As a prominent figure in independent world cinema and, increasingly, contemporary art, Apitchapong Weerasethakul’s practice is situated at the interstices of film, photography, video and installation. His work has been compellingly analysed in terms of its queer politics, its exploration of animist ontologies, and its references to the cultural and political histories of Thailand’s northeastern and northern provinces (where he grew up and presently resides).1¹ Apichatpong’s treatment of these themes has been described as ‘realist’, a characterisation that is evoked by the sensorial intensity of his moving image works and his use of non-professional actors.2² This approach, when combined with his unconventional treatment of narrative structures and inclusion of characters whose existence represents the porosity of human and nonhuman realms, produces films that exist as a ‘layering of diegetic worlds in which material immaterialities are perceived as real’.3³ In Apichatpong’s 2015 film, Cemetery of Splendour/Rak Thi Khon Kaen, representations of ventriloquism and possession contribute to and complicate this process of layering by reconfiguring assumed relationships between vision, voice, space, and political subjectivity.

中文翻译：

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拥有声音：阿皮查蓬·韦拉塞塔库尔的辉煌公墓（2015）中的奴隶制和代理

作为独立的世界电影院以及越来越多的当代艺术中的杰出人物，Apitchapong Weerasethakul的创作遍及电影，摄影，录像和装置的间隙。他的作品曾令人信服地分析了其奇怪的政治，它的万物有灵论的本体的探索，其对泰国东北部和北部省份的文化和政治历史文献的条款（他长大的地方，目前居住）。1 ¹阿彼察邦的这些治疗主题被描述为“现实主义”，由他的运动图像作品的感官强度，他使用非专业actors.2诱发表征²这种方法，当与他的叙述的结构和包含的字符，其存在的非常规治疗组合表示人和非人领域的孔隙率，产生存在作为薄膜A“diegetic世界的分层，其中材料immaterialities被感知为real'.3 ³在Apichatpong的2015年电影《壮丽公墓》 /《Rak Thi Khon Kaen》中，腹腔语言和占有的表征通过重新配置视觉，声音，空间和政治主观性之间的假定关系，使这一分层过程变得复杂化。