Khổng Linh

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on the atlas — 18

highlights — 28

Tinh thần bản nháp, mục tiêu hàng đầu mà nhóm theo đuổi, là hoan nghênh việc viết, lưu trữ và chia sẻ những tác phẩm không hoàn hảo mà sau này họ có thể chia sẻ hoặc không. Đây là cách để họ thoát khỏi áp lực chuẩn hóa và thói quen tự kiểm duyệt, để bảo lưu ngôn ngữ và suy nghĩ lệch chuẩn.
Sinh thái học queer và một cách chung sống khác - Tạp chí Tia sáng
What is it about a transnational sense of public Thai self-imagining that requires seamless historical victories at the abandonment of complex conflicted histories?
(PDF) On Thai Transnational Subjectivity
Given different notions of Thai identity forged out of displacement (economic and political), I suggest that a focus on Thai transnational identity is better understood not necessarily as Aihwa Ong’s privileged flexible citizen (1999), but more broadly as a bifurcated Thai political subject that intervenes in Thai politics by crossing national borders between Thailand and the US.
(PDF) On Thai Transnational Subjectivity
describes popular Buddhism as a “large-scale, cross-social spectrum of beliefs and practices – incorporating the supernatural powers of spirits, deities and magic – that have emerged out of the interplay between animism, supernaturalism, folk Brahmanism, the worship of Chinese deities and state-sponsored Theravada Buddhism”.
How modern technology is reshaping Thailand's ancient animist beliefs
“religion converges with the multidimensional structural forces of the nation-state, market economy, modernisation and globalisation.”
How modern technology is reshaping Thailand's ancient animist beliefs
The latter was a more societal or cultural understanding of the teachings of Lord Buddha, mostly practised by Thailand’s rural majority, often without the interference of religious structures.
How modern technology is reshaping Thailand's ancient animist beliefs
In the 1990s, Sulak Sivaraksa, a Thai Buddhist social critic and political scientist, sought to distinguish between what he called Buddhism with a capital ‘B’ and Buddhism with a small ‘b’.
How modern technology is reshaping Thailand's ancient animist beliefs
In Happy Old Year his stylish design is impeccable. The unusual aspect ratio confines and minimises the screen. The cinematography is absolutely amazing, with many stunning shots. The use of alternating focus is very cool and conveys tension, mood, and uncertainty in a subtle manner. Things here are a haze, not stuck in the absolute of deep focus. The camera is constantly in control of the space, gliding around houses and looking through gaps and doorways. People are cut off by the edge of the screen, walls and doors, and through a series of slow zooms. Which culminates in a breathtakingly sim…
‎Reviews of Happy Old Year • Letterboxd
She is both free and trapped by the decisions she made. Until when her pain will linger, only she can decide for herself.
A study of spaces in Nawapol Thamrongrattanarit's 'Happy Old Year'
As Jean throws more and more away, her surroundings become more spacious, and her aura calmer.
A study of spaces in Nawapol Thamrongrattanarit's 'Happy Old Year'
What sounds so clear in theory, does not necessarily apply to real life that easily – especially when your family is frozen deep in time, your house looks rather like a prehistoric storeroom full of dusty trash, and on top of that some unwanted memories start hunting you. Jean has no intention of giving up though.
Film Review: Happy Old Year (2019) by Nawapol Thamrongrattanarit
Through her sporadic and brutal method of tidying up—with no hesitations whatsoever—she finds ghosts of her past trapped in objects.
Why 'Happy Old Year' is my favorite visual essay on moving on - SCOUT
In Thamrongrattanarit’s most tear-sodden coming-of-age tale so far, memory is not a framed photo that we must lug around, nor an old hard drive that we must fix, but a clutter that we must, as adults, learn to carefully sort into piles of trash and treasure – and sometimes hold onto forever.
Nawapol Thamrongrattanarit: The Clutter of Living - ArtReview
“Minimalism is like a Buddhist philosophy. It’s about letting go,” she tells her sceptical mother and brother, trying to convince them to let her convert the untidy old family home into a sleek white office.
Nawapol Thamrongrattanarit: The Clutter of Living - ArtReview
has a track record of using objects to reify the workings of the mind, to make tangible his thinking on what he has called “memory management”. Two of his most singular films attempt something similar.
Nawapol Thamrongrattanarit: The Clutter of Living - ArtReview
He’s called this approach, partly born of the perennial difficulties of getting films funded in Thailand, the ‘noodle stall method’, likening it to a family recipe. ‘If the noodle is good, customers will find you. And there’s no need to tweak the taste,’ he told a Thai interviewer in 2018.
Nawapol Thamrongrattanarit: The Clutter of Living - ArtReview
Pull up a few on YouTube and you’ll quickly see how his trademarks – “Realistic, character study, political inside, black comedy and Thainess”, as he once put it to me in an email exchange – align across all the mediums he dabbles in, no matter how nakedly corporate their end goals.
Nawapol Thamrongrattanarit: The Clutter of Living - ArtReview
An outlier in a country in which directors tend towards producing cookie-cutter TV dramas featuring one-note characters, Thamrongrattanarit has a proven knack for getting the best out of his stars. In part this is because they appear ordinary and normcore-clad, but mainly it’s because he offers them a rare chance to deliver a realism that’s glaringly absent from most mainstream Thai films or television. Stories evolve through the cut and thrust of small talk and repartee, not melodrama.
Nawapol Thamrongrattanarit: The Clutter of Living - ArtReview
With his dialogue and plot points often scraped from social media – an approach reflected in his film’s blinking text cursors, expository intertitles and sound effects (social media pings and fingers tapping keys) – and revolving around the humdrum routines, relationships and patois of young adults, he’s earned his indie-auteur stripes by working his way under the skin of a niche Thai demographic.
Nawapol Thamrongrattanarit: The Clutter of Living - ArtReview
dry, naturalistic slow-burn of his youth-orientated filmmaking
Nawapol Thamrongrattanarit: The Clutter of Living - ArtReview
Raise the Red Lantern is a meticulously framed, exquisitely beautiful and extremely claustrophobic film to watch. It features highly formalized compositions, with the camera often placed statically dead center in the frame. This classical style mise en scène gives the film a theatrical feel, as if we are watching the scenes played out on an ornately decorated stage. It also creates an almost painful distance between the viewer and subject, with the walls and leading lines a constant reminder of Songlian’s encasement.
Looking Back - The Cinematography of Raise the Red Lantern — Mike Best
ABSTRACT 1. Introduction 2. Framing a feminist research ethics of compassionate care 3. Multiple iterations of research and actions 4. Enhancing action research through a feminist ethic of compassionate care 5. Conclusion Acknowledgements Disclosure statement Additional information Footnotes References Top Full Article Figures & data References Citations Metrics Licensing Reprints & Permissions View PDFView EPUB Chia sẻ ABSTRACT In the face of forced migrants’ urgent needs and ongoing human rights violations endured within and across borders, scholars note the ‘dual imperative’ (Jacobsen and L…
Full article: Towards an ethics of compassionate care in accompanying human suffering: dialogic relationships and feminist activist scholarship with asylum-seeking mothers
For Fierke (Citation2013, 37), self-sacrifice is ‘an “act of speech” in which the suffering body communicates the injustice experienced by a community to a larger audience’
Full article: Rehabilitating Self-Sacrifice: Care Ethics and the Politics of Resistance
illocutionary speech act – that is, as a way of saying something by doing something.
Full article: Rehabilitating Self-Sacrifice: Care Ethics and the Politics of Resistance
The caring ethical ideal then is no more than a coping strategy that helps women to reconcile themselves to their own oppression.
Full article: Rehabilitating Self-Sacrifice: Care Ethics and the Politics of Resistance
the caring approach to morality is a symptom of the oppression of women
Full article: Rehabilitating Self-Sacrifice: Care Ethics and the Politics of Resistance
Woman value care because men value us according to the care we give them […] Women think in relational terms because our existence is defined in relation to men. (MacKinnon Citation1987, 39)
Full article: Rehabilitating Self-Sacrifice: Care Ethics and the Politics of Resistance
Caring involves, first of all, being engrossed in the situation of the person being cared for. This engrossment involves ‘apprehending the others’ reality, feeling what he feels as nearly as possible’ (Noddings Citation1984/2013, 16).
Full article: Rehabilitating Self-Sacrifice: Care Ethics and the Politics of Resistance