Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485496
Title: Gender Representations in Thai Queer Cinema
Author: Kaewprasert, Oradol
ISNI:       0000 0001 3593 8435
Awarding Body: University of Essex
Current Institution: The University of Essex pre-October 2008
Date of Award: 2008
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Abstract:
This thesis aims to study gender representations in Thai queer cinema. It is organized into an Introduction followed by four chapters and a conclusion. The Introduction charts the development of the film industry and representations on queer cultures in the country, arguing that the development of Thai queer cinema is P8rt of the advance of the Thai film industry. The representations of queer characters in these films are influenced by specific socio-cultural contexts regarding gender perceptions in Thai society. Chapter One discusses The Last Song (1986), Tortured Love (1987) and I Am a Man (1987) in terms of their representations of history and queer culture in Thailand. Chapter Two analyses The Iron Ladies (2000) and The Iron Ladies II: Before and After (2003) as to how these films use comedy to represent their queer characters in positive ways. The examination of different perceptions of the films by audiences from different sociocultural contexts shows that perceptions of queerness vary according to the context. Chapter Three explores Beautiful Boxer (2003), using Jay Prosser's work on transsexual gender embodiment and Judith Butler's theory of gender performativity. Chapter Four examines the avant-garde film elements in Tropical Malady (2004), using Victor Turner's concept of liminality. Tropical Malady demonstrates that when social norms are not constructed, individuals are not yet divided into any particular group: they are neither majority nor minority. The conclusion demonstrates that Thai mainstream queer films are not made for political or aesthetic reasons but for marketing purposes and for mainstream audiences. These films ask for understanding from society rather than promoting any political agenda. The film characters mainly represent their gender identity through gender performance rather than physical essences. Throughout, the actual text and surrounding contexts of these films show that gender representations are not stable but changeable over time, place and subjective positioning.
Supervisor: Not available Sponsor: Not available
Qualification Name: University of Essex, 2008 Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.485496  DOI: Not available
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