Rizomas etno-cinematográficos: un estudio de Manta Ray (Puttiphong Aroonpheng, 2018) y Una tierra imaginada (Yeo Siew Hua, 2018)

Abstract

El artículo introduce el concepto de “rizoma etno-cinematográfico”, construido a partir del marco conceptual de Gilles Deleuze. Se trataría de un modelo de conocimiento y presentación de un mundo etno-social construido con imagen y sonido, donde el eje vertebrador es el tiempo y que se expresa apelando a la percepción sensorial del espectador. Es un modelo caracterizado por la multiplicidad y no jerárquico que, mediante un agenciamiento de sensaciones, memorias, sueños, mitos, abre la subjetividad y el tiempo a potencialidades virtuales. Se pone el ejemplo de dos películas recientes: Manta Ray (Kraben Rahu, Puttiphong Aroonpheng, 2018) y Una tierra imaginada (A Land Imagined, Yeo Siew Hua, 2018) constituidas como rizomas etnográficos para el conocimiento de los refugiados rohingya en Tailandia y los trabajadores migrantes chinos en Singapur.

Ethno-cinematographic Rhizomes: Examples From the Independent Cinema of Apichatpong Weerasethakul and Anocha Suwichakornpong

“…Within visual anthropology and ethnographic cinema we connect with recent developments that, moving further than the "observational cinema" (Grimshaw & Ravetz, 2009) seek to go beyond representative docu-fiction (Edwards, 2012;Poole, 2005;Schneider & Wright, 2010;Yanai, 2011) and also with applications at large of Deleuze's philosophy in anthropology (Glowczewski, 2019). We connect as well with further explorations of the application of Deleuze's philosophy of cinema (Martin-Jones, 2011), and with our own previous applications to Asian cinema of the Deleuzian concepts of rhizome and assemblage (Malaina, , 2020(Malaina, , 2021.…”

Through the Looking Glass. The Ethno-Cinematographic Rhizomes of Anocha Suwichakornpong

“…It transcends the traditional nationalist, religious and monarchical parameters of the Thai film industry (Sungsri, 2008), distancing itself from the dominant commercial, moral and even political criteria, while looking for ways to avoid the historical and persistent censorship of the country (Hunt, 2021). In addition to Weerasethakul and other directors such as Jakrawal Nilthamrong, Sivaroj Kongdej, Aditya Assarat and recently Phuttiphong Aroonpheng (Malaina, 2020), two female directors stand out in Thai independent cinema: Pimpaka Towira and especially Anocha Suwichakornpong, on whom we focus here. We understand that this cinema provides us with the "enjoyment" (Vanoye & Goliot-Lété, 2008) proper to the look of a cinematographic artifact in its aesthetic and even poetical dimension, but also ethnographic knowledge of a Global South society and in particular of its more marginal and invisible "subaltern" (Spivak, 1988) social and cultural realities (Grimshaw & Ravetz, 2009).…”

“…We have introduced the concept of "ethno-cinematographic rhizome" in other articles (Malaina, 2020(Malaina, , 2022, based on the conceptual framework developed by Gilles Deleuze, as at the same time an epistemological framework and a heuristic tool for the analysis of films generated in non-Western cultures that combine cinematographic creation and ethnographic observation. Our proposal is framed in the recent advances in anthropology of the image (Andrade & Elhaik, 2018) and in multimodal anthropology, sensory instead of textual, performative and inventive instead of representative and descriptive (Dattatreyan & Marrero-Guillamón, 2019).…”