Header

UZH-Logo

Maintenance Infos

Haunted Time, Still Photography and Cinema as Memory: The Dream Sequence in Uncle Boonmee Who Can Recall His Past Lives


Boehler, Natalie (2014). Haunted Time, Still Photography and Cinema as Memory: The Dream Sequence in Uncle Boonmee Who Can Recall His Past Lives. Journal of Modern Literature in Chinese, 12(1):62-72.

Abstract

In Southeast Asian cinemas and its theorizations, ghosts have come to occupy an important role as figurations of a precolonial or premodern age. As beings with temporalities „out of joint“, they blur the linearity of time and history and often appear as carriers of memory and trauma. Apichatpong Weerasethakul’s film „Uncle Boonmee Who Can Recall His Past Lives“ (TH 2009) deals with the traumatic past of the Thai Northeast. Focusing on an analysis of a dream sequence from the film, I will show how „Uncle Boonmee Who Can Recall His Past Lives“ features various ghost and spirit characters that stem from a reimagination of the premodern and at the same time refer to modernist cinema – namely, the work of Michelangelo Antonioni and Chris Marker – and its critique of modernity’s belief in the evident and veracious photographic image. From this interplay arises a nexus of meanings that is charged with a critique of the state politics of repression and image control.

Abstract

In Southeast Asian cinemas and its theorizations, ghosts have come to occupy an important role as figurations of a precolonial or premodern age. As beings with temporalities „out of joint“, they blur the linearity of time and history and often appear as carriers of memory and trauma. Apichatpong Weerasethakul’s film „Uncle Boonmee Who Can Recall His Past Lives“ (TH 2009) deals with the traumatic past of the Thai Northeast. Focusing on an analysis of a dream sequence from the film, I will show how „Uncle Boonmee Who Can Recall His Past Lives“ features various ghost and spirit characters that stem from a reimagination of the premodern and at the same time refer to modernist cinema – namely, the work of Michelangelo Antonioni and Chris Marker – and its critique of modernity’s belief in the evident and veracious photographic image. From this interplay arises a nexus of meanings that is charged with a critique of the state politics of repression and image control.

Statistics

Downloads

58 downloads since deposited on 04 Nov 2014
58 downloads since 12 months
Detailed statistics

Additional indexing

Other titles:鬼魅時代,靜物攝影與作為記憶的電影 : 論《波米叔叔的前世今生》中的夢境段落
Item Type:Journal Article, refereed, original work
Communities & Collections:06 Faculty of Arts > Institute of Cinema Studies
Dewey Decimal Classification:700 Arts
900 History
Language:English
Date:31 December 2014
Deposited On:04 Nov 2014 13:36
Last Modified:07 Apr 2020 06:46
Publisher:Lingnan University
OA Status:Green
Related URLs:https://commons.ln.edu.hk/jmlc/vol12/iss1/4/ (Publisher)

Download

Green Open Access

Download PDF  'Haunted Time, Still Photography and Cinema as Memory: The Dream Sequence in Uncle Boonmee Who Can Recall His Past Lives'.
Preview
Content: Published Version
Language: English
Filetype: PDF
Size: 2MB