File Download
Supplementary
-
Citations:
- Appears in Collections:
postgraduate thesis: Dispositif, ghost, and prosopopoeia : audible materiality of memories in Apichatpong Weerasethakul’s films
Title | Dispositif, ghost, and prosopopoeia : audible materiality of memories in Apichatpong Weerasethakul’s films |
---|---|
Authors | |
Issue Date | 2022 |
Publisher | The University of Hong Kong (Pokfulam, Hong Kong) |
Citation | Tao, Y. [陶奕呈]. (2022). Dispositif, ghost, and prosopopoeia : audible materiality of memories in Apichatpong Weerasethakul’s films. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. |
Abstract | This dissertation analyzes Apichatpong Weerasethakul’s recent feature films since
2010 (Uncle Boonmee Who Can Recall His Past Lives, Mekong Hotel, Cemetery of
Splendor, and Memoria) through Michel Chion’s sensuous and interdisciplinary
approach to sound and image. Prioritizing sound to image, it looks at how such
alchemy could trigger the interplay between sound and image and shape various
perceptions. Inheriting the sonic practice of amplifying the ambient sounds to create
undulating rhythms and sensory immersion, Apichatpong’s films deprivilege the
anthropocentrism of human voices to the ambient sounds, thus opening up a liminal
space of permeable thresholds where past and present, living and dead, human and
the anthropomorphic, the natural and the spectral could go across the boundaries and
coexist in harmony. Through his audiovisual aesthetics regarding how temporality
registers auditory impression and how sound shapes visual perception,
Apichatpong’s films facilitate various memories and the agency of voice through the
rhetoric of prosopopoeia and ventriloquism, representing an audible and visible
materiality of how it sounds to remember. Following his creative trajectories, this
dissertation also argues that Apichatpong has developed his ontology of sound that
the intermedial, from the animistic jungle to characters as the sonic flesh of cinema,
is gradually dispelled and subverting the audiovisual perceptions that the visual
becomes the shadow cast by the truth of sound.
|
Degree | Master of Arts |
Subject | Sound in motion pictures Motion picture producers and directors - Thailand |
Dept/Program | Literary and Cultural Studies |
Persistent Identifier | http://hdl.handle.net/10722/320067 |
DC Field | Value | Language |
---|---|---|
dc.contributor.author | Tao, Yicheng | - |
dc.contributor.author | 陶奕呈 | - |
dc.date.accessioned | 2022-10-20T11:54:47Z | - |
dc.date.available | 2022-10-20T11:54:47Z | - |
dc.date.issued | 2022 | - |
dc.identifier.citation | Tao, Y. [陶奕呈]. (2022). Dispositif, ghost, and prosopopoeia : audible materiality of memories in Apichatpong Weerasethakul’s films. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. | - |
dc.identifier.uri | http://hdl.handle.net/10722/320067 | - |
dc.description.abstract | This dissertation analyzes Apichatpong Weerasethakul’s recent feature films since 2010 (Uncle Boonmee Who Can Recall His Past Lives, Mekong Hotel, Cemetery of Splendor, and Memoria) through Michel Chion’s sensuous and interdisciplinary approach to sound and image. Prioritizing sound to image, it looks at how such alchemy could trigger the interplay between sound and image and shape various perceptions. Inheriting the sonic practice of amplifying the ambient sounds to create undulating rhythms and sensory immersion, Apichatpong’s films deprivilege the anthropocentrism of human voices to the ambient sounds, thus opening up a liminal space of permeable thresholds where past and present, living and dead, human and the anthropomorphic, the natural and the spectral could go across the boundaries and coexist in harmony. Through his audiovisual aesthetics regarding how temporality registers auditory impression and how sound shapes visual perception, Apichatpong’s films facilitate various memories and the agency of voice through the rhetoric of prosopopoeia and ventriloquism, representing an audible and visible materiality of how it sounds to remember. Following his creative trajectories, this dissertation also argues that Apichatpong has developed his ontology of sound that the intermedial, from the animistic jungle to characters as the sonic flesh of cinema, is gradually dispelled and subverting the audiovisual perceptions that the visual becomes the shadow cast by the truth of sound. | - |
dc.language | eng | - |
dc.publisher | The University of Hong Kong (Pokfulam, Hong Kong) | - |
dc.relation.ispartof | HKU Theses Online (HKUTO) | - |
dc.rights | The author retains all proprietary rights, (such as patent rights) and the right to use in future works. | - |
dc.rights | This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. | - |
dc.subject.lcsh | Sound in motion pictures | - |
dc.subject.lcsh | Motion picture producers and directors - Thailand | - |
dc.title | Dispositif, ghost, and prosopopoeia : audible materiality of memories in Apichatpong Weerasethakul’s films | - |
dc.type | PG_Thesis | - |
dc.description.thesisname | Master of Arts | - |
dc.description.thesislevel | Master | - |
dc.description.thesisdiscipline | Literary and Cultural Studies | - |
dc.description.nature | published_or_final_version | - |
dc.date.hkucongregation | 2022 | - |
dc.identifier.mmsid | 991044600810303414 | - |