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โครงการรวบรวมและจัดทําวารสารอิเล็กทรอนิกส์ มหาวิทยาลัยเกษตรศาสตร์

วารสารมนุษยศาสตร์ ปีที่ 22 ฉบับที่ 2 (กรกฎาคม-ธันวาคม 2558) 235

Besides the international co-production, Pleasure Factory employs
actors from different countries, such as a Taiwanese actress Yang Kuei-mei.
Yang has worked with a number of internationally acclaimed directors, such as
Ang Lee’s and Tsai Ming-liang. Similar to the Sabaidee film, the leading male

character of Pleasure Factory is Ananda Everingham. Adding to the casting list,
a mainland Chinese actress Xue Er also plays one of the main characters. New
face actors were recruited from Geylang, Singapore’s Red Light District, and
elsewhere in Singapore to bring a sense of realism to the film. The film director

Ekachai Uekrongtham was born and raised in Thailand and has lived and
worked in Singapore.

The variety of actors’ nationalities and diasporic characters of Ananda
and Ekachai are evidence of the interaction and increasing globalization of
trade, business, migration, education, communication, and so on. Given that
globalization has increased interaction among people in the world, this cultural
assimilation continues to constantly increase in these active cultures. With The
ASEAN Economic Community (AEC), the flow of people and culture in the

region would be accelerated.

In Pleasure Factory, Ekachai uses the ‘art cinema’ style with reference
to the area of narrative structure and cinematic style, which is obviously against
the classical cinema convention. Pam Cook and Mieke Bernink (2006) describe
that transnational cinema as “desire for a space of creative possibility outside
the mainstream that will destabilize the field of cultural production and displace
the hegemony center”. Pleasure Factory seems to embrace the idea-

characteristics of art cinema include unset location, purposeless characters and
discontinued storyline.