Phantasmagorical realism in Memoria (Apichatpong Weerasethakul 2021)

References

1. Allouche, Claire and Uzal, Marcos (2021), ‘L’explosion intérieure: Entretien avec Apichatpong Weerasethakul’, Cahiers du Cinéma, 781, November, pp. 12–16.
   [Google Scholar]
2. Als, Hilton (2022), ‘The metaphysical world of Apichatpong Weerasethakul’s movies’, The New Yorker, 10 January, https://www.newyorker.com/magazine/2022/01/17/the-metaphysical-world-of-apichatpong-weerasethakuls-movies. Accessed 5 July 2023.
   [Google Scholar]
3. Bazin, André (ed.) (2009), ‘Ontology of the photographic image’, in What Is Cinema? (trans. T. Barnard), Montreal: caboose, pp. 3–12.
   [Google Scholar]
4. Bordeleau, Érik (2015), ‘(Dis)enchanted Taiwanese cinema, schizoanalytic belief and the actuality of Animism’, in S. van Tuinen (ed.), Speculative Art Histories: Analysis at the Limits, Edinburgh: Edinburgh University Press, pp. 21–38.
   [Google Scholar]
5. Bordeleau, Érik (2017), ‘Percolating the elusive: Into Apichatpong’s dreamscape’, in É. Bordeleau, T. Pape, R.-A. Ronald and A. Szymanski (eds), Nocturnal Fabulations: Ecology, Vitality and Opacity in the Cinema of Apichatpong Weerasethakul, London: Open Humanities Press, pp. 80–116.
   [Google Scholar]
6. Bowers, Maggie Ann (2004), Magical Realism, New York: Routledge.
   [Google Scholar]
7. Brasil, André (2012), ‘Bicicletas de Nhanderu: lascas do extracampo’, Devires, 9:1, pp. 98–117.
   [Google Scholar]
8. Brasil, André (2013), ‘Mise-en-abyme da cultura: a exposição do “antecampo” em Pi’õnhitsi e Mokoi Tekoá Petei Jeguatá’, Significação: Revista de Cultura Audiovisual, 40:40, pp. 245–67.
   [Google Scholar]
9. Cao, Xueqin, Hawkes, David, Gao, E. and Minford, John (1973), The Story of the Stone: A Chinese Novel in Five Volumes, London: Penguin Books.
   [Google Scholar]
10. Carpentier, Alejo ([1949] 1995), ‘On the marvelous real in America’, in L. P. Zamora and W. B. Faris (eds), Magical Realism: Theory, History, Community, Durham, NC: Duke University Press, pp. 76–88.
    [Google Scholar]
11. Chunsaengchan, Palita (2021), ‘The critique of anticommunist state violence in uncle Boonmee who can recall his past lives’, Asian Cinema, 32:1, pp. 95–111.
    [Google Scholar]
12. de Luca, Tiago (2014), Realism of the Senses in World Cinema: The Experience of Physical Reality, Londres: I.B. Tauris.
    [Google Scholar]
13. de Luca, Tiago and Barradas Jorge, Nuno (eds) (2016), Slow Cinema, Edinburgh: Edinburgh University Press.
    [Google Scholar]
14. Elsaesser, Thomas (2009), ‘World cinema: Realism, evidence, presence’, in L. Nagib and C. Mello (eds), Realism and the Audiovisual Media, Basingstoke: Palgrave Macmillan, pp. 3–19.
    [Google Scholar]
15. Fan, Victor (2022), Cinema Illuminating Reality Media Philosophy through Buddhism, Minneapolis, MN: University of Minnesota Press.
    [Google Scholar]
16. Film at Lincoln Center (2021a), ‘Apichatpong Weerasethakul and Tilda Swinton on Memoria | NYFF59’, Youtube, 8 October, https://www.youtube.com/watch?v=2C07slRRSVw. Accessed 5 July 2023.
    [Google Scholar]
17. Film at Lincoln Center (2021b), ‘The making of Memoria with Apichatpong Weerasethakul & Tilda Swinton | NYFF59’, Youtube, 30 December, https://www.youtube.com/watch?v=hNmlQzn0UII. Accessed 5 July 2023.
18. García Márquez, Gabriel ([1967] 2000), One Hundred Years of Solitude (trans. G. Rabassa), London: Penguin Classics.
    [Google Scholar]
19. Gordon, Avery (1997), Ghostly Matters: Haunting and the Sociological Imagination, Minneapolis, MN: University of Minnesota Press.
    [Google Scholar]
20. Hansen, Miriam (1997), ‘Introduction’, in S. Kracauer (ed.), Theory of Film: The Redemption of Physical Reality, Princeton, NJ: Princeton University Press, pp. vii–xlv.
    [Google Scholar]
21. Ingawanij, May Adadol (2013), ‘Animism and the performative realist cinema of Apichatpong Weerasethakul’, in A. Pick and G. Narraway (eds), Screening Nature: Cinema beyond the Human, Oxford: Berghahn Books, pp. 91–102.
    [Google Scholar]
22. Jameson, Fredric (1992), ‘Remapping Taipei’, in The Geopolitical Aesthetic: Cinema and Space in the World System, Bloomington, IN and London: Indiana University Press and BFI.
    [Google Scholar]
23. Kohn, Eric (2015), ‘Apichatpong Weerasethakul on why “Cemetery of Splendour” will be his final film in Thailand’, IndieWire, 30 September, https://www.indiewire.com/features/general/apichatpong-weerasethakul-on-why-cemetery-of-splendour-will-be-his-final-film-in-thailand-57276/. Accessed 5 July 2023.
24. Lim, Bliss Cua (2009), Translating Time: Cinema, the Fantastic, and Temporal Critique, Durham, NC: Duke University Press.
    [Google Scholar]
25. Liu, Siqi (2024), ‘The South China new wave: Cinema as Xinxiang (affective-ideational imagery)’, in C. Schultz and C. Mello (eds), Chinese Film in the 21st Century: Movements, Genres, Intermedia, London and New York: Routledge, pp. 43–58.
    [Google Scholar]
26. Loaiza Piedrahita, Oscar (2004), Los corredores del tiempo, Armenia: Pixel.
    [Google Scholar]
27. Lovatt, Philippa (2013), ‘“Every drop of my blood sings our song: There can you hear it?”: Haptic sound and embodied memory in the films of Apichatpong Weerasethakul’, The New Soundtrack, 3:1, pp. 61–79.
    [Google Scholar]
28. Ma, Jean (2010), Melancholy Drift: Marking Time in Chinese Cinema, Hong Kong: Hong Kong University Press.
    [Google Scholar]
29. Mello, Cecília (ed.) (2015), Realismo Fantasmagórico, Coleção Cinusp, vol. 7, Universidade de São Paulo, Escola de Comunicações e Artes, https://www.livrosabertos.abcd.usp.br/portaldelivrosUSP/catalog/book/816. Accessed 14 January 2024.
    [Google Scholar]
30. Mello, Cecília (2019), The Cinema of Jia Zhangke: Realism and Memory in Chinese Film, London: Bloomsbury.
    [Google Scholar]
31. Nagib, Lúcia and Mello, Cecília (eds) (2009), Realism and the Audiovisual Media, Basingstoke: Palgrave Macmillan.
    [Google Scholar]
32. Quandt, James (ed.) (2009), Apichatpong Weerasethakul, Vienna: SYNEMA - Gesellschaft für Film und Medien.
    [Google Scholar]
33. Rodowick, David N. (2007), The Virtual Life of Film, Cambridge, MA and London: Harvard University Press.
    [Google Scholar]
34. Uzal, Marcos (2021a), ‘Dans l’inconnu: Entretien avec Tilda Swinton’, Cahiers du Cinéma, 781, November, p. 20.
    [Google Scholar]
35. Uzal, Marcos (2021b), ‘Memoria d’Apichatpong Weerasethakul: Trou Story’, Cahiers du Cinéma, 781, November, pp. 8–10.
    [Google Scholar]
36. Viveiros de Castro, Eduardo de (1998), ‘Cosmological deixis and Amerindian Perspectivism’, in E. Viveiros de Castro (ed.), The Journal of the Royal Anthropological Institute, 4:3, pp. 469–88, https://doi.org/10.2307/3034157.
    [Google Scholar]
37. Warnes, Christopher and Sasser, Kim Anderson (eds) (2020), Magical Realism and Literature, Cambridge Critical Concepts, Cambridge: Cambridge University Press, https://doi.org/10.1017/9781108551601.
    [Google Scholar]
38. Weerasethakul, Apichatpong (2021), Memoria, Berlin: Fireflies Press.
    [Google Scholar]
39. Wollen, Peter ([1969] 1998), Signs and Meaning in the Cinema, London: BFI.
    [Google Scholar]
40. Yu, Kiki Tianqi (2023), ‘Cinematic ideorealm and cinema following Dao: Theorizing film aesthetics through Daoism’, Screen, 64:4, pp. 462–84, https://doi.org/10.1093/screen/hjad039.
    [Google Scholar]
41. Zamora, Lois Parkinson and Faris, Wendy B. (eds) (1995), Magical Realism: Theory, History, Community, Durham, NC: Duke University Press.
    [Google Scholar]