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โครงการรวบรวมและจัดทําวารสารอิเล็กทรอนิกส์ มหาวิทยาลัยเกษตรศาสตร์

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

modification of value toward films. (Arnold, 2007). Although the rigorous
censorship in Singapore is less rigid than before, it is still there. In Pleasure
Factory, some scenes are cut off. An interview with one of the film leading
actors Loo Zihan, on the 6 of October 2011, reveals that there is a scene of

intimate same sex relationship when making Pleasure Factory but in the VCD
released in Singapore, such scene is not seen.

That Sounds Good

Unlike the first two films analyzed in this study, That Sounds Good was
made by a solid Thai production company, M 39. The storyline is based on
border crossing, leading the characters and the audience to Southeast Asian’s
unseen locations through the East-West Economic Corridor (EWEC) from
Thailand to Laos and Vietnam. The crossing border scenes manifest the film’s

transnational position. In the midst of the film’s road movie together with
romantic comedy genre, the plot is simple but the scenery illustrates attractiveness
of the locations. The film is therefore analyzed in terms of its transnational
components, in relation to the use of the road movie genre to relocate the
characters into the specific landscape.

That Sounds Good is about a caravan of offroad jeeps that venture on
an Indochina road trip. Like other road movies, That Sounds Good uses its
specific location to express national imaginary land, to reinforce the sense of

“regional and local belonging; the disappearance of (some) customs and
borders,...” (Mazierska and Rascaroli, 2006: 2). Their trip from Thailand through
Laos and Vietnam is presented in the road movie style and carries implications
of the genre. As Sharon Willis suggests, in the road movie convention

characters are different from the community where they travel (Willis, 1997).
Distinctive from Sabaidee Luang Prabang and Pleasure Factory, the film