• SUVANNABHUMI
• /
• v.1 no.1
• /
• pp.75-89
• /
• 2009

This paper aims at scrutinizing how the women's image in the Thai film 'Nang-Nak' has been represented, affecting the Thai people intensely and achieving its great success in spite of having the background of 19th century and being a remaker. To fulfill the purpose and analyze the argument, the ideas of Lee(1989), Joan(1973) and Joo(1996) are used as theoretical concepts for this study. As a result, two images of Thai women seem to be revealed in the movie. The first image, drawn from 'Maen' and 'Mian', is conventional, somewhat ideal type for Thai women, so being a common aspect. What makes the movie a big deal, however, is another image which the heroine 'Nak' has shown, attracting the audience to be moved to tears. It may be apparently an idiosyncratic or extraordinary one from the traditional point of view in Thailand, but in other sense is a new, fresh image for which the contemporary Thai women want to seek. That is why the movie became one of the most popular in Thailand.

• Cartoon and Animation Studies
• /
• s.45
• /
• pp.367-396
• /
• 2016

As an animation educator at Mahidol University International College, Bangkok, for eight years I have been in a privileged position to be educating a small section of a new generation of Thai animators. Thailand has had little animation experimentation of their own and pre-internet had limited access to such diversity so I have attempted to bring some of the wealth of animation history, in particular British and European, as this is my background, into the classroom. In particular my teaching aim has been to introduce various possibilities to the choices of medium, styles and textual narratives that early (and current) experimental and independent animators have explored. Since the release of the first commercial feature film, Khun Kluay 2006, the Thai animation industry has gone through various highs and lows in the commercial sector, building a skilled workforce, many of whom trained and worked abroad then returned. Now there is strong evidence of an independent animation starting to emerge. In a continuation to my research on Thai Animation this paper will analyze selected independent works in more detail, exploring the themes, style and technology used. Whilst also acknowledging the possible mis- interpretation as that this is coming from the perspective of an outsider whose cultural language and interpretation may transcend the creators' given experiences and add alternative interpretation. The aim will be to contextualize the content, ideas and cultural perspective and bring more Thai works into the gaze of animation studies academics

• The Journal of the Korea Contents Association
• /
• v.14 no.6
• /
• pp.34-43
• /
• 2014

Young Chinese audience can select and watch TV dramas, movies and entertainment programs from many different nations, such as Korea, America, Japan, England, Thailand, India, and so on, through multiple channels, such as online video sites - iQiyi, Youku, LeTV, PPTV, and many others - which were induced by changes in media environment. Various genres of Korean popular culture have recently become popular in China, but this phenomenon differs from the early Korean Wave. During the earlier period (from 1997 to the early 2000s) of the Korean Wave, soap operas were popular among middle-aged women, but now various other genres, such as K-pop, entertainment programs, etc., are also popular in China. The purpose of this study is to explore how young Chinese audiences use foreign pop culture, including their preferred genres, reasons for preferring these genres, and the relationship between the preferred pop culture and national image in Korean, American, and Japanese pop culture were analyzed. According to the study results, similarities and differences between preferred genres and the reasons for preferring these genres, and also a close correlation between preferred pop culture and national image were found. These findings will be fundamental for supporting the continual development of the Korean Wave in China.

• Journal of Life Science
• /
• v.32 no.4
• /
• pp.271-278
• /
• 2022

The detailed mechanism by which cancer upregulated gene 2 (CUG2) overexpression induces cancer stem cell-like phenotypes is not fully understood. The downregulation of FBXW7 E3 ligase, a tumor suppressor known for its proteolytic regulation of oncogenic proteins such as cyclin E, c-Myc, Notch, and Yap1, has been frequently reported in several types of tumor tissues, including those in the large intestine, cervix, and stomach. Therefore, we investigated whether FBXW7 is involved in CUG2-induced oncogenesis. In this study, the decreased expression of FBXW7 was examined in human lung adenocarcinoma A549 (A549-CUG2) and human bronchial BEAS-2B cells (BEAS-CUG2) overexpressing CUG2 and compared with control cells stably expressing an empty vector (A549-Vec or BEAS-Vec). Treatment with MG132 (a proteosome inhibitor) prevented the degradation of FBXW7 and Yap1 proteins, which are substrates of the FBXW7 E3 ligase. To address the role of Fbxw7 in the development of cancer stem cell (CSC) phenotypes, we suppressed Fbxw7 protein levels using its siRNA. We observed that decreased levels of FBXW7 enhanced cell migration, invasion, and spheroid size and number in A549-Vec and BEAS-Vec cells. The enforced expression of FBXW7 produced the opposite results in A549-CUG2 and BEAS-CUG2 cells. Furthermore, the downregulation of FBXW7 elevated the activities of EGFR, Akt, and ERK1/2 and upregulated β-catenin, Yap1, and NEK2, while the enforced expression of FBXW7 generated the opposite results. We thus propose that FBXW7 downregulation induced by CUG2 confers CSC-like phenotypes through the upregulation of both the EGFR-ERK1/2 and β-catenin-Yap1-NEK2 signaling pathways.