Sunday, September 04, 2011


You can find MARATHON FILM FESTIVAL GAME PART 1 here (in Thai):

This game is inspired by Graiwoot Chulphongsathorn.

The questions below mostly concern Thai films which were shown in the Marathon Film Festival from 1997 to 2011, but also concern foreign films and Thai films shown outside the festival.

The word "film" here includes all kinds of moving images.

Answer these questions and your life will be better:

1.Discuss the evolution of Thai short films starting from THE MAGIC RING (แหวนวิเศษ) (1929, King Prajadhipok, 30 min) until THE ISLAND OF UTOPIA (2010, Pramote Sangsorn, 20 min)

2.Discuss how the word "auteur" can or cannot be applied to Weera Rakbankerd, who directed many films, including 2 SECOND IN BAD LOVE (2007), 4 MINUTE IN BROKEN SOUL (2007), MESSAGES ARE NOT TRUE STORY (2008) , COMPETITIVE STRATEGY (2010), and ONE (2011).

3.The word "auteur" is mostly used for directors. Discuss how the word "auteur" can be freely applied to such distinguished cinematographers as Anupong Posuwan, who has shot many Thai short films.

4.Discuss the development of the thematic and aesthetic strategies of these filmmakers:

4.1 Anucha Boonyawatana, starting from SCARLET DESIRE (2001, 24 min) until EROTIC FRAGMENT NO. 1, 2, 3 (2011, 5.30 min)

4.2 Bunjong Pisanthanakul, starting from OLD SKAR (แผลเก่า) (2000) until GUAN MUEN HO (2010)

4.3 Napat Treepalawisetkun, starting from A SERIES OF SALINEE EVENT (ปรากฏการณ์ เรื่องราว สาวสาลินี) (2007, 14 min) until THE WOMB IN AQUARIUM (มดลูกในตู้ปลา) (2010, 23 min)

4.4 Norachai Kajchapanont, starting from A LITTLE DREAM (ฝันไม่ไกล ต้องไปให้ถึง) (2006) until SOMWANT 2553 (2010, 30 min)

4.5 Patana Chirawong, starting from MILLENNIUM [IN GOD WE TRUST] (1999) until THE MISSING PIECE (2011, 84 min)

4.6 Sophon Sakdaphisit, starting from TIME (กาล_เวลา) (2001) until LADDALAND (2011)

4.7 Twatpong Tangsajjapoj, starting from ISLAND (2001) until STOP HERE (หยุด) (2011, 2.30 min)

5.Discuss the influence of Apichatpong Weerasethakul, or the lack thereof, in these films:

5.1 BLACK-AND-WHITE FILM (2001, Montree Saelo, 6 min)

5.2 SLEEPING BEAUTY (2005, Chulayarnnon Siriphol, 40 min)

5.3 FRAGRANCE OF THE WIND (2007, Chaiwat Wiansantia)

5.4 NOW SHOWING (2009, Nithipong Thinthupthai)

5.5 A MOMENT IN A RAINFOREST (2010, Eakalak Maleetipawan)

5.6 6 TO 6 (เพลงชาติไทย) (2010, Aditya Assarat)

5.7 UNREAL FOREST (2010, Jakrawal Nilthamrong, 70 min)

6.Discuss the influence of Andrei Tarkovsky, or the lack thereof, in the films of these directors:

6.1 Lav Diaz

6.2 Prachaya Lampongchat

6.3 Punlop Horharin

6.4 Semih Kaplanoglu

6.5 Teeranit Siangsanoh

7.Some filmmakers star in their own films. Some filmmakers make films about themselves. Discuss how the films of these following directors benefit or suffer from the twin roles of the directors/actors:

7.1 Alwa Ritsila

7.2 Kanes Boonyapanachoti

7.3 Kidlat Tahimik

7.4 Nattaphan Boonlert

7.5 Phumraphee Sae-tang

7.6 The Professional Dry Cleaners

7.7 Wachara Kanha

7.8 Weerasak Suyala

8.Analyze the use of found footage or previously made moving images in these following films. How effective do you think the use of found footage in these films is?

8.1 REPEATING DRAMATIC (2008, Arpapun Plungsirisoontorn, 8 min), which uses a clip from the TV series THE GOLDEN SAND HOUSE (Choosuk Suteetum)

8.2 CHAY, GAYVAH-RAR 'N' THE MACHUPICCHU (คำพิพากษาของซาตาน) (2010, Chaloemkiat Saeyong, 21 min), which uses TROPICAL MALADY

8.3 AT LEAST/MODERATELY/TREMENDOUSLY (อย่างน้อย/อย่างกลาง/อย่างมาก) (2011, Tritos Termarbsri, 90 min), which uses ETERNAL SUNSHINE OF THE SPOTLESS MIND (2004, Michel Gondry)

8.4 LAUGH AND CRY FOR VIVA (หัวเราะร่าน้ำตาร่วง) (2011, Sirapatshara Neimphuang, 28 min), which uses an old Thai film starring Jarunee Suksawat)

8.5 WATCHDOG (คลายปม) (2011, Wachara Kanha, 33 min)

9.Discuss how you think the following films benefit or suffer from the presentation of texts on the screen:

9.1 MY STORY (2000, Songpol Charnchaijak, 7 min)

9.2 BIRTH OF THE SEANÉMA (2004, Sasithorn Ariyavicha, 70 min)

9.3 TWO WORLDS IN ONE WORLD (ทวิภพในเอกภพ) (2004, Prap Boonpan, 18 min)

9.4 RESET (2008, Nok Paksnavin, 12 min)

9.5 HISTORY IN THE AIR (บุคคลที่ตกค้างอยู่ภายในความทรงจำ) (2009, Chaloemkiat Saeyong, 58 min)

9.6 WOMEN IN DEMOCRACY (ผู้หญิงที่ผัวหายในวันที่ 14 เมษายน) (2009, Authawut Boonyuang, 6 min)

9.7 DAN-SAMUR-DAO (แดนเสมอดาว) (2010, Sittidech Rohitasuk, 45 min)

9.8 DOK RUK RIM TAANG (ดอกรักริมทาง) (2011, Ormchai Bussabong, 3.50 min)

9.9 THE FRENCH CLASSROOM AND THE MYSTERIES OF FRANÇOIS (ห้องเรียนฝรั่งเศสกับปริศนาฟองซัว) (2011, Wachara Kanha, 33 min)

9.10 POISON 4: THE MOST BASIC ANSWER IS I LOVE FILM VERY MUCH (ยาพิษ 4: ถ้าคำตอบแบบเบสิกสุดก็คือผมรักภาพยนตร์มาก) (2011, Eakarach Monwat, 20.58 min)

10.Discuss the use of the Democracy Monument in these films:

10.1 BAT IN MAY (ค้างคาวเดือนพฤษภา) (1992, Hamer Salwala, 7 min)

10.2 THE XFREE (2000, Wasanta Samrong, 5 min)

10.3 RE-PRESENTATION (ผีมะขาม ไพร่ฟ้า ประชาธิปไตย ในคืนที่ลมพัดหวน)(2007, Chai Chaiyachit + Chisanucha Kongwailap, 30 min)

10.4 I'M FINE สบายดีค่ะ (2008, Tanwarin Sukkhapisit, 4 min)

10.5 OUR MONUMENT (อนุสาวรีย์แห่งความรัก) (2008, Phuttiphong Aroonpheng, 10 min)

10.6 H2-OH (น้ำ ผีนองสยองขวัญ) (2010, Ongarj Jiamjaroenpornkul)

10.7 RED MOVIE (แกะแดง) (2010, The Underground Office, 38 min)

10.8 THE SIX PRINCIPLES (สัญญาของผู้มาก่อนกาล) (2010, Abhichon Rattanabhayon, 30 min)

11.Compare, contrast, and analyze the representation of working class people in these films:

11.1--THE CITY OF BEGGARS, THE RINGWORM ON CONCRETE (เมืองขอทาน ขี้กลากคอนกรีต) (1978, Permpol Choei-aroon)

11.2 --RUBBISH (โลกขยะ) (1997, Monchai Noikumsin, 25 min)

11.3--PINK HOME (บ้านสีชมพู) (2000, Suwan Huangsirisakul, 17 min)

11.4--APPRECIATION (หาบ) (2007, Tikampon Pupanna, 20 min)

11.5--MA-LAI (มาลัย) (2007, Weera Kempetch, 22 min)

11.6--GARBAGE COLLECTING (เก็บขยะขาย) (2010, Wachara Kanha, 19 min)

11.7--KOMTUAN (คมทวน) (2010, Pur Nimmol, 26 min)

11.8--POOR PEOPLE THE GREAT (2010, Boonsong Nakphoo, 76 min)

11.9--DISTINCTION (คล้าย) (2011, Tulapop Saenjaroen, 23 min)

12.Jean Cocteau said, "Film will only become an art when its materials are as inexpensive as pencil and paper."

Discuss how this quote of Cocteau can or cannot be applied to the following extremely low-budgeted films:

12.1 THE DEVIL RULES METROPOLIS (มารเกาะกุมนครหลวง) (2001, Manussak Dokmai), made for 80 baht.

12.2 THE SUICIDE OF SARA W. (2001, Matthias Glasner, Germany), made for 99 euros.

12.3 THE PEN (2008, Weerasak Suyala, 60 min)

12.4 THE WITCH (2009, Alwa Ritsila, 29 min)

12.5 LOSE (สูญ) (2011, Wachara Kanha, 70 min)

12.6 SWING (ชิงช้า) (2011, Weerapong Wimuktalop, 30 min)

13.Alexander Kluge said, "Understanding a film completely is conceptual imperialism which colonizes its objects."

Discuss how you think about the following films via this idea of Kluge:

13.1 THE LITTLE GIRL (1997, Nicole Greenwood + Pantipa Tanchookiat)

13.2 DISCOURSE, EARTH (พิภพบรรฑูรย์) (2001, Uthis Haemamool, 25 min)

13.3 ONE DAY (วันหนึ่ง...หนึ่งวัน) (2009, Kirati Nakintanon, 5 min)

13.4 DISAPPEAR (อำพราง) (2010, Tani Thitiprawat, 26 min)

13.5 QUOTATION MARK (อัญประกาศ) (2010, Tanakit Kitsanayunyong, 21 min)

13.6 AIR COWBOY (โคบาลอากาศ) (2010, Tanatchai Bandasak, 3 min)

13.7 THE FESTIVAL OF DEMON SPIRIT (งานนักขัตฤกษ์ของภูตพราย) (2011, Sittiporn Racha)

13.8 NON-ZERO-SUM (2011, Mattia Sedda)

13.9 THREE KINGS (๓กษัตริย์) (2011, Taiki Sakpisit, 6 min)

13.10 WHY DO YOU JUMP? (โดด) (2011, Korn Kanogkekarin, 19 min)

(to be continued)

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