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‘Every drop of my blood sings our song. There can you hear it?’: Haptic sound and embodied memory in the films of Apichatpong Weerasethakul

‘Every drop of my blood sings our song. There can you hear it?’: Haptic sound and embodied memory... Frequently drawing on avant-garde formal strategies, bringing together personal, social and cultural memories in a cinematic collage, the films of Thai director Apichatpong Weerasethakul recreate what Richard Dyer has called `the texture of memory' (Dyer 2010). Using narrative techniques such as repetition, fragmentation, and convergence (as different threads of a narrative resonate uncannily both within and across the films), the work expresses what the process of remembering feels like, how the warp and weft of the past continuously moves through and shapes the present just as the present shapes our memories of the past. While sound design in classical cinema often privileges the voice, lowering ambient sound in order to ensure intelligibility while creating an illusion of naturalism, in these films `natural' ambient or environmental sounds are amplified to the extent that they become almost denaturalized, thus The New Soundtrack 3.1 (2013): 61­79 DOI: 10.3366/sound.2013.0036 # Edinburgh University Press www.euppublishing.com/SOUND KEYWORDS sound haptic phenomenology affect memory Thai cinema Apichatpong Weerasethakul spectatorship embodiment heightening their affective power. In Blissfully Yours (Sud sanaeha, 2002), Tropical Malady (Sud pralad, 2004), Syndromes and a Century (Sang sattawat, 2006) and Uncle Boonmee Who Can Recall His Past Lives (Loong Boonmee raleuk chaat, 2010) http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

‘Every drop of my blood sings our song. There can you hear it?’: Haptic sound and embodied memory in the films of Apichatpong Weerasethakul

Lovatt, Philippa
The New Soundtrack , Volume 3 (1): 61 – Mar 1, 2013
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press
Subject
Articles; Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2013.0036
Publisher site
See Article on Publisher Site

Abstract

Frequently drawing on avant-garde formal strategies, bringing together personal, social and cultural memories in a cinematic collage, the films of Thai director Apichatpong Weerasethakul recreate what Richard Dyer has called `the texture of memory' (Dyer 2010). Using narrative techniques such as repetition, fragmentation, and convergence (as different threads of a narrative resonate uncannily both within and across the films), the work expresses what the process of remembering feels like, how the warp and weft of the past continuously moves through and shapes the present just as the present shapes our memories of the past. While sound design in classical cinema often privileges the voice, lowering ambient sound in order to ensure intelligibility while creating an illusion of naturalism, in these films `natural' ambient or environmental sounds are amplified to the extent that they become almost denaturalized, thus The New Soundtrack 3.1 (2013): 61­79 DOI: 10.3366/sound.2013.0036 # Edinburgh University Press www.euppublishing.com/SOUND KEYWORDS sound haptic phenomenology affect memory Thai cinema Apichatpong Weerasethakul spectatorship embodiment heightening their affective power. In Blissfully Yours (Sud sanaeha, 2002), Tropical Malady (Sud pralad, 2004), Syndromes and a Century (Sang sattawat, 2006) and Uncle Boonmee Who Can Recall His Past Lives (Loong Boonmee raleuk chaat, 2010)

Journal

The New Soundtrack – Edinburgh University Press

Published: Mar 1, 2013

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