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Journal articles on the topic 'Apichatpong Weerasethakul'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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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 tajlandzkiego artysty. W swoim artykule Loska skupia się nie tylko na filmach fabularnych Apichatponga, ale również na jego projektach wideo i instalacjach multimedialnych, by pokazać, na czym polega nawiedzenie i w jaki sposób zmusza ono do przyjrzenia się temu, co wyparte z oficjalnej narracji, czyli przemocy, okrucieństwu i nieprzepracowanej traumie.

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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 out by an analysis of the work of Tsai Ming-Liang, Apichatpong Weerasethakul and Karim Aïnouz.

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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 province in the northeastern part of Thailand. His film criticizes melodramas in TV, radio and Thai social context with non professional actor, narrative style and symbolics about dreams, nature, sexuality (including his own homosexuality). There are many years Apichartpong ‘s films has been well received in many countries that they were released. But in Thailand, some of his works were banned and unreleased such as Syndromes and a Century (2006). Although this film was the first Thai film accepted in competition of the 63rd Venice Film Festival, it is interesting to study his film with the Thai social context of what he conveyed in his works and why the filmmaker who succeed on the world stage, but for his country, he has not been widely recognized .

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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 Apichatpong Weerasethakul, in which are considered questions of narration motivated by the central place the act of storytelling holds in the film structure. Problems such as the nonexistence of a script and the way the film seems structured by oral narration, in loco, as if the film were being written as it is told, will be analyzed. Finally, I describe how, through this structure, the film reflects upon the specificity of cinema as a way of telling/showing stories. DOI: http://dx.doi.org/10.14195/2182-8830_1-2_4

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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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11

Mackris, Jonathan. "The Intersection of Politics and Trauma in the Films of Apichatpong Weerasethakul." Film Matters 8, no. 1 (2017): 35–38. http://dx.doi.org/10.1386/fm.8.1.35_1.

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12

Ho-Young KIM. "Primitive Language or Universal language-focused on Tropical Malady of Apichatpong Weerasethakul." Contemporary Film Studies 5, no. 2 (2009): 5–36. http://dx.doi.org/10.15751/cofis.2009.5.2.5.

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13

Molina Barea, Maria del Carmen. "Cinema: Not Frames But Veils." CINEJ Cinema Journal 9, no. 1 (2021): 146–80. http://dx.doi.org/10.5195/cinej.2021.312.

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The aim of this paper is to rethink the metaphors of the cinema as window and frame. The first one addresses the cinema as a transparent, open window that faithfully reproduces the world, taking the spectator’s view beyond the screen guided by realism and indexicality. The second one takes the screen as a rectangular surface that focuses the audience’s eye on the images that are produced inside its borders. In these pages I will revisit both notions, adding a third one inspired by the passe-partout of Derrida: the cinema as veil, also theorized as backdrop and decor. Ultimately, this approach explores the idea of simulacrum by analizing two examples: Blue (Apichatpong Weerasethakul, 2018) and Decor (Ahmad Abdalla, 2014).

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14

Marrero-Guillamón, Isaac. "The Politics and Aesthetics of Non-Representation: Re-Imagining Ethnographic Cinema with Apichatpong Weerasethakul." Antípoda. Revista de Antropología y Arqueología, no. 33 (October 2018): 13–32. http://dx.doi.org/10.7440/antipoda33.2018.02.

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15

LEE Sun woo. "The extensibility of cinema presented by Apichatpong Weerasethakul: The questions recalled by Fever room." Film Studies ll, no. 74 (2017): 95–123. http://dx.doi.org/10.17947/kfa..74.201712.004.

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16

Muñoz Fernández, Horacio. "El cine más allá de la narración de Lisandro Alonso." Laocoonte. Revista de Estética y Teoría de las Artes, no. 4 (December 12, 2017): 290. http://dx.doi.org/10.7203/laocoonte.0.4.10230.

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El cine de Lisandro Alonso está más allá de la narración. El cineasta argentino se centra en los elementos profílmicos de las películas (espacio, tiempo y cuerpo) antes que en la narración y la trama. Su obra invierte la clásica jerarquía de la fábula aristotélica que siempre ha privilegiado el muthos, la racionalidad de la trama, y desvalorizado el opsis, el efecto sensible de la obra. Como Pedro Costa, Albert Serra o Apichatpong Weerasethakul, su cine es más de imágenes que de conceptos, más de espacios que de narración, más de cuerpos que de personajes, de tiempo y espera antes que de tramas y suspense, corporal antes que intelectual, un cine entre la ficción y el documental, entre la imagen y la realidad.

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17

Malaina, Álvaro. "Bajo la influencia del budismo y el animismo: cuerpo, enfermedad, medicina y cuidados en el cine de Apichatpong Weerasethakul (los ejemplos de Syndromes and a Century, 2006 y Cemetery of Splendour, 2015)." Revista de Medicina y Cine 17, no. 2 (2021): 123–32. http://dx.doi.org/10.14201/rmc2021172123132.

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El modelo biomédico occidental ha sido ampliamente retratado en el cine y las series televisivas. El artículo busca poner ejemplos de modelos terapéuticos alternativos al biomédico que aún tienen mucha presencia en culturas no occidentales, combinándose a menudo con el modelo biomédico y que no han sido tan reflejados en el cine. Ponemos ejemplos de dos películas del director tailandés Apichatpong Weerasethakul, Syndromes and a Century (Sang Sattawat, 2006) y Cemetery of Splendor (Rak Ti Khon Kaen, 2015). Estas películas nos muestran cómo en la región tailandesa de Isan se combina el modelo biomédico, de origen occidental pero ya plenamente asentado en el país, con técnicas meditativas y prácticas mágicas influidas por el budismo theravada y el animismo de origen laosiano practicados en la región.

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18

Viernes, Noah. "Cinematic Forms and the Assembly of Cities: Bangkok Inscribed." MANUSYA 11, no. 3 (2008): 13–31. http://dx.doi.org/10.1163/26659077-01103002.

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This article suggests that an aesthetics of contemporary urban life builds new avenues for treating the politics of visibility. Several reasons instigate this new approach. First, art forms illustrate and train a specific way of “seeing,” a camera consciousness, that correlates with changes in the built landscape. A specific configuration, in other words, presents a relationship (an analogy) between the contemporary predominance of urban images and urban subjects that elude preexisting categories. These aesthetic departures can be illustrated by literary and cinematic “sentence-images” within the project that Jacques Rancière (2004; 2006; 2007) calls the “redistribution of the sensible.” This paper's attempt to locate this redistribution according to the appearance of “the urban” in the literature of Prabda Yoon, Wanich Charungkichanant, Siriworn Kaewkan, Parinya Phiphathphorn, and two films by Apichatpong Weerasethakul, explains how Bangkok’s aesthetic landscape is produced by its material “visible” form.

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19

Molina Barea, María del Carmen. "The Cinematographic Refrain: Memory and Repetition in the Films of Hong Sang-soo and Apichatpong Weerasethakul." Canadian Journal of Film Studies 30, no. 2 (2021): 1–21. http://dx.doi.org/10.3138/cjfs-2018-0024.

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Le présent article analyse les liens théoriques entre Henri Bergson et Gilles Deleuze dans le but d’examiner la mémoire et la répétition dans Un jour avec, un jour sans (Hong Sang-soo, 2015) et Syndromes and a Century (Apichatpong Weerasethakul, 2006). Ce travail examine en particulier la façon dont ces deux films articulent une structure double qui épouse une répétition systématique d’images, créant ainsi un sentiment prononcé de déjà-vu. L’analyse de ce phénomène s’appuie sur le schéma bergsonien du souvenir et de l’actualisation du passé. Cet article entend mettre en lumière l’expérience du temps dans les images cinématographiques selon Deleuze, en particulier en ce qui concerne les notions de cristal-image et de refrain. Ce type d’analyse vise également à souligner l’importance pérenne de la philosophie et du cinéma deleuziens dans le cinéma non européen, ainsi qu’à contribuer à l’établissement d’un lien entre le binôme cinéma-philosophie et le bouddhisme. Toutefois, l’objectif final de l’article est d’étudier la façon dont les deux films fournissent une compréhension fondamentale de la constitution du temps par le biais de la répétition.

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20

Codato, Henrique. "O Desejo e seus labirintos: Reflexões acerca do cinema contemporâneo." Revista Contracampo, no. 23 (December 8, 2011): 235. http://dx.doi.org/10.22409/contracampo.v0i23.101.

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As produções que escolhemos analisar encabeçam, de forma emblemática, uma polêmica lista dos dez melhores filmes da década de 2000, elaborada por dezesseis críticos especializados e publicada pela revista Cahiers du Cinéma em sua edição de janeiro de 2010. São elas: A Cidade dos Sonhos (Mulholland Drive, David Lynch, 2001); Elefante (Elephant, Gus Van Sant, 2003) e Tropical Malady (Sud Palad, Apichatpong Weerasethakul, 2004). Notamos que estas obras, ao apresentarem uma narrativa fragmentada, fazendo emergir figuras como a do deslocamento e da descontinuidade em sua estrutura, possibilitam a manifestação de determinados sintomas que muito têm a dizer sobre a condição na qual se encontra o sujeito contemporâneo. A hipótese que levantamos é a de que estas narrativas, ao se firmarem no vaivém entre o limite e o ilimitado, entre a realidade e o sonho, entre o real e o imaginário, entre o mythos e o logos, convocariam o espectador de cinema a vivenciar uma espécie de estranhamento, fazendo-o oscilar, à deriva, entre o desejo de ser enganado e o de tudo saber.

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21

Küçük, Serdar. "Queer Film Settings as Sites of Resistance." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 2 (2020): 95–123. http://dx.doi.org/10.1215/02705346-8359530.

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The following article investigates the origins and functions of particular settings in queer films by examining four examples from different national contexts: Shortbus (dir. John Cameron Mitchell, US, 2006), Weekend (dir. Andrew Haigh, UK, 2011), Stranger by the Lake (L’inconnu du lac, dir. Alain Guiraudie, France, 2013), and Tropical Malady (Sud pralad, dir. Apichatpong Weerasethakul, Thailand, 2004). The textual analyses highlight a range of prevalent queer film settings, such as the road and nature, in which queer characters take refuge. The study aims to identify a transnational countercultural stance in various uses of setting by concentrating on the notion of escape in a theoretical framework that draws on the work of Gilles Deleuze and Félix Guattari, José Muñoz, and Marc Augé. In the context of the study, the production of alternative spaces in queer cinema is treated as a revolutionary practice that challenges homophobia and heteronormativity, which sometimes coexist with class inequality and racism. The discussion finally suggests that there is a social critique of civilization behind the escapism and pessimism, as well as utopianism, in queer cinema.

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22

Ho-Young KIM. "The Semiosis of the Body in Modern Asian Cinema - A Comparative Study of Apichatpong Weerasethakul and Tsai Ming Liang Film." Cross-Cultural Studies 51, no. ll (2018): 133–60. http://dx.doi.org/10.21049/ccs.2018.51..133.

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23

Lovatt, Philippa. "‘Every drop of my blood sings our song. There can you hear it?’: Haptic sound and embodied memory in the films of Apichatpong Weerasethakul." New Soundtrack 3, no. 1 (2013): 61–79. http://dx.doi.org/10.3366/sound.2013.0036.

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24

Sharma, Aparna. "Apichatpong Weerasethakul: Primitive New Museum, 19/05/11–3/07/2011. Curated by Massimiliano Gioni, Associate Director and Director of Exhibitions, with Gary Carrion-Murayari, Associate Curator. Exhibit address: www.newmuseum.org/exhibitions/439." Leonardo 45, no. 2 (2012): 167–69. http://dx.doi.org/10.1162/leon_r_00285.

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25

허상범. "Oral Narrative of Apichatpong Weerasethakul’s films." 아시아문화연구 31, no. ll (2013): 272–91. http://dx.doi.org/10.34252/acsri.2013.31..009.

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26

노경태. "An aesthetic summary of Apichatpong Weerasethakul's film." Contemporary Film Studies 5, no. 2 (2009): 37–66. http://dx.doi.org/10.15751/cofis.2009.5.2.37.

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27

DaeJeong Suh. "Various Aesthetic Methods of Apichatpong Weerasethakul’s Film." Contemporary Film Studies 5, no. 2 (2009): 69–92. http://dx.doi.org/10.15751/cofis.2009.5.2.69.

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28

JooJinSook and Kim Kyungtae. "Queerness of Apichatpong Weerasethakul's 'Blissfully Yours' and 'Tropical Malady'." Film Studies ll, no. 48 (2011): 371–92. http://dx.doi.org/10.17947/kfa..48.201106.012.

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29

Chung, Una. "Crossing over Horror: Reincarnation and Transformation in Apichatpong Weerasethakul’s Primitive." WSQ: Women's Studies Quarterly 40, no. 1-2 (2012): 211–22. http://dx.doi.org/10.1353/wsq.2012.0009.

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30

Loska, Krzysztof. "„Choroba tropikalna”, czyli o ludziach, zwierzętach i duchach w filmie Apichatponga Weerasethakula." Kwartalnik Filmowy, no. 110 (August 26, 2020): 172–86. http://dx.doi.org/10.36744/kf.144.

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Artykuł jest poświęcony analizie związków między ludźmi i nie-ludźmi oraz wyjaśnieniu procesu „stawania-się-zwierzęciem” (devenir-animal) na przykładzie filmu Choroba tropikalna (Sat pralat, 2004) Apichatponga Weerasethakula. Źródłem inspiracji jest multinaturalistyczny perspektywizm wprowadzony przez Philippe’a Descolę i Eduarda Viveirosa de Castro do etnograficznych badań nad wierzeniami animistycznymi oraz filozofia Gilles’a Deleuze’a i Félixa Guattariego. Odchodząc od antropocentrycznej perspektywy, autor zwraca uwagę na kilka głównych problemów: konieczność podważenia opozycji między naturą i kulturą, zakwestionowania psychicznej nieciągłości między różnymi rodzajami bytów, wskazania na możliwość wyzwolenia człowieka z podmiotowości przez wyrwanie go z ustabilizowanych kategorii (biologicznych, społecznych, kulturowych) oraz otwarcie na relacje z Innymi (zwierzętami, duchami, roślinami).

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오준호. "Dual Structure of Apichatpong Weerasethakul’s Films - Expansion from Filmic Structure to Mythological Structure -." Contemporary Film Studies 5, no. 2 (2009): 93–117. http://dx.doi.org/10.15751/cofis.2009.5.2.93.

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32

de Cock de Rameyen, Jade. "Narrative Difference: Jacques Rancière, Gilles Deleuze and Uncle Boonmee Who Can Recall His Past Lives." Film-Philosophy 25, no. 2 (2021): 165–86. http://dx.doi.org/10.3366/film.2021.0167.

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How should critics approach narrative temporality in times of ecological disorder? Literary critics have attempted to bridge eco-criticism with narrative theory, shifting attention from narrative content to narrative form. Econarratology studies how narrative shapes our understanding of the environment. Yet, eco-critical interrogations of narrative form are lacking. Grounded in a homogeneous conception of time, narratology often relays a dichotomy between narrativity and “dysnarrativity”. This dichotomy fails to translate the variety of temporal processes in film. I shall highlight the problem underlying Jacques Rancière's critique of Deleuze's film-philosophy and its relevance for narrative theory. My discussion of this dispute is grounded in the examination of Apichatpong Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives (2010). Critics invariably base their analyses on Boonmee's remembrances and reduce narrative complexity to dysnarrative indeterminacy by accommodating non-human storylines into a human plot. I argue that Uncle Boonmee both confirms and bypasses the critique of linear narrative that is at heart of the Rancière-Deleuze discussion. In doing so, Weerasethakul's feature calls for a new paradigm – different, yet unlike the crystalline narrative, positively determined. By bringing the event to the fore, Deleuze offers another theoretical backdrop for event narratology, that in turn proves useful to econarratology.

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33

Purnama, Ari. "Syndromes of indirect communication: A functional analysis of the static long-take technique in Apichatpong Weerasethakul’s feature films." Asian Cinema 26, no. 2 (2015): 205–22. http://dx.doi.org/10.1386/ac.26.2.205_1.

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34

Choi, Sooim. "The Nature and Changing Meaning of the Screen in Video Medium : Apichatpong Weerasethakul’s Constellations, Blue, and October Rumbles." Korean Association for Visual Culture 38 (June 30, 2021): 305–30. http://dx.doi.org/10.21299/jovc.2021.38.12.

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35

Bergstrom, Anders. "Cinematic Past Lives: Memory, Modernity, and Cinematic Reincarnation in Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives." Mosaic: a journal for the interdisciplinary study of literature 48, no. 4 (2015): 1–16. http://dx.doi.org/10.1353/mos.2015.0046.

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36

Chunsaengchan, Palita. "The critique of anti-communist state violence in Uncle Boonmee Who Can Recall His Past Lives." Asian Cinema 32, no. 1 (2021): 95–111. http://dx.doi.org/10.1386/ac_00035_1.

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Apichatpong Weerasethakul’s Palme d’Or-awarded Uncle Boonmee Who Can Recall His Past Lives (2010) has ostensibly been embraced by both critics and scholars alike as international art cinema and for being constitutive of a canon of world cinema from the vantage of Southeast Asia. This article, however, takes a detour to focus particularly on the film’s engagement with Thai politics and its complex intertwinement with Buddhism during the period of anti-communism. I specifically look at how the film replicates religious beliefs and indigenous practices, such as the structure of kamma and reincarnation as redemption, that were used by the right-wing military government to justify a series of anti-communist pogroms. I argue that by hijacking such religious narratives and translating them into cinematic form, the film manages to eschew the risk of being suppressed by censorship, or, at worst, of reproducing the state-imposed narrative on the appropriation and accomplishment of such violence in the name of the nation. This article aims to shed light on how the film criticizes not only the past ‐ what historically happened ‐ but also the way we come to understand the history of such atrocious event and relate to it as our national history.

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Seo, Won-Tae. "A Study on Structural Aspect of Storytelling in Contemporary Cinema -Focused on the style of Structural Film and Apichatpong Weerasethakul's Film-." Journal of Digital Convergence 12, no. 9 (2014): 325–33. http://dx.doi.org/10.14400/jdc.2014.12.9.325.

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Creed, Barbara. "Tropical Malady: Film & the Question of the Uncanny Human-Animal." eTropic: electronic journal of studies in the tropics 10 (August 8, 2016). http://dx.doi.org/10.25120/etropic.10.0.2011.3414.

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The acclaimed Thai film, Tropical Malady (2004), represents the tropics as a surreal place where conscious and unconscious are as inextricably entwined. Directed by Apichatpong Weerasethakul, Tropical Malady presents two interconnected stories: one a quirky gay love story; the other a strange disconnected narrative about a shape-shifting shaman, a man-beast and a ghostly tiger. This paper will argue that from it beginnings in the silent period, the cinema has created an uncanny zone of tropicality where human and<br />animal merge.

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Bezerra, Julio. "O universo de coisas de Apichatpong Weerasethakul: A fenomenologia para além da relação entre o humano e o mundo." Aniki : Revista Portuguesa da Imagem em Movimento 5, no. 1 (2018). http://dx.doi.org/10.14591/aniki.v5n1.324.

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Marques, Sabrina D. "Ao ritmo a que a luz se perde. Em visita à exposição A Serenidade da Loucura de Apichatpong Weerasethakul." Aniki : Revista Portuguesa da Imagem em Movimento 6, no. 1 (2019). http://dx.doi.org/10.14591/aniki.v6n1.525.

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Jovanovic, Nenad. "Nostalgic from the Hip: Apichatpong Weerasethakul’s Lomokino Short." Quarterly Review of Film and Video, September 1, 2021, 1–17. http://dx.doi.org/10.1080/10509208.2021.1966289.

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