วันพุธที่ ๒๓ ธันวาคม พ.ศ. ๒๕๕๒

สำนักงานศิลปวัฒนธรรมร่วมสมัย สนับสนุนโครงการและกิจกรรมด้านภาพยนตร์และวีดิทัศน์

การประชุมชี้แจงรายละเอียดการเปิดรับสมัครโครงการและกิจกรรมที่เกี่ยวกับด้านภาพยนตร์และวีดิทัศน์เพื่อขอรับทุนสนับสนุน โครงการส่งเสริมอุตสาหกรรมภาพยนตร์และวีดิทัศน์

เมื่อวันพฤหัสบดีที่ 17 ธันวาคม 2552 เวลา 10.00 น. บุคลากรจากหน่วยงานที่เกี่ยวกับภาพยนตร์และวีดิทัศน์ กว่า 200 คน ได้เข้าร่วมรับฟังการประชุมชี้แจงรายละเอียดการเปิดรับสมัครโครงการและกิจกรรมที่เกี่ยวกับด้านภาพยนตร์และวีดิทัศน์เพื่อขอรับทุนสนับสนุนในโครงการส่งเสริมอุตสาหกรรมภาพยนตร์และวีดิทัศน์ ณ ห้องออดิทอเรียม ชั้น 5 หอศิลปวัฒนธรรมกรุงเทพมหานคร โดยมีนายสามารถ จันทร์สูรย์ ผู้เชี่ยวชาญเฉพาะด้านส่งเสริมงานประยุกต์ศิลป์ รักษาราชการผู้อำนวยการสถาบันศิลปวัฒนธรรมร่วมสมัย ให้การต้อนรับและกล่าวเปิดการประชุม

การประชุมดังกล่าว มี นายอภินันท์ โปษยานนนท์ รองปลัดกระทรวงวัฒนธรรม นางปริศนา พงษ์ทัดศิริกุล ผู้อำนวยการสำนักงานศิลปวัฒนธรรมร่วมสมัยและนายศรีรัตน์ นุชนิยม ผู้อำนวยการสมาพันธ์สมาคมภาพยนตร์แห่งชาติ เข้าร่วมอภิปรายชี้แจงรายละเอียดในโครงการดังกล่าวนายอภินันท์ โปษยานนนท์ รองปลัดกระทรวงวัฒนธรรม ประธานอนุกรรมการพิจารณาหลักเกณฑ์และเงื่อนไขในการสนับสนุน กิจกรรมหรือโครงการส่งเสริมอุตสาหกรรมภาพยนตร์และวีดิทัศน์ ได้ร่วมแลกเปลี่ยนความคิดเห็นว่าในโครงการและกิจกรรมของภาพยนตร์และวีดิทัศน์ ภายใต้การสนับสนุนส่งเสริมต้องมีกฎเกณฑ์ระเบียบ ทางกระทรวงเป็นผู้สนับสนุนในฐานะภาครัฐเท่านั้นอย่างไรก็ตามก็ต้องได้รับการสนับสนุนส่งเสริมจากภาคเอกชนด้วย

นางปริศนา พงษ์ทัดศิริกุล รองประธานอนุกรรมการพิจารณาหลักเกณฑ์และเงื่อนไขในการสนับสนุน กิจกรรมหรือโครงการส่งเสริมอุตสาหกรรมภาพยนตร์และวีดิทัศน์ ได้ร่วมชี้แจงในรายละเอียดของโครงการดังกล่าวด้วยว่า สำนักงานศิลปวัฒนธรรมมร่วมสมัย จะให้การสนับสนุนอย่างไรเพื่อให้สอดคล้องกับหลักเศรษฐกิจสร้างสร้างสรรค์ของรัฐบาล และการเข้าร่วมรับฟังการประชุมชี้แจงรายละเอียดดังกล่าวจะช่วยให้บริษัทผู้ประกอบการภาพยนตร์และวีดิทัศน์สามารถเตรียมความพร้อมในการเพื่อขอรับทุนสนับสนุนในโครงการส่งเสริมอุตสาหกรรมภาพยนตร์และวีดิทัศน์ต่อไปได้

หลังกจากการชี้แจงรายละเอียดการเปิดรับสมัครโครงการและกิจกรรมที่เกี่ยวกับด้านภาพยนตร์และวีดิทัศน์เพื่อขอรับทุนสนับสนุนในโครงการส่งเสริมอุตสาหกรรมภาพยนตร์และวีดิทัศน์เสร็จสิ้น ผู้แทนบุคลากรจากหน่วยงานที่เกี่ยวกับภาพยนตร์และวีดิทัศน์ ร่วมอภิปรายซักถาม

เอกสาร สรุปการรับโครงการและกิจกรรมส่งเสริมภาพยนตร์และวีดิทัศน์ ตามระเบียบคณะกรรมการภาพยนตร์และวิดิทัศน์แห่งชาติ เรื่อง มาตรการในการส่งเสริมอุตสาหกรรมภาพยนตร์และวีดิทัศน์ พ.ศ. ๒๕๕๒
ดาวน์โหลดเอกสาร

วันจันทร์ที่ ๒๑ ธันวาคม พ.ศ. ๒๕๕๒

after postmodernism

Evil after postmodernism: histories, narratives and ethics โดย Jennifer L. Geddes
In Evil After Postmodernism,six distinguished scholars address our understanding of evil in the light of postmodern thought, asking what might be lost in losing the concept of evil and what dangers might be incurred by continuing to use it. The essays in this volume are organized around three themes: the histories, narratives, and ethics of evil. In each section, the first essay illustrates theoretical difficulties thinking about evil faces in the postmodern age, while the second offers a constructive response to that difficulty. Contributors include Berel Lang, Larry D. Bouchard, Roger Shattuck, David B. Morris, Thomas Cushman, and Richard Kearney.

A Postmodern reader โดย Joseph P. Natoli,Linda Hutcheon

These readings are organized into four sections. The first explores the wellsprings of the debates in the relationship between the postmodern and the enterprise it both continues and contravenes: modernism. Here philosophers, social and political commentators, as well as cultural and literary analysts present controversial background essays on the complex history of postmodernism. The readings in the second section debate the possibility - or desirability - of trying to define the postmodern, given its cultural agenda of decentering, challenging, even undermining the guiding


Cultural studies and the study of popular culture โดย John Storey

This revised and fully updated version of John Storey's best-selling survey is an accessible introduction to the range of theories and methods that have been used to study contemporary popular culture. The book also provides a map of the development of cultural studies through discussion of its most influential approaches. Organized around a series of case studies, each chapter focuses on a different media form and presents a critical overview of the methodology for the actual study of popular culture. Individual chapters cover topics such as television, fiction, film, newspapers and magazines, popular music, and consumption (fan culture and shopping).



Intertextuality โดย Graham Allen

No text has its meaning alone; all texts have their meaning in relation to other texts. Since Julia Kristeva coined the term in the 1960s,intertextualityhas been a dominant idea within literary and cultural studies leaving none of the traditional ideas about reading or writing undisturbed. This book, the first full-length study of intertextuality in English, fills an important gap. Following all the major turns in the term's history, this handy guide clearly explains how intertextuality is employed in structuralist, post-structuralist, semiotic, deconstructive, reader-response, marxist, feminist and psychoanalytic theory. From the alternative origins of Saussurean linguistics and the work of Bakhtin the book traces the major directions of intertextual theory to the postmodern present.

Graham Allen's Intertextuality follows all of the major moves in the term's history, and clearly explains how intertextuality is employed in:
structuralism
post-structuralism
deconstruction
postcolonialism
marxism
feminism
psychoanalytic theory
With a wealth of illuminating examples from literary and cultural texts, including special examination of the World Wide Web, this book will prove invaluable for any students of literature and culture.


The memory of Tiresias: intertextuality and film

The concept of intertextuality has proven of inestimable value in recent attempts to understand the nature of literature and its relation to other systems of cultural meaning. In The Memory of Tiresias, Mikhail Iamposlki presents the first sustained attempt to develop a theory of cinematic intertextuality.Building on the insights of semiotics and contemporary film theory, Iampolski defines cinema as a chain of transparent, mimetic fragments intermixed with quotations he calls "textual anomalies." These challenge the normalization of meaning and seek to open reading out onto the unlimited field of cultural history, which is understood in texts as a semiotically active extract, already inscribed.

Quotations obstruct mimesis and are consequently transformed in the process of semiosis, an operation that Iampolski defines as reading in an aura of enigma. In a series of brilliant analyses of films by D.W. Griffith, Sergei Eisenstein, and Luis Buuel, he presents different strategies of intertextual reading in their work. His book suggests the continuing centrality of semiotic analysis and is certain to interest film historians and theorists, as well as readers in cultural and literary studies. The concept of intertextuality has proven of inestimable value in recent attempts to understand the nature of literature and its relation to other systems of cultural meaning. In The Memory of Tiresias, Mikhail Iamposlki presents the first sustained attempt to develop a theory of cinematic intertextuality.

Building on the insights of semiotics and contemporary film theory, Iampolski defines cinema as a chain of transparent, mimetic fragments intermixed with quotations he calls "textual anomalies." These challenge the normalization of meaning and seek to open reading out onto the unlimited field of cultural history, which is understood in texts as a semiotically active extract, already inscribed.

Quotations obstruct mimesis and are consequently transformed in the process of semiosis, an operation that Iampolski defines as reading in an aura of enigma. In a series of brilliant analyses of films by D.W. Griffith, Sergei Eisenstein, and Luis Buuel, he presents different strategies of intertextual reading in their work. His book suggests the continuing centrality of semiotic analysis and is certain to interest film historians and theorists, as well as readers in cultural and literary studies.

Cinema studies: the key concepts โดย Susan Hayward

Ranging from Hollywood superstar Amitabh Bachchan to Quentin Tarantino, from auteur theory to the Hollywood Blockbuster,Cinema Studies: The Key Conceptshas firmly established itself as the essential guide for anyone interested in film. Now fully revised and updated for its third edition, the book includes new topical entries such as: * action movies * art direction * blockbusters * Bollywood * exploitation cinema * female masquerade. Providing accessible and authoritative coverage of a comprehensive range of genres, movements, theories and production terms,Cinema Studies: The Key Conceptsis a must-have guide to a fascinating area of study and arguably the greatest art form of modern times.


Watching with The Simpsons: television, parody, and intertextuality โดย Jonathan Gray

Using our favorite Springfield family as a case study,Watching with The Simpsonsexamines the textual and social role of parody in offering critical commentary on other television programs and genres. In this book, Jonathan Gray brings together textual theory, discussions of television and the public sphere, and ideas of parody and comedy. As a study, including primary audience research, it focuses on howThe Simpsonshas been able to talk back to three of television's key genres - the sitcom, ads, and the news - and on how it holds the potential to short-circuit these genre's meanings, power, and effects by provoking reinterpretations and offering more media literate recontextualizations. Through examining television and media studies theory, the text ofThe Simpsons,and the show's audience, Gray attempts to fully situate the show's parodic humor within the lived realities of its audiences. In doing so, he further explores the possibilities for popular entertainment television -and particularly comedy- to discuss issues of political and social importance.

Beginning postmodernism โดย Tim Woods

"Postmodernism" has become the buzzword of contemporary society. Yet it remains baffling in its variety of definitions, contexts and associations. Beginning Postmodernism aims to offer clear, accessible and step-by-step introductions to postmodernism across a wide range of subjects. It encourages readers to explore how the debates about postmodernism have emerged from basic philosophical and cultural ideas. With its emphasis firmly on "postmodernism in practice," the book contains exercises and questions designed to help readers understand and reflect upon a variety of positions in the following areas of contemporary culture: philosophy and cultural theory; architecture and concepts of space; visual art; sculpture and the design arts; popular culture and music; film, video and television culture; and the social sciences.

text book

An introduction to visual culture โดย Nicholas Mirzoeff
The emerging field of visual culture poses rough terrain for beginners with its nuanced distinctions and reliance on postmodern theory. Not untilAn Introduction to Visual Culturehas any book attempted to present a comprehensive and accessible approach to this exciting new subject. Nicholas Mirzoeff begins by defining what visual culture is, and explores how and why visual media--fine art, cinema, the Internet, advertising, performance, photography, television--have become so central to contemporary everyday life. He argues that the visual is replacing the linguistic as our primary means of communicating with each other and of understanding our postmodern world, demonstrating this through powerful examples, from Diana's funeral to the Latina singer Selena, and from the X-Files to Independence Day. Mirzoeff then examines the importance of race and ethnicity, gender and sexuality, and the body in visual culture. These various forms of social discourse provide essential tools for readingimages and thus define the study of visual culture as an inherently political project. Mirzoeff tackles the difficult subject of the gaze and the "other" and offers the reader a clear synthesis of these concepts. Lively and provocative,An Introduction to Visual Cultureoffers an accessible entry to this new way of understanding images.
http://books.google.com/books?id=4y-mxt8qJs0C&printsec=frontcover&hl=th&source=gbs_navlinks_s#v=onepage&q=&f=false

Postmodernism and popular culture: a cultural history โดย John Docker

In this provocative and timely book, John Docker takes his readers on an intellectual adventure. The journey includes an introductory guided tour of the history of modernism, consideration of the development of postmodernism, explanation of the difference between structuralism and poststructuralism and discussion of the debates and conflicts around each. Along the way readers will visit the architecture of Le Corbusier, take a ride on the Sydney monorail, watch Prisoner (Cell Block H) on TV, come into contact with Derrida, read some crime fiction and enter into the world of carnival. The book engages, in a stimulating and illuminating way, with some of the most important academic debates of our time. It combines polemical force with intellectual rigour, reclaiming popular culture from the forces opposed to it. John Dockerās personal style and accessible prose will introduce postmodernism to many interested general readers and students intimidated by other dense, theoretical tracts. The breadth and intelligence of his cultural history will make the book essential reading for scholars, in a range of disciplines, around the world.
http://books.google.com/books?id=n8cmPNEJk98C&printsec=frontcover&hl=th&source=gbs_navlinks_s#v=onepage&q=&f=false

The visual culture reader โดย Nicholas Mirzoeff
In response to rapid changes in the emerging interdisciplinary field of visual culture, this thoroughly revised and updated second edition ofThe Visual Culture Reader,the first and leading collection of essays on the topic, brings together the key writings, covering a wealth of visual forms including photography, painting, sculpture, fashion, advertising, virtual reality, and other electronic imaging systems. The second edition features a new introduction, new sections and section introductions, 40 illustrations and previously unpublished material by key writers in the field.
The Visual Culture Readerfeatures introductory essays tracing the development of visual culture studies over the last fifteen years, and extracts grouped into thematic sections, each prefaced by an introduction by the editor. Essays by: Irit Rogoff, Ella Shohat, Jonathan L. Beller, WJT Mitchell, René Descartes, Karl Marx, WEB DuBois, Marshall McLuhan, Frantz Fanon, Roland Barthes, Guy Debord, LouisAlthusser, Jean Beaudrillard, Judith Butler, N. Katherine Hayles, Kobena Mercer, Nestor Garlia Canclini, Arjun Appadurai, Nicholas Mirzoeff, Lisa Bloom, Michel Foucault, Geoffrey Batchen, Wendy Chun, Lisa Nakamura, Thomas Campanella, Lisa Parks, Anne Friedberg, Lev Manovich, May Joseph, David Joselit, Tara McPherson, Toby Miller, Andrew Ross, John Fiske, Anne Reynolds, Michele Wallace, Marita Sturken, Donna Haraway, Lisa Cartwright, Anne Balsamo, Amelia Jones, Terry Smith, Timothy Mitchell, Anne McClintock, Malek Alloula, Suzanne Preston Blier, Jill Casid, Adrian Piper, Coco Fusco, Olu Oguibe, Orianna Baddeley, Anthea Callen, Tamar Garb, Thomas Waugh, Reina Lewis, Raiford Morris, Joanne Morra, Marquard Smith, Omayra Cruz, Jacques Lacan, Robert Stam, Carol Mavor, Judith Halberstam
http://books.google.com/books?id=lcRvU3w33jsC&printsec=frontcover&hl=th&source=gbs_navlinks_s#v=onepage&q=&f=false

Visual culture: the study of the visual after the cultural turn โดย Margarita Dikovitskaya

In recent years, visual culture has emerged as a growing and important interdisciplinary field of study. Visual culture regards images as central to the representation of meaning in the world. It encompasses "high" art without an assumption of its higher status. But despite the current proliferation of studies and programs in visual culture, there seems to be no consensus within the field itself as to its scope and objectives, definitions, and methods. In Visual Culture, Margaret Dikovitskaya offers an overview of this new area of study in order to reconcile its diverse theoretical positions and understand its potential for further research. Her aim is to show how visual culture can avoid what she defines as the Scylla and Charybdis that threaten it: the lack of a specific object of study (given its departure from the traditional hierarchies of art history) and the expansion of the field to the point of incoherence as it seems to subsume everything related to the cultural and the visual.
Dikovitskaya gives us an archaeology of visual culture, examining the "cultural turn" away from art history and the emergence of visual studies. Drawing on responses to questionnaires, oral histories, and interviews with the field's leading scholars, she discusses first the field's history, theoretical frameworks, and methods, and then examines four programs and courses in visual culture—those at the University of Rochester, the University of Chicago, the University of California at Irvine, and the State University of New York at Stony Brook. Bringing together considerations of theory and practice, Dikovitskaya charts the future of visual culture programs in the twenty-first century.

Visual culture: the reader โดย Jessica Evans,Stuart Hall

This collection of classic essays in the study of visual culture fills a major gap in this new and expanding intellectual field. Its major strength is its insistence on the importance of three central aspects of the study of visual culture: the sign, the institution and the viewing subject. It will provide readers, teachers and students with an essential text in visual and cultural studies' - Janet Wolff, University of Rochester

Visual Culture provides an invaluable resource of over 30 key statements from a wide range of disciplines, including four editorial essays which place the readings in their historical and theoretical context. Although underpinned by a focus on contemporary cultural theory, this Reader puts the study of visual culture and the rhetoric of the image at centre stage.
Divided into three parts: Cultures of the Visual; Regulating Photographic Meaning; and Looking and Subjectivity, the Reader enables students to make hitherto unmade connections between art, film and photography history and theory, history, semiotics and communications, media studies, and cultural theory.
http://books.google.com/books?id=l209XFHIzrIC&printsec=frontcover&hl=th&source=gbs_similarbooks_s&cad=1#v=onepage&q=&f=false

articles book

Principles of visual anthropology โดย Paul Hockings

This edition contains 27 articles, written by scholars and filmmakers who are generally acknowledged as the international authorities in the field, and a new preface by the editor. The book covers ethnographic filming and its relations to the cinema and television; applications of filming to anthropological research, the uses of still photography, archives, and videotape; subdisciplinary applications in ethnography, archeology, bio-anthropology, museology and ethnohistory; and overcoming the funding problems of film production.
http://books.google.co.th/booksid=3TsiASDt0GsC&printsec=frontcover&source=gbs_navlinks_s#v=onepage&q=&f=false

Picturing culture: explorations of film & anthropology โดย Jay Ruby

Here, Jay Ruby—a founder of visual anthropology—distills his thirty-year exploration of the relationship of film and anthropology. Spurred by a conviction that the ideal of an anthropological cinema has not even remotely begun to be realized, Ruby argues that ethnographic filmmakers should generate a set of critical standards analogous to those for written ethnographies. Cinematic artistry and the desire to entertain, he argues, can eclipse the original intention, which is to provide an anthropological representation of the subjects.
The book begins with analyses of key filmmakers (Robert Flaherty, Robert Garner, and Tim Asch) who have striven to generate profound statements about human behavior on film. Ruby then discusses the idea of research film, Eric Michaels and indigenous media, the ethics of representation, the nature of ethnography, anthropological knowledge, and film and lays the groundwork for a critical approach to the field that borrows selectively from film, communication, media, and cultural studies. Witty and original, yet intensely theoretical, this collection is a major contribution to the field of visual anthropology.
http://books.google.co.th/books?id=OjtEUXFL600C&printsec=frontcover&source=gbs_similarbooks_s&cad=1#v=onepage&q=&f=false http://www.press.uchicago.edu/Complete/Subjects/21_0.html

The third eye: race, cinema, and ethnographic spectacle โดย Fatimah Tobing Rony.

The Third Eye is a remarkable interdisciplinary contribution to critical thought in film studies, anthropology, cultural studies, art history, postcolonial studies, and women’s studies.
“The Third Eye is an extraordinary contribution to both film history and the theorization of the ethnographic gaze. Informed by Rony’s close involvement with contemporary art practice and documentary film production, this fascinating book breaks with familiar genres of academic writing to provide an exciting new take on practices of ethnographic looking, the cultural history of the body, and the racial and sexual politics of visual culture in colonial science.”—Lisa Cartwright, University of Rochester
http://books.google.co.th/books?id=ZFZTUSikmFkC&printsec=frontcover&source=gbs_similarbooks_s&cad=1#v=onepage&q=&f=false

Film as ethnography โดย Peter Ian Crawford,David Turton

This work examines the reasons why anthropologists have not used the camera as a research instrument or film as a means of communicating ethnographic knowledge. It suggests that images and words in this discipline operate on different logical levels; that they are hierarchically related; that whereas writings may encompass the images produced by film, the inverse of this cannot be true. The author argues for this position further by suggesting that the visual is to the written mode as "thin description" (giving a record of the form of behaviour) is to "thick description" (giving an account of meaning).
http://books.google.co.th/books?id=K-3RjnGxIB0C&printsec=frontcover&source=gbs_similarbooks_s&cad=1#v=onepage&q=&f=false
Transcultural cinema โดย David MacDougall,Lucien Taylor

David MacDougall is a pivotal figure in the development of ethnographic cinema and visual anthropology. As a filmmaker, he has directed in Africa, Australia, India, and Europe. His prize-winning films (many made jointly with his wife, Judith MacDougall) include The Wedding Camels, Lorang's Way, To Live with Herds, A Wife among Wives, Takeover, Photo Wallahs, and Tempus de Baristas. As a theorist, he articulates central issues in the relation of film to anthropology, and is one of the few documentary filmmakers who writes extensively on these concerns. The essays collected here address, for instance, the difference between films and written texts and between the position of the filmmaker and that of the anthropological writer. In fact, these works provide an overview of the history of visual anthropology, as well as commentaries on specific subjects, such as point-of-view and subjectivity, reflexivity, the use of subtitles, and the role of the cinema subject. Refreshingly free of jargon, each piece belongs very much to the tradition of the essay in its personal engagement with exploring difficult issues. The author ultimately disputes the view that ethnographic filmmaking is merely a visual form of anthropology, maintaining instead that it is a radical anthropological practice, which challenges many of the basic assumptions of the discipline of anthropology itself. Although influential among filmmakers and critics, some of these essays were published in small journals and have been until now difficult to find. The three longest pieces, including the title essay, are new.http://books.google.co.th/books?id=hoxUQaz3cuEC&printsec=frontcover&source=gbs_similarbooks_s&cad=1#v=onepage&q=&f=false http://press.princeton.edu/titles/6346.html

ฟ้าหลังฝน ผู้คนดำเนินชีวิตไป

มรณานุสติที่ผ่านพ้นไป ส่งผลให้ผู้คนที่นี่ใช้หันมาใช้ชีวิตที่ตั้งอยู่ในความไม่ประมาทมากขึ้น ด้วยการมีสติ สมาธิ รู้สึกถึงตัวเองอยู่มากขึ้นว่ากำลังทำอะไร ทบทวนและหันหลังกลับมาให้เวลากับครอบครัวมากขึ้น อย่างไรก็ตาม? หน้าที่สำคัญเวลานี้อยู่ที่การเก็บข้อมูลงานวิจัยต่อไป ตราบใดที่ยังมีลมหายใจ

1.กำเนิดปฏิบัติการภาพยนตร์ ชาติพันธุ์: การเดินทางจากอดีตสู่เส้นทาง ในอนาคต
2. พรรณนาความชาติพันธุ์ ว่าด้วยภาพ
3. การผลิตภาพยนตร์ชาติพันธุ์ช่วงหลังสงครามในเยอรมนีเปเตอร์ ฟูชส์ (Peter Fuchs) สถาบันการผลิตภาพยนตร์ทางวิชาการ (IWF) และสารานุกรมภาพยนตร์ (Encyclopaedia Cinematographica)
4. วงโคจรของความทรงจำ : ภาพยนตร์สารคดีและการส่งผ่านพยาน (ตอนที่ 1)
5. วงโคจรของความทรงจำ : ภาพยนตร์สารคดีและการส่งผ่านพยาน (ตอนที่ 2)


วันพุธที่ ๙ ธันวาคม พ.ศ. ๒๕๕๒

อาลัยยิ่งอาจารย์สุธีร์ ธนรัช รองคณบดีฯ คณะศิลปะและการออกแบบ มหาวิทยาลัยรังสิต

ขอแสดงความเสียใจและอาลัยยิ่งต่อการจากไปอย่างกระทันหัน ของอาจารย์สุธีร์ ธนรัช รองคณบดีฝ่ายกิจการนักศึกษา และอาจารย์ประจำสาขาคอมพิวเตอร์อาร์ต คณะศิลปะและการออกแบบ มหาวิทยาลัยรังสิต ขณะปฎิบัติหน้าที่ ณ ห้องประชุมคณะศิลปะและการออกแบบ เมื่อวันพุธที่ 9 ธันวาคม 2552

พิธีรดน้ำศพ และสวดอภิธรรมศพ ณ ศาลา 1 วัดพระศรีมหาธาตุ บางเขน กรุงเทพมหานคร วันศุกร์ที่ 11 ธันวาคม 2552
- สวดอภิธรรมศพวันที่ 11-13 ธันวาคม 2552 เวลา 18.30 น.
- ฌาปนกิจศพ วันจันทร์ที่ 14 ธันวาคม 2552 เวลา 17.00 น.

กัลยาณมิตร ศิษย์เก่าวิทยาลัยช่างศิลป์ กรมศิลปากร คณะมัณฑนศิลป์ มหาวิทยาลัยศิลปากร ตลอดจน คณาจารย์ เจ้าหน้าที่ ศิษย์เก่า ศิษย์ปัจจุบัน คณะศิลปกรรม คณะศิลปะและการออกแบบ มหาวิทยาลัยรังสิต ร่วมงานโดยพร้อมเพรียง

วันอังคารที่ ๘ ธันวาคม พ.ศ. ๒๕๕๒

Sawan Baan Na (Agrarian Utopia) won the UNESCO Award

Uruphong Raksasad's Agrarian Utopia continues to gather accolades on the festival circuit, harvesting a NETPAC Jury Award from the Brisbane International Film Festival, which wrapped up on Sunday.It was the only Thai film in the festival. Here's the synopsis:







Apart from filmmaking, what interests me to an equal extent is agriculture. I feel it is among mankind’s most noble professions. I wonder whether all these professions we have in the world (including filmmaking) are really necessary.—Uruphong Raksasad, Director

Thai filmmaker Uruphong Raksasad knows the challenges of farming. The son of a rice farmer, Raksasad portrays the hardships of working the land in his docudrama Agrarian Utopia. The production was set on a plot of land actually farmed by the actors, and, although fictional, the film tackles the issues of environmental sustainability with the same provocative impact as traditional cinéma vérité.


The narrative follows two families whose debts force them to farm the same land. The impossibility of the situation is realised when the question ’How can we dream of utopia while our stomach is still grumbling?’ is raised.

The 13th Toronto Reel Asian International Film Festival wrapped up on Sunday, with Uruphong Raksasad's Agrarian Utopia winning the Best Narrative Feature Film or Video Award (with an honorable mention to Nakamura Yoshihiro's Fish Story). Uruphong was present for the closing gala and awards ceremony.


It continues to be a busy year on the festival circuit for this beautiful experimental documentary. Other recent festival appearances include the Mumbai Film Festival, the AsiaticaFilmMediale in Rome, CPH:DOX in Copenhagen and the Mar del Plata International Film Festival. It is screening in the Taipei Golden Horse Film Festival, which runs until November 26. Coming up, Agrarian Utopia will be in the Festival of 3 Continents in Nantes, France from November 24 to December 1. And it's a nominee for the Asia-Pacific Screen Awards that will be handed out on November 26 in Gold Coast, Australia.

Citizen Juling


Directed by Ing K, Manit Sriwanichpoom, Kraisak Choonhavan
on September 26, 2008; Asian Premiere at Bangkok International Film Festival
Why was Juling Pongkunmul abducted and severely beaten? Why has there been a resurgence of violence in the South?

These are questions that the nearly four-hour documentary Citizen Juling does not answer satisfactorily. But I think it really tries to. Anyway, I also think nobody honestly knows the answers -- not even the believers in whatever cause they are trying to serve by carrying out the violence.

Directed by Ing K with Manit Sriwanichpoom and Kraisak Choonhavan, what the film does succeed at doing is painting a sympathetic picture of Juling. It also gives a re-airing to forgotten incidents and aspects of the Deep South conflict, including the fatal Krue Se mosque stand-off, the massacre of the Saba Yoi soccer team, an assassination attempt on a senator and prominent community leader and a Guantanamo-like military justice system.

It's an important documentary that will hopefully go a long way towards establishing a stronger culture of documentary filmmaking in Thailand -- a place where hard questions usually go unasked and never answered, where confrontation is avoided until there is the inevitable, yet unpredictable, explosion of anger.

In the documentary, Juling is portrayed as a talented artist. A native of Chiang Rai, Thailand's northernmost province, she voluntarily headed to the country's southernmost province of Narathiwat to be a schoolteacher. She just wanted to be of service where help was most needed, her family and friends say.

One of the early scenes is at an exhibit of Juling's works, which featured many portraits of His Majesty the King -- including the iconic "drop of sweat" picture. A devout Buddhist, she painted murals at a temple in Narathiwat, and taught art at a primary school.

In May 2006, Juling and another teacher, Sirinat Thawornsuk, were dragged from their classrooms, taken to another classroom and severly beaten. Juling took the worst of the abuse and was left in a coma, with her brain stem smashed. Sirinat suffered a much lesser degree of injuries and recovered.

Recorded in 2006, Citizen Juling follows then-Senator Kraisak on a fact-finding tour of the South. With writer, artist and filmmaker Ing K directing, and artist-photographer Manit the primary cameraman, the trio stops at the hospital where Juling is in intensive care, and her parents are there. The emotions are heavy as Juling's mother points to a portrait of her broadly smiling, laughing daughter, and shows where her teeth have been kicked in and her face has been bruised.

The cameras visit the kindergarten classroom where the beating took place, and the floor is still caked with blood.

Kraisak meets with other politicians and community leaders to try and get a better handle on the situation in southern Thailand. One theme is that it wasn't as bad until Thaksin Shinawatra came to power in 2001 -- that before then there was no separatist struggle -- and it was the Thaksin government's heavy-handed tactics that led to a retaliatory uptick in bombings, drive-by shootings, attacks and ambushes.


http://thaifilmjournal.blogspot.com/2008_09_01_archive.html

Long live the king

video

http://urikosong.exteen.com/20071113/long-live-the-king-of-siam-kelly-newton http://www.cameraeyes.net/index.phpoption=com_smf&Itemid=27&topic=1658.0 http://www.justsomelyrics.com/1773457/Long-live-the-king-of-siam-Lyrics http://board.exteen.com/talk/read/554 http://www.youtube.com/watch?v=52reTs2n8uk http://www.youtube.com/watch?v=Dx6AoEz-fMg