Ghost spirit that appearing in Thai Media in the 21st Century towards a Creative Economy: Case studies of Thai Films and Games

In the context of the contemporary creative economy, Thai spirits, folk beliefs, and supernatural traditions have increasingly become recognized as invaluable forms of cultural heritage that possess significant potential for creative adaptation within the entertainment industry. Films and online games, in particular, serve as crucial platforms for transmitting and reinterpreting cultural narratives to both domestic and international audiences. As these media continue to evolve technologically and aesthetically, the processes through which spirits are learned, perceived, and reimagined have grown increasingly important in shaping the cultural and economic value of modern Thai creative productions. The objectives of this study are: (1) to examine and understand the persistence of Thai spiritual and ghost entities through the forms, content, and meanings expressed in 21st-century contemporary media; and (2) to investigate the methods of creatively developing the forms and content of these spiritual entities to achieve international acceptance through films and games, using a case study within the context of the creative economy, specifically, through selected Thai films and video games. The analysis focuses on four works produced between 2012 and 2022: Pee Mak Phra Khanong (2013), The Medium (2021), Araya (2016), and Home Sweet Home 2 (2021). The research employs a qualitative methodological framework that combines systematic analysis of the form, content, meaning and in-depth interviews with three experts from the Thai film and gaming sectors. This methodological triangulation enables a more comprehensive understanding of both the continuities and transformations that characterize the representation of Thai spirit beliefs in contemporary media. The findings suggest that the portrayal of spirits in Thai films can be understood through two key dimensions: formal characteristics and thematic significance. In terms of form, spirit characters in the selected films are predominantly female, a pattern that underscores not only cultural familiarity but also the strong visual and emotional impact associated with feminine ghost archetypes in Thai cultural memory. These characters are rendered with notable realism in bodily appearance, movement, and emotional expression, contributing to a heightened sense of believability and immersion. Cinematographic elements—including mise-en-scène, lighting design, color palette, and soundscape—are deliberately orchestrated to create atmospheres of mystery, tension, and supernatural dread. Narrative structures in these films frequently integrate multiple genres such as horror, drama, romance, comedy, and social critique, resulting in hybrid forms that grant spirit characters a more expansive narrative function. Instead of serving solely as frightening supernatural entities, spirit characters emerge as symbolic agents that articulate social issues such as grief, family conflict, communal trauma, and the vulnerabilities experienced by individuals within inequitable social structures. In Thai online games, the representation of spirits diverges in certain ways while retaining notable similarities with cinematic portrayals. As in film, game ghosts are typically female and visually striking, combining beauty with elements of fear and grotesqueness. However, games emphasize atmospheric realism through detailed environmental design and lighting effects, while sound design tends to be intentionally exaggerated or hyper-real to amplify emotional intensity and enhance player engagement. The thematic content of these games often centers on vengeance, karmic retribution, and relentless pursuit, which together produce a sustained sense of tension throughout the interactive experience. In this context, spirits function not merely as narrative fixtures but as active, dynamic forces that shape gameplay, influencing the player’s psychological state and fostering a more intimate and participatory encounter with the supernatural than is possible in non-interactive media. A comparative analysis of the film and game cases reveals several shared characteristics that contribute significantly to the global communicability and creative adaptability of Thai spirit traditions. First, both media rely on recognizable ghost archetypes—such as the dancing ghost (phi nang ram), the pregnant ghost (phi tai thang klom), student ghosts, and possession spirits—that carry clear cultural associations while remaining accessible to international audiences. Second, both forms emphasize distinctive aesthetic design, ensuring that ghosts are memorable, visually unique, and symbolically rich. Third, the settings in which these spirits appear—temples, schools, dormitories, rural landscapes—serve as culturally specific environments that effectively communicate Thai identity and localized ways of life. Fourth, both films and games strategically incorporate contemporary storytelling and visual techniques, including influences from Western cinema and global horror conventions, while maintaining links to traditional belief systems. This hybrid strategy supports cross-cultural accessibility without diminishing cultural authenticity. Overall, the findings demonstrate that the representation of Thai spirits in contemporary media operates on multiple levels: as an entertainment device, as a cultural narrative, and as an economic asset. These representations highlight how traditional beliefs can be reinterpreted in modern contexts while preserving their symbolic significance. By transforming ancestral ghost narratives into creative content that aligns with contemporary media aesthetics and international expectations, Thai films and games reveal the adaptability and enduring relevance of local spiritual traditions. Understanding the roles, forms, and meanings of spirits in modern media is therefore essential, as such representations function as subtle yet powerful channels for conveying Thai beliefs, ways of life, and cultural identity. Moreover, they constitute forms of cultural capital with immense potential to propel the growth and competitiveness of Thai media within the global creative economy.