CA: Research Reports

Permanent URI for this collection

https://hdl.handle.net/20.500.14437/23

Browse

Browsing CA: Research Reports by Subject "Broadcasting"

Now showing 1 - 2 of 2
  • Thumbnail Image
    Publication
    The Strategies and the Use of Humour Language in the Series Breaks of the Variety Game Show “Ching Roy Ching Laan”
    (University of the Thai Chamber of Commerce, 2008)
    Eiamutama, Thanit
    ;
    University of the Thai Chamber of Commerce. School of Communication Arts
    This research was conducted with the aim to study the strategies and the use of humour language in the series breaks of the variety game show “Ching Roy Ching Laan”. It was the gathering of information from various sources and the transcribing of the 130 shows into the written scripts for analysis and research writing.The research also began with the recipient-interaction test among 30 targeted viewers including the researcher and co-researchers. The purpose was to observe the interactions and to interview them in order to extract the information for the analysis. Then, the researcher used the analytical description to present the result of the research.The research results showed that the program studied had the humour-boosting strategies as follows: bullying, shifting topics, changing the moods, and emphasizing actors’ characteristics which were the outstanding humor in this study. Other interesting strategies to make the shows humorous are doing intentional mistakes, flirting and saying dirty jokes, misunderstanding, worsening the situations, copying, switching roles, giving scenes to others, being beyond the situation contexts, showing off fames, touching the audience’s mind, paralyzing, story flowing, and other strategic supports . In terms of language use, the puns are the highlighted strategy. Moreover, the non-standard language, tones of language, contrastive language, jargons, riddles, metaphors, exaggerations, skipped words, neologisms, and rhythm and pause. In conclusion, humours found in the comedy series breaks of Ching Roy Ching Laan game show were created with the uses of language as tools of communication through various strategies, suitably and accordingly.
      35  1410
  • Thumbnail Image
    Publication
    Transnational Cinemas in Southeast Asia: Good Morning Luang Prabang (2008), Pleasure Factory (2007), and That Sounds Good (2010)
    (University of the Thai Chamber of Commerce, 2013)
    Oradol Kaewprasert
    ;
    University of the Thai Chamber of Commerce. School of Communication Arts
    This study examines the thematic and cinematic elements of three films. The selected films are Good Morning Luang Prabang or Sabaidee Luang Prabang (2008), Pleasure Factory or Rong-ngan Arom (2007) and That Sounds Good or Rao Song Sam Khon (2010). The films are studied via the lens of Transnational Cinemas in the various film genres, and yet the entire paper gives the reader a deeper understanding of the film text and socio-cultural context in which the films were made and released.The findings are as follows:Good Morning Luang Prabang or Sabaidee Luang Prabang (2008) is the first private funded Lao film in 33 years. The film is a co-production of Laos and Thai companies. The film is full of Transnational Cinema elements including border crossing, the representation of cultural identities of the two nations. These cultural identities are represented through the film’s romantic comedy genre. The storyline is related through themes of memory, longing and nostalgia. Still, the plot is simple and does not touch upon any sensitive subject matter due to the control from Laos Ministry of Information and Culture. The cultural and ideological expression of Laos and Thai are exchanged in the narrative and the film production.Pleasure Factory (2007) is a co-production of Singapore and Hong Kong-Netherlands companies. Unlike the Thai-Laos co-production, Pleasure Factory depicts subjects that are traditionally hidden in Asian Society, such as prostitution, same-sex relationship and female sexual pleasure. The film manifests its transnational elements by employing the actors from different nationalities along with the Diasporic characteristic of the film casts and crews. The film portrays sexual representation with Art Cinema elements that attract festival filmgoers. Even though the Singapore authority allows the film to be made and released, some parts of same-sex intimate relationship scenes were removed. The strictness of censorship in Singapore is lessened than before to a certain extent.That Sounds Good or Rao Song Sam Khon (2010) was made solely by a Thai company. The film contains Transnational Cinema elements via the journey of the characters from Thailand to Laos and Vietnam. Most of the film casts are Thai and the characters do not socialize with the locals. One of the Vietnamese female characters is exploited by the Thai male gaze which, at the time of this research is conducted, will not be allowed to appear in Lao transnational films. The disabled characters are also projected in the film. The film represents these characters’ point of view with deteriorated audio-visual qualities. With the film’s romantic comedy genre, the disabled characters are portrayed in a comical way.
      34  352