Monsters in contemporary Thai horror film: image, representation and meaning

The purpose of this study was to illustrate how the images of monsters are projected in Thai horror film and to examine the metaphorical meaning and representations of monsters. The scope of my research was Thai horror films released on the screen from 1999 to 2008, with selected films specifically elaborated with regard to Thai cultural, social, and political contexts. This study defined the characteristics of Thai horror films, explaining that hybridity with other genres, such as comedy and romance, and sexuality are important components, while Buddhism and supernaturalism are crucial elements of the films. In particular, the Thai Buddhist belief of ‘cause and effect’ and ‘karma’ predominates over all Thai horror films. Ghosts are the primary horror object in Thai horror film, especially female ghosts, who appear with supernatural power to avenge or fulfill their grudge in the traditional Thai ghost films. However, human monsters using black magic, again mostly female, appear more often in the later 2000s, and pursued their desires in more forceful and active ways. In addition, men, children, and the aged also appear as monsters in Thai horror films, and they represent as the ‘Otherness’ of Thai society. Interestingly, monsters in contemporary Thai horror films are not only evil, but can also be good, since they can be society’s ‘guardian of morality and mores’ from the bad or even ‘loss of locality or tradition’. Horror film usually implies social, political or cultural problems and issues, and also deals with collective fear and anxiety. In this study, 11 films with four issues were investigated: 1) trauma from the IMF crisis and unsettled social climate is reflected in Nang Nak (1999), Phi Sam Baht (2001), and Rongraem Phi (2002); 2) fear for natural calamities and pandemic disease is portrayed in Khun Krabi Phi Rabat (2004) and Takhian (2003); 3) women’s issues and men’s anxiety for their loss are represented in Buppha Ratri (2003), Ban Phi Sing (2007) and Long Khong 1 and 2 (2005, 2008); and 4) political turmoil is implied in Faet (2007) and Ban Phi Poeb (2008).