Ghostly Desires

Queer Sexuality and Vernacular Buddhism in Contemporary Thai Cinema

Nonfiction, Social & Cultural Studies, Social Science, Gender Studies, Gay Studies, Entertainment, Film, History & Criticism, Performing Arts
Cover of the book Ghostly Desires by Arnika Fuhrmann, Duke University Press
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Author: Arnika Fuhrmann ISBN: 9780822374251
Publisher: Duke University Press Publication: May 19, 2016
Imprint: Duke University Press Books Language: English
Author: Arnika Fuhrmann
ISBN: 9780822374251
Publisher: Duke University Press
Publication: May 19, 2016
Imprint: Duke University Press Books
Language: English

Through an examination of post-1997 Thai cinema and video art Arnika Fuhrmann shows how vernacular Buddhist tenets, stories, and images combine with sexual politics in figuring current struggles over notions of personhood, sexuality, and collective life. The drama, horror, heritage, and experimental art films she analyzes draw on Buddhist-informed conceptions of impermanence and prominently feature the motif of the female ghost. In these films the characters' eroticization in the spheres of loss and death represents an improvisation on the Buddhist disavowal of attachment and highlights under-recognized female and queer desire and persistence. Her feminist and queer readings reveal the entangled relationships between film, sexuality, Buddhist ideas, and the Thai state's regulation of heteronormative sexuality. Fuhrmann thereby provides insights into the configuration of contemporary Thailand while opening up new possibilities for thinking about queer personhood and femininity.

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Through an examination of post-1997 Thai cinema and video art Arnika Fuhrmann shows how vernacular Buddhist tenets, stories, and images combine with sexual politics in figuring current struggles over notions of personhood, sexuality, and collective life. The drama, horror, heritage, and experimental art films she analyzes draw on Buddhist-informed conceptions of impermanence and prominently feature the motif of the female ghost. In these films the characters' eroticization in the spheres of loss and death represents an improvisation on the Buddhist disavowal of attachment and highlights under-recognized female and queer desire and persistence. Her feminist and queer readings reveal the entangled relationships between film, sexuality, Buddhist ideas, and the Thai state's regulation of heteronormative sexuality. Fuhrmann thereby provides insights into the configuration of contemporary Thailand while opening up new possibilities for thinking about queer personhood and femininity.

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