Noah Viernes
Biographic Data
| ID | 4389926 |
|---|---|
| NAME | Noah Viernes |
| GIVEN NAMES | Noah |
| FAMILY NAME | Viernes |
| SIGNATURE | VIERNES N |
| AFFILIATIONS | Akita International University |
| ORCID | 0000-0002-3123-7006 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 5 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2008 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 2 |
Restricted vision
Film censorship screens the nation as a ‘way of seeing’ that is both fundamental to the art of governance and vulnerable to the flexibility of contemporary global images. In Thailand, this historically-conditioned regime arose in the geopolitics of the 1930 Film Act, the Motion Pictures and Video Act of 2008, and a coterminous regulation of visuality as a form of cultural governance. I pursue a close reading of two banned films by Apichatpong Wee…
The Aesthetics of Protest
The urban street is a significant canvas within the material cartography of the nation-state’s spatial frontier. Between March and May of 2010, the United Front for Democracy against Dictatorship, also known as the “Red Shirts,” painted Bangkok red as one of the most cohesive assemblage of street protests in Thai political history. Each protestor donated ten cubic centimeters of blood to be poured at several sites, including the Government House …
The Geo-Body of Contemporary Thai Film
Contemporary Thai films such as Salween (Chatrichalerm Yukol, 1995), Handle Me With Care (Kongdej Jaturanrasamee, 2008) and Mysterious Object at Noon (Apichatpong Weerasethakul, 2000) emphasize connections between geographical space and national belonging in unconventional ways. By employing new creative techniques to present continuing political conflicts in the region, these films lay claim to a visual tradition of territorial recognition. This…
Cinematic Forms and the Assembly of Cities
This article suggests that an aesthetics of contemporary urban life builds new avenues for treating the politics of visibility. Several reasons instigate this new approach. First, art forms illustrate and train a specific way of “seeing,” a camera consciousness, that correlates with changes in the built landscape. A specific configuration, in other words, presents a relationship (an analogy) between the contemporary predominance of urban images a…
The Aesthetics of Protest
The urban street is a significant canvas within the material cartography of the nation-state’s spatial frontier. Between March and May of 2010, the United Front for Democracy against Dictatorship, also known as the “Red Shirts,” painted Bangkok red as one of the most cohesive assemblage of street protests in Thai political history. Each protestor donated ten cubic centimeters of blood to be poured at several sites, including the Government House …
Restricted vision
Film censorship screens the nation as a ‘way of seeing’ that is both fundamental to the art of governance and vulnerable to the flexibility of contemporary global images. In Thailand, this historically-conditioned regime arose in the geopolitics of the 1930 Film Act, the Motion Pictures and Video Act of 2008, and a coterminous regulation of visuality as a form of cultural governance. I pursue a close reading of two banned films by Apichatpong Wee…
Cinematic Forms and the Assembly of Cities
This article suggests that an aesthetics of contemporary urban life builds new avenues for treating the politics of visibility. Several reasons instigate this new approach. First, art forms illustrate and train a specific way of “seeing,” a camera consciousness, that correlates with changes in the built landscape. A specific configuration, in other words, presents a relationship (an analogy) between the contemporary predominance of urban images a…
The Geo-Body of Contemporary Thai Film
Contemporary Thai films such as Salween (Chatrichalerm Yukol, 1995), Handle Me With Care (Kongdej Jaturanrasamee, 2008) and Mysterious Object at Noon (Apichatpong Weerasethakul, 2000) emphasize connections between geographical space and national belonging in unconventional ways. By employing new creative techniques to present continuing political conflicts in the region, these films lay claim to a visual tradition of territorial recognition. This…
The Aesthetics of Protest
The urban street is a significant canvas within the material cartography of the nation-state’s spatial frontier. Between March and May of 2010, the United Front for Democracy against Dictatorship, also known as the “Red Shirts,” painted Bangkok red as one of the most cohesive assemblage of street protests in Thai political history. Each protestor donated ten cubic centimeters of blood to be poured at several sites, including the Government House …
Restricted vision
Film censorship screens the nation as a ‘way of seeing’ that is both fundamental to the art of governance and vulnerable to the flexibility of contemporary global images. In Thailand, this historically-conditioned regime arose in the geopolitics of the 1930 Film Act, the Motion Pictures and Video Act of 2008, and a coterminous regulation of visuality as a form of cultural governance. I pursue a close reading of two banned films by Apichatpong Wee…
Law (4 works) · Political science (4 works) · Politics (4 works) · Sociology (4 works) · Southeast Asian Sociopolitical Studies (4 works) · Aesthetics (3 works) · Art (3 works) · Media studies (3 works) · Archaeology (2 works) · History (2 works)