Restricted vision: Censorship and cinematic resistance in Thailand

Author(s):  
Noah Keone Viernes

Film censorship screens the nation as a ‘way of seeing’ that is both fundamental to the art of governance and vulnerable to the flexibility of contemporary global images. In Thailand, this historically-conditioned regime arose in the geopolitics of the 1930 Film Act, the Motion Pictures and Video Act of 2008, and a coterminous regulation of visuality as a form of cultural governance. I pursue a close reading of two banned films by Apichatpong Weerasethakul and Nontawat Numbenchapol, respectively, to illustrate the aesthetics of film censorship in light of the development of a national cinema, especially to consider the strategies that film-makers use to negotiate the governance of vision.

2012 ◽  
Vol 47 (3) ◽  
pp. 719-742 ◽  
Author(s):  
JENNIFER FRONC

This article examines the conflict that ensued when the National Board of Review of Motion Pictures (a New York City-based organization that opposed any form of legal film censorship) entered the debate over Virginia's state film censor board. Virginia's engagement with film censorship emerged out of its history and politics, particularly in regard to race relations. Elite white Virginians lived in fear both of federal intervention (with the specter of Reconstruction not far behind them) and of a local usurpation of political power by black Virginians. The National Board of Review (NBR) was largely ignorant of this situation, which worked against their goals and ability to cultivate reliable allies. In the 1910s and 1920s, film raised issues about authorities – locally based and oriented versus nationally oriented authority, private authority and municipal, state, and/or federal authority.


1914 ◽  
Vol 110 (14) ◽  
pp. 299-300
Author(s):  
Jacques Boyer
Keyword(s):  

2019 ◽  
Vol 41 (2) ◽  
pp. 75-106
Author(s):  
Sunyoung Kim ◽  
Byungwoong Kwon

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