Lady in Red: Framing the Representation of Women through Mise-En-Scène

Films are popular medium that can reflect and contribute to changes in cultural norms and values.The films represent reality by combining film elements with stories, expression of emotions, and creation of the expression.This study focuses on enabling audiences to view women in films through the aspects of mise-en-scène in a frame.In this study, the researchers applied close textual analysis on scenes of the main female characters in four Thai films of Bhandevanov Devakula, a Thai film director.The four selected films, namely, The Eternity, The Outrage, Jan Dara the Beginning, and Jan Dara the Finale, are samples of the study.Findings suggest that the aspects of mise-en-scène in the films constantly use the red colour in the scenes of the main female characters to show the confidence, non-innocence, or high sexual attractiveness of women. Moreover, red colour is also used to reflect the sexual desire of men.This study is significant because it facilitates understanding of the comprehensive use of each aspect of mise-en-scène. This study also provides an understanding of how mise-en-scène can frame the expression of women in films. This study also demonstrates that the textual analysis approach of a film offers a close reading to facilitate a deep understanding of the meaning of a film through the interaction of all elements.This study has implications for research on film studies, analysis of mise-en-scène, women in the media, and the film industry of Southeast Asia

Violence against woman in selected Thai films: A perspective

Worldwide, researchers have shown interest in the studies of violence and violence against women in the media that influence people's behaviour with different approach and theory.This paper introduces the concept for the study of violence against women in Thai films by using Framing theory, and Johan Galtung’s violence model.Violence against women in films, the role of film directors in framing the meaning and pres- entation of violence in films are also discussed.In line with this concept of study, we can better understand the categories of violence against women in film’s content

Balancing bureaucracy and communal values in diffusing the innovation process : strategic communication challenges from the Malaysian perspectives

The transmission of agricultural messages such as innovation in agricultural settings requires good planning from a strategic communication viewpoint. Moreover, there has been a call from various quarters that demand a holistic approach to solve this miscommunication issue. Thus, this study aims to understand the experiences of senior officers who are in charge of managing transmission of agricultural knowledge and training in various agriculturally based organisations. In-depth interviews were conducted with experts representing local and federal research-based and execution agencies. The data were analysed thematically. The interview protocol was developed from a literature review and tested on an expert who was also in the field of agriculture. The findings indicate that the bureaucracy system negates transfer of technology to the recipients, while communal culture presents as stimuli for successful diffusion of innovation. Thus, balancing bureaucracy and communal values offers a positive impact on the transfer of new technology to the recipients. The results offer a new understanding on the complexity of transfer of innovation knowledge and practices in terms of planning and implementing phases faced by the officers. To add, within the context of the study, top-down and bottom-up communication strategies need to be realigned to ensure the sustainability of effective innovation transfer in Malaysia. Future research could address the different scope of communication aspects in these organisations and extend our in-depth interview approach to various officers at national and regional levels

Film Authorship, A Case Study of Thai Film Director : Proceeding International Conference on Transformation in Communication (ICOTIC) November 2016

Abstract One of the approaches to studying films is authorship which studies personal styles of film directors. This article discusses the film directing styles of a prominent Thai film director, M.L Bhandevanov Devakula. In this study, the primary researcher selected four films of Bhandevanov, namely The Eternity, The Outrage, Jan Dara the Beginning, and Jan Dara the Finale as samples of the study. The researcher examines Bhandevanov as an auteur and traces elements throughout his film that contribute to the formation of his authorial signature. This paper is based on the qualitative method using close textual analysis of the four films and interviewed the film director. Findings suggest that the film director has the unique style of making films that are films narrative styles, mise-en-scène, and camera placement. The significance of this study is, it provides an understanding of Bhandevanov’s style of film directing. This study may have implications for research on filmmaking, the styles of film directors, and the film industry of South East Asia. Keywords Auteur theory, film studies, Thai films, directing style

Perspectives on violence against women in Thai film: The Eternity

There are many forms of violence in films with regard to culturally unique factors and differences in religion, or ethnic origin, which are expected to influence attitudes towards violence against women. In line with this context, film is a good source to study violence against women. This study examined violence against women in direct, structural, and cultural ways in ‘The Eternity’ (Chua Fa Din Sa Lai), a Thai film by Bhandevanop Dhevakul, a prominent Thai film director. A series of in-depth interviews with respondents was conducted in Thailand. The respondents were three policymakers, five academics, three NGO leaders, two film critics, two film directors, and a newspaper editor in Thailand. The data were analyzed thematically using the NVivo 10 software. This study discovered that violence against women persisted and was embedded in the film, which contained direct violence, structural violence, and cultural violence. Direct violence appeared as raping, slapping, beating, and humiliation, while structural violence included inequality, primitive society, and power structure. Cultural violence was embedded as power acceptance, patriarchy, and marital bondage. The significance of this study is in providing a deeper understanding of the circumstances associated with violence against women in Thai films. This study may benefit the film industry and film classification by drawing attention to violence against women in films and thereafter minimizing it. Keywords: films, Thai films, triangle of violence, violence against wome

Cultural violence against women in Thai films: perspective from multi-sector stakeholders

There are many forms of violence in films regarding culturally unique factors that are expected to influence attitudes towards violence against women. The purpose of this study is to examine cultural violence against women in three films directed by a prominent Thai film director, Bhandevanov Devakula: The Eternity, The Outrage, and Jan Dara. A series of in-depth interviews with informants who are the stakeholders at the civil society level was conducted in Thailand. The informants were three policymakers, five academics, three non-governmental organisation (NGO) leaders, two film critics, two film directors, and a newspaper editor in Thailand. The data were analysed thematically using NVivo 10 software. The results of this study indicated that the informants identified cultural violence in the form of marriage bondage, power acceptance, cynical attitude, keeping women in customary roles, self-control, and gender bias. The cultural violence was depicted in the form of direct violence. This study also found that the stakeholders from diverse backgrounds noticed and framed the meaning of cultural violence in different ways. The significance of this study is in providing a deep understanding of the circumstances associated with cultural violence against women in Thai films that reflect the Thai context from the perspectives of stakeholders from multiple sectors. This study benefits the film industry and film classification by drawing attention to the cultural violence against women in films and thereafter minimizing it. The future researchers may extend examining cultural violence against women in terms of indirect and direct violence in Asian based films