Apichatpong Weerasethakul

Contemplation and Resistance

Duncan Caillard

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Critically examines the work, politics and aesthetic philosophy of Apichatpong Weerasethakul

  • A comprehensive study of the major screen works of Apichatpong Weerasethakul, one of the most influential and original filmmakers in the world
  • Shot-by-shot analysis of his feature films and major works, tracing their stylistic transformation over time
  • A detailed investigation of Apichatpong’s place within film history, tracing his creative influences alongside his influence on the work of other filmmakers
  • An in-depth exploration of Apichatpong’s aesthetic philosophy, drawing upon original archival research and analysis of Apichatpong’s artist statements and interviews

For over twenty years, director Apichatpong Weerasethakul has received international acclaim for the sensuous pacing, folkloric narratives and creative resistance to authoritarian politics buried within an expansive body of work. Situated on the fault line of narrative filmmaking and contemporary art, his work flickers between obscurity and critique, leaning into the ambiguities of contemplative art cinema to challenge political orders, resurface repressed national memories and even reimagine the structure of cinema itself.

Apichatpong Weerasethakul: Contemplation and Resistance is a major study of the screen works of one of contemporary cinema’s most influential directors. Through deconstruction of his major works placed in cultural, historical and political context, Contemplation and Resistance chronicles the creative and political interventions of one of the most influential political filmmakers of the twenty-first century.

Acknowledgements

Dedication

Preface

List of Figures

Introduction: The Art of Looking

1. Silence

2. Pillows

3. Ghosts in Empty Houses

4. Strays

5. Intimate Boredom

6. Sleep Cinema

Conclusion: An Apichatpongian Cinema

References
A beautifully observed and often mesmerising analysis of Apichatpong’s filmmaking practice that takes its lead from his poetic approach to film without sacrificing academic rigour. Just as Apichatpong champions ‘the art of looking’, Caillard looks lingeringly and with great sensitivity at the empty moments that comprise Apichatpong’s work.
Richard Misek, University of Bergen
Duncan Caillard is a Postdoctoral Research Fellow in Te Kura Whakapāho (the School of Communication Studies) at Auckland University of Technology. His research investigates on the intersections of narrative art cinema, film philosophy and experimental filmmaking in the Asia-Pacific, with particular interest in works of anti-authoritarian and decolonial art practice. His current research investigates the history of independent filmmaking in Hawai’i, with a focus on how communities use moving images to negotiate politics, place and identity. His work has been published in Third Text, New Review of Film and Television Studies and Senses of Cinema.

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