http://celinejulie.blogspot.com/2011/08/marathon-2011-game.html
MARATHON FILM FESTIVAL GAME PART 2
http://celinejulie.blogspot.com/2011/09/marathon-film-festival-game-part-2.html
This game is inspired by Graiwoot Chulphongsathorn.
The questions below mostly concern Thai films which were shown in the Marathon Film Festival from 1997 to 2011, but also concern foreign films and Thai films shown outside the festival.
The word "film" here includes all kinds of moving images.
Answer these questions and your life will be better:
14. To what extent are these films "sci-fi films"?
14.1 BAD-GOOD, 2013 (เรวดี, 2013) (2010, Viroj Suttisima, 13 min)
14.2 CRYSTALLIZATION TIME (วาเลตกผลึก) (2011, Kisda Phongphaew, 21 min)
14.3 DEAR, CENTAURI (เซนเทอรี่ ที่รัก) (2011, Tatitanatit Permpongdumrongkul, 15 min)
14.4 THE FANCIFULNESS OF THE UNIVERSE (ความฟุ้งของจักรวาล) (2010, Krit Twinwawit, 40 min)
14.5 INVADER (ผู้บุกรุก) (2011, Wachara Kanha, 90 min)
14.6 KISS THE MACHINE (2005, Prinn Vadhanavira + R-na Rattanaphan, 25 min)
14.7 THE LIGHT HOUSE (แสงสุริยะ) (2011, Teeranit Siangsanoh, 43:13 min)
14.8 MAY-KYN: THE DAMN REAL NICE GUY (เมฆิน: คนจริง สวรรค์ต้องกราบ!) (2009, Palakorn Kleungfak, 12 min)
14.9 NEED 3 STORY: HAUNTED HOUSE (อยากเห็นผี 3 story ตอน บ้านสยอง) (2010, Jinna Rujisenee, 50 min)
14.10 REARRANGE (2006, Rutt Jumpamule, animation, 10 min)
14.11 REFLEX (สะท้อน) (2011, Siriwan Cha-aimpong, 7:43 min)
14.12 THE ROOM (2011, Pesang Sangsuwan, 18 min)
14.13 THE SONG (2006, Suporn Decharin, animation)
14.14 TREE (ต้นไม้) (2010, Pat Boonnitipat, 14 min)
http://vimeo.com/18445458
14.15 V (2010, Thee Boonkreangkai, 23.25 min)
15.Discuss the importance of sound in the following films:
15.1 ANAT(T)A (2006, Akritchalerm Kalayanamitr + Koichi Shimizu), which presents interactive sound
15.2 AT LEAST/MODERATELY/TREMENDOUSLY (อย่างน้อย/อย่างกลาง/อย่างมาก) (2011, Tritos Termarbsri, 90 min), in which the characters can control the soundtrack of the film
15.3 EMPLOYEES LEAVING THE LUMIERE FACTORY (พิพิธภัณฑ์แห่งแสง) (2010, Chaloemkiat Saeyong, 31 min), in which the ambient sound, or the room tone, becomes extremely important
15.4 GAZE AND HEAR (สายตา รับฟัง) (2010, Nontawat Numbenchapol, 10 min), which has extremely powerful soundtrack
15.5 FRIENDS (เพื่อน) (2010, Pichanund Laohapornsvan, 63 min), which presents intentionally unrealistic voices of some animals and a krasue (a kind of Thai female ghost)
15.6 GRANDMA CHA WANTS TO GET SURREAL (ยายชาอยากเซอร์เรียล) (2009, Saowapak Suriyawongpaisal, 21 min), which presents unreasonable sound, such as the sound of cat fighting while the cats are not in sight
15.7 HOME COMPUTER (2011, Teeranit Siangsanoh, 19 min), which presents extremely discordant sound
15.8 SHE TALKS, WHAT THEY WHISPER (2008, Wiwat Lertwiwatwongsa), which uses interesting sound bites
15.9 SING (2011, Sa Sakawee, 10 min), in which the dubbing is the most important aspect of the film
15.10 WHISPERING GHOSTS (ถ้อยคำที่ถูกสาป) (2008, Taiki Sakpisit, 13 min), which has extremely powerful soundtrack
http://vimeo.com/12233517
16.PRASART (1975, Piak Poster) is a Bergmanesque film concerning three women who may or may not be insane. The film stars Piatip Kumwong, Mayurachat Muenprasittiwate, and Tasawan Seneewong na Ayudhaya.
If PRASART is going to be remade into a radically different film in 2012, which filmmakers in this group would you like to remake PRASART? And why?
16.1 Anocha Suwichakornpong (GRACELAND)
16.2 Araya Rasdjarmrearnsook (THE NINE DAY PREGNANCY OF A SINGLE, MIDDLE-AGED ASSOCIATE PROFESSOR)
16.3 Janenarong Sirimaha (THERE WILL BE DRAMA)
http://www.youtube.com/watch?v=YChMR5WXNNE
16.4 Pawara Chatchawanprecha (AWKWARD ANCIENT TALE)
16.5 Pimpaka Towira (ONE NIGHT HUSBAND)
16.6 Proudmary Songmuang (MY FORTRESS OF HAPPINESS)
16.7 Ratchapoom Boonbunchachoke (CHUTIMA)
16.8 Sununta Naksompop (A SELF-MADE LADY)
16.9 Suphisara Kittikunarak (THOM)
16.10 Wasunan Hutawach (DAW)
17.Emily Dickinson wrote the following poem:
" I felt a funeral in my brain,
And mourners, to and fro,
Kept treading, treading, till it seemed
That sense was breaking through.
And when they all were seated,
A service like a drum
Kept beating, beating, till I thought
My mind was going numb.
And then I heard them lift a box,
And creak across my soul
With those same boots of lead,
Then space began to toll
As all the heavens were a bell,
And Being but an ear,
And I and silence some strange race,
Wrecked, solitary, here.
And then a plank in reason, broke,
And I dropped down and down--
And hit a world at every plunge,
And finished knowing--then--"
Which filmmakers in the group above (Anocha, Araya, Janenarong, Pawara, Pimpaka, Proudmary, Ratchapoom, Sununta, Suphisara, Wasunan) would you like to adapt this poem into a film? And why?
18.Emily Dickinson wrote the following poem:
" My Life had stood - a Loaded Gun -
In Corners - till a Day
The Owner passed - identified -
And carried Me away -
And now We roam in Sovereign Woods -
And now We hunt the Doe -
And every time I speak for Him -
The Mountains straight reply -
And do I smile, such cordial light
Upon the Valley glow -
It is as a Vesuvian face
Had let its pleasure through -
And when at Night - Our good Day done -
I guard My Master's Head -
'Tis better than the Eider-Duck's
Deep Pillow - to have shared -
To foe of His - I'm deadly foe -
None stir the second time -
On whom I lay a Yellow Eye -
Or an emphatic Thumb -
Though I than He - may longer live
He longer must - than I -
For I have but the power to kill,
Without--the power to die--"
Which filmmakers in the group below would you like to adapt this poem into a film? And why?
18.1 Angsumalee Senachai (LADYNIGHT)
18.2 Kulnatee Tantipisanu (DEAD PLAN)
18.3 Nisarat Komsup (PSYCHOSIS)
18.4 Pakwan Suksomthin (NEW GENERATION)
18.5 Patha Thongpan (MIDNIGHT RAINBOW)
18.6 Permpol Choei-aroon (MUANG NAI MORK)
18.7 Rashane Limtrakul (RAGING PHOENIX)
18.8 Rungkarn Kaewsuwan (LITTLE LIFE)
18.9 Supol Wichienchai (HUNT)
http://www.youtube.com/watch?v=nqYqJgpcXts
18.10 Thamonwon Thamsongporn (LADY HERO)
(To be continued)
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