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โครงการรวบรวมและจัดทําวารสารอิเล็กทรอนิกส์ มหาวิทยาลัยเกษตรศาสตร์

230 Humanities Journal Vol.22 No.2 (July-December 2015)

Introduction
In Europe, transnational cinema has started as early as the sound film
era, that is, 1920s-1930s (Uhde and Uhde, 2010: 5). The transnational cinema

was increased at the end of World War II, in which migration of the European
casts and crews to the US occurred. Today, the impact of globalization and
advanced technologies has enhanced the trend of international co-productions
all over the world. Works of film casts and crews from different nations have,

more or less, created unique aspects to the films. Academic discussions on
transnational cinema, however, revolved around Hollywood, Bollywood, European,
Latin American and Pan-Asian cinemas (Shaw and De La Garza, 2010: 3-6).
This article is aimed at analyzing Southeast Asian transnational cinema focusing
on three films: Sabaidee Luang Prabang/Good Morning Luang Prabang
(Anousone and Sakchai, 2008), the first private funded Lao film in 33 years;

Rong-Ngan Arom/Pleasure Factory (Ekachai, 2007), the co-production of
Singapore and Hong Kong-Dutch companies; and Rao Song Sam Khon/That
Sounds Good (Kittikorn, 2010).

Objectives of the study are to analyse details of the transnational cinema
in various film genres. The thematic and cinematic elements of these films are
also examined. The research covers a thorough analysis of three films in
relation to their genres and styles, focusing on their texts and contexts of the
countries they were filmed. In terms of approach, this study uses textual

analysis by looking at multiple significance of discursive structure in the films,
such as narrative formulae and cinematic techniques. Genre analysis is also
used to examine the films which range from romantic-comedy, road movies to
art cinema. In addition, in-depth interviews with the film producers and actors

are also used to clarify cultural, political, and industrial determinants of the
chosen films.