The Political Asleep: Non-Traumatic Spectrality in Apichatpong Weerasethakul’s Cemetery of Splendour

In this paper, I analyse Cemetery of Splendour (2015) to argue that spectrality is addressed therein differently from the way it is in the other feature films by Apichatpong Weerasethakul. As a methodological framework, I will particularly rely on Fredric Jameson’s idea of “cognitive mapping” and fo...

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Main Author: Marco Grosoli
Format: Article
Language:English
Published: University of Bologna 2025-07-01
Series:Cinergie
Subjects:
Online Access:https://cinergie.unibo.it/article/view/21518
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author Marco Grosoli
author_facet Marco Grosoli
author_sort Marco Grosoli
collection DOAJ
description In this paper, I analyse Cemetery of Splendour (2015) to argue that spectrality is addressed therein differently from the way it is in the other feature films by Apichatpong Weerasethakul. As a methodological framework, I will particularly rely on Fredric Jameson’s idea of “cognitive mapping” and focus, thereby, mainly on the film’s geopolitical implications as well as on its self-referentiality. In regard to the former, the specificities of Isan region in the Northeast of Thailand will prove very relevant (as in other films by the same director). In regard to the latter, I will have to draw as well on Jameson’s theories of film enunciation (somewhat related to Jean-Pierre Oudart’s “suture theory”) as key to the film’s political subtext.
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spelling doaj-art-4e93ef00e5064e6aaa0897cc3e6edc482025-08-20T03:34:13ZengUniversity of BolognaCinergie2280-94812025-07-0127718510.60923/issn.2280-9481/2151819896The Political Asleep: Non-Traumatic Spectrality in Apichatpong Weerasethakul’s Cemetery of SplendourMarco Grosoli0Universidade Nova de LisboaIn this paper, I analyse Cemetery of Splendour (2015) to argue that spectrality is addressed therein differently from the way it is in the other feature films by Apichatpong Weerasethakul. As a methodological framework, I will particularly rely on Fredric Jameson’s idea of “cognitive mapping” and focus, thereby, mainly on the film’s geopolitical implications as well as on its self-referentiality. In regard to the former, the specificities of Isan region in the Northeast of Thailand will prove very relevant (as in other films by the same director). In regard to the latter, I will have to draw as well on Jameson’s theories of film enunciation (somewhat related to Jean-Pierre Oudart’s “suture theory”) as key to the film’s political subtext.https://cinergie.unibo.it/article/view/21518cognitive mappingjamesonsuturespectralshining
spellingShingle Marco Grosoli
The Political Asleep: Non-Traumatic Spectrality in Apichatpong Weerasethakul’s Cemetery of Splendour
Cinergie
cognitive mapping
jameson
suture
spectral
shining
title The Political Asleep: Non-Traumatic Spectrality in Apichatpong Weerasethakul’s Cemetery of Splendour
title_full The Political Asleep: Non-Traumatic Spectrality in Apichatpong Weerasethakul’s Cemetery of Splendour
title_fullStr The Political Asleep: Non-Traumatic Spectrality in Apichatpong Weerasethakul’s Cemetery of Splendour
title_full_unstemmed The Political Asleep: Non-Traumatic Spectrality in Apichatpong Weerasethakul’s Cemetery of Splendour
title_short The Political Asleep: Non-Traumatic Spectrality in Apichatpong Weerasethakul’s Cemetery of Splendour
title_sort political asleep non traumatic spectrality in apichatpong weerasethakul s cemetery of splendour
topic cognitive mapping
jameson
suture
spectral
shining
url https://cinergie.unibo.it/article/view/21518
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