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โครงการรวบรวมและจัดทําวารสารอิเล็กทรอนิกส์ มหาวิทยาลัยเกษตรศาสตร์

วารสารมนุษยศาสตร์ ปีที่ 22 ฉบับที่ 2 (กรกฎาคม-ธันวาคม 2558) 241

In terms of film techniques, the filmmakers use sound and images to
represent perception of how the two girls see and hear the world. Here, their
perceptions are represented through the art of film representations. The film
shows blurry images to demonstrate how a short sighted person sees the world.

Squeaking sounds are also used to demonstrate how a hearing impaired
person hears music and conversations. The representations of the world through
the disabled lens rarely exist in mainstream media or other kinds of art forms.
The filmmakers make their best attempt to present the two girls’ viewpoints in

accurate manners. This is evident in the list of sign language trainers in the
film’s end credits.

Conclusion
The transnational age has changed the economic structure of the film

industry, including marketing and distribution, which consequently affects film
texts and their production culture. Since Asian market has a massive body of
consumers with substantial income, there are increasing trends of transnational
castings and co-productions. Numerous elements in the films, such as international
casts and attractive locations, evidently aim at attracting the international

markets. The phenomenon of international co-production makes cinema develop
into “a global cultural form, however different its local manifestation”. (Roberts,
1988: 62).

Sabaidee Luang Prabang is an exception due to the similarity of the
countries’ cultures and languages. This connection facilitates the communication
between casts and crews of the two nations. The diasporic background of the
co-producer and actor, Ananda Everingham, also manifest that today nationality

of a person is also blurred. After the long pause, the film is made in a respectful
way. Under the control of the Lao Ministry of Information and Culture, the film