New Player in Asia Media Circulation and Chinese Censorship"
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1127:"The very first series of Thai queer cinemas - What was happening in the 1980s?"
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a science fiction film set in a dystopian future, was in some part inspired by
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263:(1985) to capture the tragic experience of being kathoey in Thai society.
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570:, Thailand in 1970 and was raised in the rural northeastern province,
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The first Thai film to feature a central queer narrative was the film
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Aphichatphong Wirasetthakun) is a Thai film director who was born in
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graduating with a B.A. in 1994 and then studied film making at the
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television dramas in Thailand. Notable queer teen dramas include
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Thai queer cinema had its start in the 1980s with films such as
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as one of the leading producers of queer cinema in the world.
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Ainslie, Mary J.; Ancuta, Katarzyna (2018). "Introduction".
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Thai Sex Talk: The Language of Sex and Sexuality in Thailand
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Rak Haeng Sayam) is a film released in 2007. The plot of
1375:. Hong Kong: Hong Kong University Press. pp. 59–80.
1239:. Hong Kong: Hong Kong University Press. pp. 81–98.
667:
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Queer Bangkok: 21st Century Markets, Media, and Rights
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Queer Bangkok: 21st Century Markets, Media, and Rights
1178:. Durham, NC: Duke University Press. pp. 167–210.
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132:. The classification of this genre of Thai film as "
1434:
Kyoto University Center for Southeast Asian Studies
303:(1987) is a Thai adaptation of the American play
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648:Pansittivorakul’s first full length documentary
1193:. Bangkok, Thailand: Mekong Press. p. 27.
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546:Apichatpong Weerasethakul (born July 16, 1970)
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1499:. Tauris Academic Studies. pp. 193–208.
1417:. Tauris Academic Studies. pp. 193–208.
1319:. Tauris Academic Studies. pp. 193–208.
537:released in the international film circuit.
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241:(1987), a Thai remake of the American play
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1093:. Tauris Academic Texts. pp. 193–208.
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184:prominent films in this sub-genre include
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958:The Right Man Because I Love You (2016)
574:, Thailand. He studied architecture at
491:(2004) (dir. Apichatpong Weerasethakul)
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597:Thunska Pansittivorakul (born 1973)
586:The Adventures of Iron Pussy (2003)
221:The first wave of Thai queer cinema
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277:(1987), is the sequel to the film
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252:(1985) (dir. Pisal Akkrasenee)
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658:This Area is Under Quarantine
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1274:. 2006-10-12. Archived from
1125:Kaewprasert, Oradol (2005).
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1478:"Apichatpong Weerasethakul"
944:Present Perfect (2017 film)
892:Malila: The Farewell Flower
682:The Adventure of Iron Pussy
342:that led to the ousting of
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707:The Blue Hour (2015 film)
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772:Golden Eagle (1970 film)
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580:Art Institute of Chicago
556:อภิชาติพงศ์ วีระเศรษฐกุล
1709:Thai LGBT-related films
1482:Encyclopedia Britannica
869:Love Next Door 2 (2015)
790:Haunting Me (2007 film)
602:Thunska Pansittivorakul
313:New wave of Thai Cinema
1272:"Cannes Film Festival"
975:Saving Private Tootsie
589:Tropical Malady (2004)
85:Films shot in Thailand
866:Love Next Door (2013)
822:It Gets Better (2012)
740:Down the River (2004)
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243:The Boys in the Band
233:(1987), a sequel to
1594:Chronology of films
1211:. pp. 166–190.
1134:University of Essex
903:Mekong Hotel (2012)
592:Mekong Hotel (2012)
78:Cinemas in Thailand
1569:Cinema of Thailand
1052:Yes or No 2 (2012)
986:Sense… Love (2016)
955:Right by Me (2005)
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907:Mercury Man (film)
811:I Carried You Home
786:Happy Berry (2004)
776:Gray Secret (2015)
730:Citizen Dog (2004)
725:Cheerleader Queens
695:Bangkok Love Story
607:ธัญสกพันสิทธิวรกุล
455:(Thai: สตรีเหล็ก;
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36:List of Thai films
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287:The Last Song
284:
283:Tortured Love
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279:The Last Song
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275:Tortured Love
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268:Tortured Love
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261:The Last Song
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257:The Last Song
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130:gender binary
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1629:Queer cinema
1628:
1624:Horror films
1519:. Retrieved
1517:. 2017-09-19
1515:Kchat Jjigae
1514:
1505:
1496:
1490:
1481:
1455:. Retrieved
1451:
1442:
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1390:
1372:
1344:. Retrieved
1342:. 2015-09-04
1339:
1316:
1280:. Retrieved
1276:the original
1255:Bangkok Post
1254:
1236:
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898:Me... Myself
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873:Love of Siam
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642:Supernatural
641:
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420:Love of Siam
419:
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237:(1985), and
234:
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210:Supernatural
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198:Love of Siam
197:
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174:Bangkok Post
169:
168:(1987), and
165:
161:
159:
150:
126:heterosexual
121:
120:
70:
64:Horror films
1589:Films (A–Z)
1049:(film 2010)
990:Sick Nurses
932:Patong Girl
919:My Bromance
656:(2011) and
650:Happy Berry
624:Happy Berry
541:Key figures
480:(2004) and
435:(2000) and
400:รักแห่งสยาม
376:(2007) and
359:Teen dramas
208:(2004) and
200:(2007) and
190:(2000) and
71:Queer films
50:Male actors
1698:Categories
1634:LGBT films
1521:2019-12-04
1457:2019-12-04
1448:"Thailand"
1346:2019-11-20
1282:2019-12-02
1060:References
1034:Water Boyy
370:boys' love
354:Sub-genres
301:I Am a Man
294:I Am a Man
239:I Am A Man
170:I Am a Man
1669:Producers
1654:Directors
1639:Locations
1614:Festivals
1599:Animation
1047:Yes or No
572:Khon Kaen
532:'s novel
471:Art-house
378:Yes or No
202:Yes or No
43:Actresses
660:(2008).
439:(2004).
380:(2010).
178:Thailand
164:(1985),
1664:Editors
1644:Studios
1609:Cinemas
568:Bangkok
216:History
144:: เพศ,
1649:Actors
1604:Awards
1036:(2015)
1023:(2004)
998:(2010)
992:(2007)
983:(2003)
977:(2002)
940:(2007)
934:(2014)
921:(2014)
915:(2006)
909:(2006)
900:(2007)
894:(2017)
881:(2014)
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850:(2007)
819:(2000)
813:(2012)
797:(2015)
727:(2003)
703:(2003)
697:(2007)
684:(2003)
644:(2014)
638:(2011)
632:(2008)
626:(2004)
1130:(PDF)
981:Sayew
615:with
142:(Thai
134:queer
562:RTGS
457:RTGS
405:RTGS
396:Thai
146:RTGS
138:LGBT
1700::
1513:.
1480:.
1466:^
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1132:.
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559:;
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398::
1554:e
1547:t
1540:v
1524:.
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1136:.
1041:Y
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950:R
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781:H
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748:F
735:D
716:C
689:B
676:A
604:(
564::
553:(
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394:(
110:e
103:t
96:v
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