|
|
| Line 1: |
Line 1: |
| == '''''Draft 6 NOV''''' ==
| |
|
| |
|
| === Welcome to My Motherland (working title), Project Proposal ===
| |
|
| |
|
| |
| '''<u>What do you want to make?</u>'''
| |
|
| |
| “Welcome to My Motherland” is an anthology series of mockumentaries that depict the hidden aspects of Thailand's deep-rooted superstitions and rituals and explore their profound impact on social issues, such as inequality, capitalism, and sexism, with a satirical and humorous voice.
| |
|
| |
| The series will be structured into chapters, each dedicated to a distinctive belief. For example, in the first chapter, I will explore the mystical concept of the holy tree, where people believe a guardian spirit resides. They also believe that rubbing the tree bark with your fingers can reveal lucky numbers in winning the lottery.
| |
|
| |
|
| |
| In the second chapter, I will explore the phenomenon of planting lemongrass upside down in the ground, a belief associated with the power to stop rain, often requiring the performer to be a virgin woman.
| |
|
| |
|
| |
| As the field of my work relates to the myth from Thailand, and I work on this project from the Netherlands, I am continually exploring the theme of displacement and its role in shaping the narratives within the series.
| |
|
| |
|
| |
| Additionally, I aim to create a publication in the form of an encyclopedia that catalogs Thailand's superstitious beliefs and rituals in detail. In terms of installation, I plan to incorporate physical objects, such as customized amulets and flipbooks, alongside the video screenings to provide a more immersive experience.
| |
| [[File:1st Attempt - The Holy Tree.00 05 03 17.Still017.jpg|none|thumb|593x593px]]
| |
|
| |
|
| |
| '''<u>How do you plan to make it?</u>'''
| |
|
| |
| I will take charge of every aspect of this project, from pre-production to post-production.
| |
|
| |
| At this point, I've created two draft anthologies where I tried different storytelling methods. I documented two unique rituals I performed: rubbing tree bark for lucky numbers and planting lemongrass upside down to stop the rain. I also did self-interviews as a fictional character to mimic the mockumentary format.
| |
|
| |
|
| |
|
| |
| In the next step, I will include various made-up characters in each chapter to enhance the conceptual framework. While my current approach has humor and sarcasm, my improvement plan involves offering a more intensive background and context to enrich the depth of the storytelling.
| |
|
| |
|
| |
| Researching and Experimenting: I will explore Thailand's rich heritage of superstitions and cultural rituals through pop culture and contemporary media sources such as songs, music videos, films, TV shows, and news. Simultaneously, I'm editing the video to discover the narrative that best conveys the story. The synergy between conducting research and making work is vital to finding the proper narrative and storytelling approach. This back-and-forth dynamic allows me to deepen my understanding of my work as I create and refine it.
| |
|
| |
|
| |
| My research will focus on identifying superstitions that align with pressing social issues, including inequality, capitalism, and sexism. These beliefs will serve as the basis for my script, crafting a narrative that reveals the hidden aspects of superstitious beliefs and investigates a provocative world where marginalized groups are not contemptuous.
| |
|
| |
|
| |
| In terms of narrative and editing techniques, I plan to research the structure of mockumentary films by reading some articles and watching more mockumentary films to gain more elements used in this genre.
| |
|
| |
|
| |
| '''<u>What is your timetable?</u>'''
| |
|
| |
| <u>September - November 2023</u>
| |
|
| |
| Gather the research on superstitious beliefs that reflect social inequality, capitalism, and sexism.
| |
|
| |
| Research on the Mockumentary approach.
| |
|
| |
| Try different storytelling approaches.
| |
|
| |
| Continue experimenting with storytelling and writing the (fictional) script.
| |
|
| |
| <u>November - December 2023</u>
| |
|
| |
| Finalize structure or storytelling approach.
| |
|
| |
| Find a team to work with, and make a shooting plan.
| |
|
| |
| <u>December - January 2024</u>
| |
|
| |
| Shooting in Thailand.
| |
|
| |
| Continue editing.
| |
|
| |
| Prepare for assessment
| |
|
| |
| Plan for the installation
| |
|
| |
| <u>February - April 2024</u>
| |
|
| |
| Editing and sound Design.
| |
|
| |
| Color-grading
| |
|
| |
| Fix according to the feedback.
| |
|
| |
| Write thesis.
| |
|
| |
| <u>May 2024</u>
| |
|
| |
| Finish both written and video work.
| |
|
| |
| Prepare for assessment.
| |
|
| |
| <u>June 2024</u>
| |
|
| |
| Plan for Installation.
| |
|
| |
|
| |
| '''<u>Why do you want to make it?</u>'''
| |
|
| |
| Since I was young, I wondered how far I could go from my hometown. My odyssey began in September last year when I moved from Thailand to the Netherlands for the master’s program. It’s pretty far, over 9,000 kilometers. Obviously, I have traversed great physical and cultural distances. Everything seemed new except the massive tree in front of the school. It would probably not have caught my attention if colored meshes didn’t wrap it. In Thailand, people believe that it is a symbol indicating that there is a guardian spirit inside. People worship these trees by praying and offering food and beverages to the guardian spirits. I don’t know exactly who is the first person that rubs the tree bark with their fingers. But it was believed that the lucky numbers would appear on the bark by doing so —a shortcut to potential wealth through lottery winnings. This superstition serves as a glimmer of hope, particularly for people in rural areas, offering a chance to secure their livelihoods without comprehensive government support. I never did that in Thailand. But isn’t it fun to try it here?
| |
| [[File:Screenshot 2023-11-06 at 15.39.39.png|none|thumb|593x593px]]
| |
| My fascination with mystical power and myths has been the driving force behind my last year's project, "The Holy Sponge." The research is now evolving into my graduation project, where I aim to harness the power of superstitious beliefs to explore the complex issue of inequality in Thailand.
| |
|
| |
| My realization stems from the problematic aspects of the society I grew up in, characterized by uneven distribution of wealth and gender inequality. As a woman who has previously worked in Thailand, I often found myself disheartened by the prospect of living in a community where, no matter how diligently I worked, the unjust social structure would never allow me to attain significant wealth.
| |
|
| |
| However, this realization served as a potent motivation to scrutinize the seemingly mundane concepts and rituals that have influenced Thai society. I have channeled my frustration into a humorous and compelling motivation to create this work, aiming to shed light on the inherent inequalities, particularly in the uneven distribution of wealth and their profound impact on the political landscape.
| |
|
| |
| I also want to explore filmmaking, particularly the unconventional ways of constructing the story. As a still-life photographer and video editor who worked for commercials, I would like to explore how to apply my knowledge to develop more in the artistic field.
| |
|
| |
|
| |
| '''<u>Who can help you and how?</u>'''
| |
|
| |
| While this project is independent under my complete control, I am eager to receive valuable feedback and guidance from tutors, the mentor group, and classmates, particularly in conceptual development and technical aspects. Their input will be instrumental in refining my work and collaborating on collective writing experiments.
| |
|
| |
| As I will be returning to Thailand in December, I intend to seek the guidance of Teema Muekthong, my former Thai advisor from my Bachelor's program, to provide an overview perspective on this project. His familiarity with my background and the Thai context will offer invaluable insights.
| |
|
| |
| In production, I'm considering inviting Sunny, a Thai female actress, and Baoxin, a fellow performer based in Thailand and Rotterdam, to perform in this film.
| |
|
| |
| In the post-production stage, I want to involve J. in sound design. However, I will need to confirm their availability and assess the required budget before finalizing this aspect of the project.
| |
|
| |
|
| |
| '''<u>Relation to previous practice</u>'''
| |
|
| |
| I plan to use humorous and ironic voices to tell a serious story, as I did in my previous mockumentary film, "The Holy Sponge" (2022). I will create a fictional world where mundane objects and marginalized populations are far greater than previously imagined by retranslating folklore, mythology, and traditional beliefs.
| |
|
| |
| As in “The Holy Sponge”, I want to delve into the myths that seem ridiculous and unreal. I plan to continue the idea of telling the unreal and exaggerated story in a mockumentary format, as well as using objects as a symbol.
| |
| [[File:Screen Shot 2566-03-08 at 01.24.05.png|none|thumb|661x661px]]
| |
| In my previous work, "Turning Tide and Cataract" (2017), I told the story of a senior female student who spends her day working at home. However, her peaceful day is disrupted when she is pursued and threatened by a mysterious man. This work addresses the “killing female characters” trope in stories and allows me to examine how women are portrayed in society. I intend to subvert the traditional power dynamics within the narrative of my new film.
| |
|
| |
|
| |
| '''<u>Relation to a larger context</u>'''
| |
|
| |
| In the world of structural injustice, several kinds of inequality are transmitted through superstitious beliefs and myths, shaping people's beliefs in society. Often, the victims of superstitious beliefs and oppression are marginalized groups, including individuals of lower socio-economic status and women. This has prompted me to contemplate how to create a subversive story with superstition as a theme, compelling me to interrogate the 'reality' I have experienced. I am particularly interested in the methods of constructing an alternative reality, especially through a narrative presented in a mockumentary format.
| |
|
| |
| In 2022, 'Escasso,' a humorous mockumentary by Clara Anastácia and Gabriela Gaia Meirelles, issues of inequity and injustice related to housing and food insecurity are portrayed as a metaphor for colonialism. This work has inspired me to consider methods for translating the concepts of superstitious belief into a mockumentary.
| |
|
| |
| I'm also keen on creating a narrative that uses the 'unreliable narrator' archetype. In 'Reconstructing Reality' (2015), a film by Alice Wong, the personal story of the maker's loss of their father is narrated through voiceover and a montage of found-footage material from the film industry. This film left me with a sense of skepticism, prompting me to think about whether the story is rooted in reality or entirely made up. Interestingly, the maker found a way to elevate a personal story above subjective perception.
| |
|
| |
|
| |
|
| |
| '''<u>References/bibliography</u>'''
| |
|
| |
| Cornwel-Smith, P. (2014) Very Thai: Everyday popular culture. Bangkok: River Books.
| |
|
| |
| Paramaditha, I. (2019) Apple and Knife. London: Vintage Publishing.
| |
|
| |
| Murch, W. (2001a) In the blink of an eye: A perspective on Film editing. 2nd edn. Los Angeles: Silman-James Press.
| |
|
| |
| The Mock Doc Film Series: History of the Mockumentary Film, Victoria Napolitano
| |
|
| |
| F Is for Phony: Fake Documentary and Truth’s Undoing, 2006, Alexandra Juhasz and Jesse Lerner, editors.
| |
|
| |
| Fisher, M. and Ambrose, D. (2018) K-Punk: The collected and unpublished writings of Mark Fisher (2004-2016). London: Repeater Books.
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| == ''Draft 23 Oct'' ==
| |
|
| |
|
| |
| <u>'''Project Proposal'''</u>
| |
|
| |
| '''What do you want to make?'''
| |
|
| |
| I plan to create an anthology series of mockumentaries titled “Welcome to My Motherland” (working title). It will investigate the hidden aspects of Thailand's deep-rooted superstitions and rituals, exploring their profound impact on societal issues such as inequality, capitalism, and sexism.
| |
|
| |
| The series will be structured into chapters, each dedicated to a distinctive belief. For example, in the first chapter, I will explore the mystical concept of the holy tree, where people believe a guardian spirit resides. They also believe that rubbing the tree bark can reveal lucky numbers, potentially bringing luck in winning the lottery.
| |
|
| |
| In the second chapter, I will explore the phenomenon of planting lemongrass upside down in the ground, a belief associated with the power to stop rain, often requiring the performer to be a virgin woman.
| |
|
| |
| The videos in this series will adopt the mockumentary format, characterized by an ironic and thought-provoking narrative style. I plan to take on various fictional characters in each chapter and collaborate with a professional fellow performer for this project.
| |
|
| |
| Additionally, I aim to create a publication in the form of an encyclopedia that catalogs Thailand's superstitious beliefs in detail. In terms of installation, I plan to incorporate physical objects, such as customized amulets, alongside the video screenings to provide a more immersive experience.
| |
|
| |
|
| |
| '''How do you plan to make it?'''
| |
|
| |
| I fully take charge of every aspect of this project, from pre-production to post-production.
| |
|
| |
| <u>Research:</u> My first step involves immersing myself in Thailand's rich heritage of superstitions and cultural rituals. To create a comprehensive foundation, I will conduct extensive research through contemporary media sources such as songs, music videos, films, TV shows, and news.
| |
|
| |
| I will personally engage in each ritual, experiencing them firsthand to gain a more profound understanding. My research will focus on identifying superstitions that align with pressing social issues, including inequality, capitalism, and sexism. These beliefs will serve as the basis for my script, crafting a narrative that unveils the hidden aspects of superstitious beliefs and delves into a provocative and fantastical world where marginalized groups gain power.
| |
|
| |
| I plan to collect research on ‘mockumentary’ films by reading some articles about them and watching more mockumentary films to gain more elements used in this genre.
| |
|
| |
| <u>Collaboration:</u> While I intend to perform in the video, I am enthusiastic about asking my fellow performers to perform in my film. Their insights and creativity will prove invaluable in shaping the narrative and characters, ensuring a richer and more impactful final visual.
| |
|
| |
| <u>Production:</u> I will film by myself, acting as a character, in the Netherlands. However, I also plan to shoot in Thailand, anticipating the need for a small production crew.
| |
|
| |
| <u>Post-production:</u> Taking charge of editing and color grading for the film is part of my plan. However, I acknowledge the importance of sound mixing in the production's overall quality and would like to ask for support in this area.
| |
|
| |
|
| |
| '''What is your timetable?'''
| |
|
| |
| September - November 2023
| |
|
| |
| * Gather the research on superstitious beliefs that reflect social inequality, capitalism, and sexism.
| |
|
| |
| * Research on the Mockumentary approach.
| |
| * Try different storytelling approaches.
| |
| * Continue experimenting with storytelling and writing the (fictional) script.
| |
| * Find performers to collaborate with/a team to work with, and make a shooting plan.
| |
|
| |
| November - December 2023
| |
|
| |
| * Finalize storyboard/storytelling approach.
| |
| * Plan for the installation.
| |
|
| |
| December - January 2024
| |
|
| |
| * Shooting in Thailand.
| |
| * Continue editing.
| |
| * Prepare for assessment
| |
|
| |
| February - April 2024
| |
|
| |
| * Editing and sound Design.
| |
| * Color-grading
| |
| * Fix according to the feedback.
| |
| * Writing proposal.
| |
|
| |
| May 2024
| |
|
| |
| * Finish both proposal and video work.
| |
| * Prepare for assessment.
| |
|
| |
| June 2024
| |
|
| |
| * Plan for Installation.
| |
|
| |
|
| |
| '''Why do you want to make it?'''
| |
|
| |
| Since I was young, I wondered how far I could go from my hometown. My odyssey began in September last year when I moved from Thailand to the Netherlands for this Master. It’s pretty far, over 9,000 kilometers. Predictably, I have traversed great physical and cultural distances. Everything seemed new except the massive tree in front of the school. It would probably not have caught my attention if colored meshes didn’t wrap it. In Thailand, people believe that it is a symbol indicating that there is a guardian spirit inside. People worship these trees by praying and offering food and beverages to the guardian spirits. I don’t know exactly who is the first person who rubs their fingers with the tree bark. But it was believed that the lucky numbers would appear on the bark if you did that—a shortcut to potential wealth through lottery winnings. This superstition serves as a glimmer of hope, particularly for people in rural areas, offering a chance to secure their livelihoods without comprehensive government support. I never did that in Thailand. But isn’t it fun to try it here?
| |
|
| |
| I could move country, but I can’t never be Thai.
| |
|
| |
| My fascination with mystical tales from my country ignited me to take this encounter as the starting point of my last year's project, which will develop into the graduation project where I want to use superstitious belief as the first door to discuss inequality in various aspects of Thailand.
| |
|
| |
| My realization stems from the problematic aspects of the society I grew up in, characterized by gender inequality and uneven distribution of wealth. As a middle-class woman who has previously worked in Thailand, I often found myself disheartened by the prospect of living in a community where, no matter how diligently I worked, the broken societal structure would never allow me to attain significant wealth.
| |
|
| |
| However, this realization served as a potent motivation to scrutinize the seemingly mundane concepts and rituals that have influenced me. I have channeled my frustration into a humorous and compelling motivation to create this work, aiming to shed light on the inherent inequalities, particularly in the context of the uneven distribution of wealth and their profound impact on the political landscape.
| |
|
| |
| I also want to explore more on filmmaking, particularly the unconventional genre. As a still-life photographer and video editor who worked for commercials, I would like to know if I can apply my knowledge to develop more in the artistic field.
| |
|
| |
| 5 Who can help you and how?
| |
|
| |
| This project is independent, and I take complete control of the project. However, regarding conceptual and technical development, the mentor group and classmates can help me a lot in giving feedback on my piece and some collective experiments I conduct.
| |
|
| |
| In production, I plan to invite Sunny, a Thai female actress, and Baoxin, a fellow performer based in Thailand and Rotterdam, to perform in this film. Regarding shooting production, I plan to invite Earnie to be the producer or production assistant when shooting in Thailand.
| |
|
| |
| In post-production, I plan to ask J. to do sound design. But it also depends on the budget.
| |
|
| |
| 6 Relation to previous practice
| |
|
| |
| I plan to use humorous and ironic voices to tell a heavy story like I did in my previous mockumentary film titled "The Holy Sponge." As well as create a fictional world in which mundane objects/people have lots of power. Also, delve into superstitious beliefs that seem ridiculous and not real. Keep presenting a particular thing in a commercial aspect (?). I am still considering continuing the idea of presenting the film in a mockumentary format.
| |
|
| |
|
| |
| '''Relation to a larger context'''
| |
|
| |
| * Fisher (2014, p.125) reminded us, "Home is where the haunt is."
| |
| * Go beyond superstitious beliefs from Thailand; research collective memory/experiences in superstitious beliefs from different countries.
| |
| * Reconstructing Reality, Alice Wong
| |
| * The Yes Man
| |
| * The Spinal Tap
| |
| * Mockumentary artist
| |
| * Experimental video artist
| |
|
| |
|
| |
| '''References/bibliography'''
| |
|
| |
| Cornwel-Smith, P. (2014) Very Thai: Everyday popular culture. Bangkok: River Books.
| |
|
| |
| Paramaditha, I. (2019) Apple and Knife. London: Vintage Publishing.
| |
|
| |
| Murch, W. (2001a) In the blink of an eye: A perspective on Film editing. 2nd edn. Los Angeles: Silman-James Press.
| |
|
| |
| The Mock Doc Film Series: History of the Mockumentary Film, Victoria Napolitano
| |
|
| |
| F Is for Phony: Fake Documentary and Truth’s Undoing, 2006, Alexandra Juhasz and Jesse Lerner, editors.
| |
|
| |
| Fisher, M. and Ambrose, D. (2018) K-Punk: The collected and unpublished writings of Mark Fisher (2004-2016). London: Repeater Books.
| |
XPUB & Lens-Based wiki