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This book focuses on the most significant and dominant
characteristic of Thai cinema throughout its history: the Thai
incarnation of the horror genre and the central role this plays in
Thailand's film industry. Tracing the development of Thai cinema
throughout wider contextual changes, the book explores the
influence of audiences and viewing scenarios from previous decades
upon this industry today. Most evident in the popular horror genre,
close analysis of films demonstrates a specific style of Thai
cinema as well as the wider social forces (both formal and
thematic) that have shaped Thai cinema as a national industry.
Looking at these films through a framework built from horror
theory, this book questions our understanding of 'horror' as a
generic category when we move outside of its traditional
Euro-American origins and the voyeuristic viewing scenario often
associated with the genre.
After the end of World War II when many Southeast Asian nations
gained national independence, and up until the Asian Financial
Crisis, film industries here had distinctive and colourful
histories shaped by unique national and domestic conditions.
Southeast Asia on Screen: From Independence to Financial Crisis
(1945-1998) addresses the similar themes, histories, trends,
technologies and sociopolitical events that have moulded the art
and industry of film in this region, identifying the unique
characteristics that continue to shape cinema, spectatorship and
Southeast Asian filmmaking in the present and the future. Bringing
together scholars across the region, chapters explore the
conditions that have given rise to today's burgeoning Southeast
Asian cinemas as well as the gaps that manifest as temporal
belatedness and historical disjunctures in the more established
regional industries.
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R398
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