Abstract
Since the success of Bad Genius (2017, Nattawut Poonpiriya), the most recent international success story in Thai cinema, Thai content has proven itself as a subject of interest in the global market. Following its success, many Thai filmmakers attempted to follow this formula. They utilized local culture and beliefs in order to attract international audiences. Although this situation is not unique to Thai cinema, being observable elsewhere. This cinematic strategy is part of a wider response to the effects of globalism. It exemplifies what Roland Robertson (1995) says, explaining that the spheres of global and local are not opposites. Instead, the latter is ‘essentially included within the global.’ Particularly after the Covid-19 pandemic, with the subsequent intense transformation of the media industry, a rethinking of these binaries is increasingly useful for our understanding of the current situation. This paper takes a close look at this current trend, in how Thai filmmakers engages with globalization through the following films: The Medium (2021, Banjong Pisanthanakul), and Hunger (2023, Sitisiri Mongkolsiri). Both were created during the rise of streaming media, particularly Netflix, alongside the cooperation between national and transnational industries.
Author Information
Sopawan Boonnimitra, Chulalongkorn University, Thailand
Peerachai Kerdsint, Bangkok University, Thailand
Paper Information
Conference: MediAsia2023
Stream: Media
This paper is part of the MediAsia2023 Conference Proceedings (View)
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To cite this article:
Boonnimitra S., & Kerdsint P. (2023) The Glocalization Strategy of Contemporary Thai Cinema ISSN: 2186-5906 – The Asian Conference on Media, Communication & Film 2023: Official Conference Proceedings https://doi.org/10.22492/issn.2186-5906.2023.3
To link to this article: https://doi.org/10.22492/issn.2186-5906.2023.3
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