Relevant bibliographies by topics / Apichatpong Weerasethakul

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Academic literature on the topic 'Apichatpong Weerasethakul'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Apichatpong Weerasethakul"

1

Sáez-González, Jesús Miguel. "Tropical Malady (Apichatpong Weerasethakul)." Vivat Academia, no. 113 (December 15, 2010): 162. http://dx.doi.org/10.15178/va.2010.113.162-163.

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2

Loska, Krzysztof. "Apichatpong Weerasethakul – o polityce i widmach." Kwartalnik Filmowy, no. 105-106 (December 31, 2019): 205–16. http://dx.doi.org/10.36744/kf.58.

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Twórczość Apichatponga Weerasethakula rozważana jest jako przykład sztuki zaangażowanej, odnoszącej się do przeszłości, teraźniejszości i przyszłości Tajlandii. O wydarzeniach historycznych reżyser nie opowiada wprost, lecz posługuje się konstrukcją alegoryczną, za pomocą której pozwala przemówić duchom tych, którzy odeszli lub zostali skrzywdzeni. Analiza kontekstu politycznego łączy się z refleksją nad obecnością widm, dlatego metodologicznym punktem odniesienia jest widmontologia Jacques’a Derridy. Propozycja francuskiego filozofa pozwala zrozumieć, jaką rolę pełnią duchy w dziełach tajland
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3

Bezerra, Julio. "The Body As Cogito: A Certain Contemporary Film In The Light of Merleau-Ponty." CINEJ Cinema Journal 3, no. 1 (2014): 75–92. http://dx.doi.org/10.5195/cinej.2013.79.

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Contemporary film is displaying a kind of "transnational new wave" that seems unique since the mid-60s. Filmmakers as diverse as Tsai Ming-Liang, Karim Aïnouz, and Apichatpong Weerasethakul, show a similar sensitivity towards the values of the world and of the cinema. What brings the work of these directors together is the taste for a realism more focused on the phenomenon of experience, on issues of skin and surface, and a different look at the body. Our hypothesis is that the phenomenology of Merleau-Ponty provides us with valuable tools to broaden the debate. The discussion will be carried
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4

Suwanpakdee, Pison. "Thai Social Context in Apichatpong Weerasethakul ‘s Films." Global Journal of Arts Education 6, no. 2 (2016): 46. http://dx.doi.org/10.18844/gjae.v6i2.693.

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This article studies about the Thai social context in Apichatpong Weerasethakul ‘s films. Apichatpong Weerasethakul is a Thai filmmaker who won the highest prize in Cannes Film Festival 2010. He has generated acclaim on the film festival circuit ever since his 2002 debut "Blissfully Yours," which he followed up with "Tropical Malady" and "Syndromes and a Century." Apichatpong Weerasethakul is a Thai independent filmmaker who combine between film and art. Hhis works were shown at the museums and theaters all over the world. The story telling in his films sitting in his home town Khon Kaen, a pr
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5

Kim, Ji-Hoon. "Learning About Time: An Interview with Apichatpong Weerasethakul." Film Quarterly 64, no. 4 (2011): 48–52. http://dx.doi.org/10.1525/fq.2011.64.4.48.

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An interview with Thai director Apichatpong Weerasethakul, winner of the 2010 Cannes Palme d'Or for his haunting feature, Uncle Boonmee Who Can Recall His Past Lives, in which he discusses the relationship between the film and a 2009 installation, The Primitive, as well as the impact of digital technology on cinema.
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6

Sáez-González, Jesús Miguel. "Uncle Boonmee recuerda sus vidas pasadas (Apichatpong Weerasethakul)." Vivat Academia, no. 113 (December 15, 2010): 159. http://dx.doi.org/10.15178/va.2010.113.159-160.

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7

Weerasethakul, Apichatpong, Alexandre Wahrhaftig, and Eduardo Chatagnier. "O Cinema do agora - sinais de vida: Uma carta de Apichatpong Weerasethakul." ARS (São Paulo) 18, no. 40 (2020): 585–94. http://dx.doi.org/10.11606/issn.2178-0447.ars.2020.172883.

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Uma espécie de diário de quarentena que se transforma em uma ficção científica, na qual o futuro do cinema pós-pandemia de Covid-19 é imaginado pelo cineasta Apichatpong Weerasethakul de forma fabular e fantástica em algo como uma viagem no tempo ao primeiro cinema.
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8

Cabrejo, José Carlos. "Sobre El Tío Boonmee: algunos comentarios de Apichatpong Weerasethakul." Ventana Indiscreta, no. 010 (March 24, 2013): 71. http://dx.doi.org/10.26439/vent.indiscreta2013.n010.309.

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9

Bértolo, José. "Narração e Storytelling em Mysterious Object at Noon, de Apichatpong Weerasethakul." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 1, no. 2 (2014): 57–71. http://dx.doi.org/10.14195/2182-8830_1-2_4.

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Este texto propõe uma leitura de Mysterious Object at Noon (Apichatpong Weerasethakul, 2000), considerando questões de narração suscitadas pelo lugar central que o ato de storytelling ocupa no filme. Equacionam-se problemas tais como a ausência de texto prévio (argumento) e a atribuição de ordem ao filme pela narração oral, in loco, como se este se escrevesse à medida que vai sendo contado. Atentar-se-á em como, estruturando-se deste modo, o filme reflete sobre a especificidade do cinema enquanto máquina narrativa.AbstractThis essay is a close analysis of Mysterious Object at Noon, directed by
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10

Vicentin, Pedro Santos Paviotti, Marcelo Vicentin, and Wagner Gomes Sebastião. "CONEXÕES NO CINEMA DE APICHATPONG WEERASETHAKUL: POÉTICAS E LINGUAGENS E..." Linha Mestra, no. 41 (September 2, 2020): 289–98. http://dx.doi.org/10.34112/1980-9026a2020n41p289-298.

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Este artigo se propõe a apresentar os movimentos fronteiriços do cinema de Apichatpong Weerasethakul, movimentos de devires, conexões e alianças por uma imanência antropofágica. Para tanto, nos pautamos pelo encontro do pensamento de Gilles Deleuze e Félix Guattari, e Oswald de Andrade, e os filmes do diretor na emergência de hibridismos e devires que territorializam cartografias outras, singularidades e individuações arbitrárias humanas e não humanas; a potência de uma cinematografia por seus desdobramentos, ressonâncias e contágios...
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