THE SMILING DEAD, OR ON THE EMPIRICAL IMPOSSIBILITY OF THAI ZOMBIES

The conceptualization of zombies in a culture that disposes of its dead by cremation is bound to be difficult and different from the West, where the culture of burial has allowed for the imagined possibility of physical return. Nor does it help that the opinions voiced by both Thai horror film investors and film audiences are univocal: Thai horror films will only be financially successful if they pertain to possible reality. This, in Thailand, translates into a rather simple rule delineating horror as a strictly supernatural genre. Thai horror films have always been, and most likely will always be all about ghosts. But while ghosts and spirits exist for most Thais on a very material level, other malevolent entities known from a general horror repertoire, such as zombies, vampires, werewolves, or serial killers do not. This makes their presence in the cinematic horror unacceptable, with a predictable result: You cannot make a Thai movie about zombies because zombies are not and cannot ever be real. Of course, this is not to say that some brave Thai filmmakers have not tried. This paper offers a discussion of the very rare examples of Thai cinematic zombies and examines a number of strategies employed by these filmmakers to justify their choice of the zombie characters for their films. This essay explores four different approaches to the topic as demonstrated by four relatively recent films: Formalin Man (2004) by Pakhpum Wonjinda, Curse of the Sun (2004) by Kittipong Panyataweesap and Anat Yuangnhern, Sars Wars (2004) by Taweewat Wantha, and the short film Bakpackers (a segment of Phobia 2, 2009) by Songyos Sugmanakan. While zombies feature as central characters in these films, they nevertheless remain external in relation to Thai culture. The zombies are disguised as ghosts, portrayed as foreign import, or function merely as a metaphor.

Forthcoming. Vampires and Zombies: Transnational Transformations. Eds. D. Fischer-Hornung, T. Fox and M. Mueller. Ohio UP.

MUSIC FOR THE VAMPIRE. MUSICAL INTERPRETATION OF THE MYTH OF THE UNDEAD

The article is concerned with the musical representation of the vampire myth suggesting that certain type of music is associated with the vampiric theme on a symbolic level, even though, when analysed on its own, the music in question is not meant to be considered illustrative or symbolic as such. The article offers an insight into the late 20th century vampire-themed music found in film soundtracks, theatrical scores or chart songs. Though representing a variety of musical styles and forms, this musical illustration to the never-ending vampire saga can be brought down to a number of recognisable patterns intended to evoke a particular response and as such becoming clear, easy to decode sound messages. These simple sound messages become the musical mark of the vampire resistant to the evolution of music and development of new trends and fashions. Armed with music, the vampire is no longer voiceless.

Published in In the Space of Arts. Ed. E. Borkowska. Katowice: Wydawnictwo US, 2004.

THE INCREDIBLY STRANGE CREATURES WHO STOPPED LIVING AND BECAME MIXED-UP ZOMBIES, OR, HOW TO BE THE LIVING DEAD IN TECHNICOLOR

The article examines the infatuation of contemporary culture with zombies/the living dead and resulting from it glorification of inertia. Zombies, as presented in the article, are understood in terms of paradoxical entities defined primarily through their lack of identity and as such acquiring new properties and becoming a new identity instantly recognisable to anyone but themselves. Drawing on the image of the living dead as seen in a number of contemporary film productions and literature, the article introduces a typology of zombies dividing them into four distinct categories according to the properties they exhibit. On the basis of the observed growth of the desirability of the zombie category the article comments on the popular perception of man becoming dependent on the artificially created environment, and a common belief in the possibility of breaking the bondage of social and economic conventions and achieving the sense of liberation only through the complete and unconditional submission to the external reality and the forces governing it.

Published in Transformations I: Identity and Property. Eds. W. Kalaga, and T. Rachwal. Katowice: Wydawnictwo US, 2002.