Introduction
Now man and masculinity is a new things in study of gender. Up till now, study about gender always about woman and feminism construction. Now study about gender not only about woman but about man too. Construction about man and their masculinity be important things to analize. In this report the writter will examine a thailand movies which offer representations of thailand masculinities in different ways. This paper discuss how men are represented and the relationship between this and questions of thailand identity too. These movie is namely “beautiful boxer.”
One point becomes evident that that the characters type symbolized in thailand movies is predominantly male centered. Thailand films are inclined to show a gender intolerance towards masculinity which they consider as a representative to the culture of thailand type. All through the 20th century the image of a typical thailand as a tall, rugged man made it hard for other people to perceive about them in a different way.
According to james affelay in his book sexual masculinities in contemporary thailand movies, has observed that the presence of bias in masculinity is a major characteristic in the history of thailand films and dramas and the issue with respect to concerning men and masculinity have gained a high profile on the public agenda and the decade which spanned from 1991 to 2001 in his view can be seen to engage with recent debates in their thematic treatment of masculinities `under pressure'."
The above discussion focused on the more conceptual and theme of beautiful boxer movie that is basically trying to explain the relation of thailand ideals masculin kick boxer. In general, we look for visual images because they are related to some conceptual theme or topic. Our reasons for wanting specific images relate to our uses for the images in the film. The escalating domination of masculine type films in thailand in the late twentieth century was part of a larger process in conventional popular culture in which feminine stories and genres were appropriated for and by men. Now moving to the chosen films in relation to the premise of this report, i would first like to narrate the basic idea behind the above mentioned film. With respect to beautiful boxer classified the thailand perspective of masculinity as a typical man, working class and anti authoritarian this film was huge hit worldwide.
Analysis
Beautiful boxer story is basically based on the real life story of parinya charoenphol, a muaythai boxer who underwent a sex change operation to become a woman. The movie chronicles her life from a young boy who likes to wear lipstick and wear flowers to her sensational career as kickboxer whose specialty is ancient muaythai boxing moves which she can execute expertly with grace and finally her confrontation with her own sexuality which led to her sex change op.
The streets of bangkok are filled with teenage boys in school uniforms joking, bantering, balancing soccer balls on their heads, etc. Look closer and you'll see some are subtly and skillfully made-up. While many such boys are gay, a few wear makeup just as a way of enhancing themselves. Thai culture has always been lenient about gender bending, especially when the bending upgrades the person's physical beauty.
So it's not so much of a surprise that muay thai (thai kick boxing) champ parinya charoenphol, blessed with chiseled features and a delicate gracefulness, should feel the need to appear in tournaments fully made-up and wearing colorful, embroidered shorts. It also stands to reason that parinya became a national idol, and following a sex change operation "she" has achieved enormous success as an actress/model while at the same time running a muay thai school for women.
While boxing as cinema material is currently en vogue, "beautiful boxer" takes a totally different approach compared to the likes of "million dollar baby" or "cinderella man," which are made up of the same old equation of endurance, inner strength, and rising up from poverty. "beautiful boxer," on the other hand, merges what had heretofore been two polarized themes: traditional notions of femininity and the desire to pummel the other guy into pulp. Parinya made it a practice to tenderly kiss his opponent after knocking them out. Like a thai buddha statue he housed both genders and gender characteristics in a single body.
Prejudices and hardships were part of parinya's fate, but the movie stresses how he never wavered from his goal of becoming what he wanted to be: 1) a muay thai champion; and 2) a woman. In his scheme of things, there was no contradiction.
Accordingly, the overall tone of "beautiful" is more aesthetic than athletic and the visuals explode with lush primary colors and breathtaking scenery from the mountains of chiang-mai in northern thailand. The muay thai matches are choreographed to stress its traditional, ritualized movements rather than simple action and violence. There's none of the bloodied, bone-crunching excitement of "rocky," and yet director ekachai uekrongtham manages to keep the masculinity of muay thai intact. As the character of parinya's coach says in the movie: "putting on makeup does not demean muay thai. One's weakness and poor spirit is what demeans muay thai." (go ahead and roll your eyes but an asian martial arts movie just wouldn't feel right without such words of wisdom!)
Parinya, who in the movie is known as nong toom (asanee suwan), knew from an early age how much he wanted to be a girl. He loved cosmetics and dresses and disliked the rough-and-tumble games of other boys. But as a farmer's son he had few opportunities to indulge such desires and it was only after joining the local muay thai club in his late teens that he was able to scrape up enough cash to buy a lipstick or two. For nong toom and most of the other club members, muay thai was an escape from poverty. The training was tough, but they could at least keep off the streets and eat three meals a day.
Maybe before we watch beautiful boxer movie we have expectation about masculin man. The story about kick boxing make the viewer thinks the story is about kick boxing atlet that very masculin but after we see the movie we will tricked with the character of the kick boxer. We will have same expectation about representation of masculin kick boxer because we have a same concept. Based on stuart hall,
“member of the same culture must share concepts, images and ideas which enable them to think and feel about the world in roughly similar ways. They must share, broadly speaking, the same cultural codes. In this sense, thinking and feeling are themselves system of representations.”
We have a agreement code for described masculin kick boxer. We can see the representation of masculin kick boxer in three aspect and there are:
1. Physical, atletis and brave
2. Agresif inner, muscle on
3. Seksual, love woman
In this movie the concept as if changed. Maybe point number one still using in beautiful boxer movie but point number two and three change. The screen writer of this movie as if open on to new perception about masculin kick boxer in thailand.
The scenes of the boys sleeping after a long day of practice is touching. Crammed en masse into a single, narrow room on threadbare futon, all notions of privacy and space are reduced to zilch. Someone's foot is usually jammed against another's nose, and there's hardly enough space to lift an elbow without "molesting" anyone.
The sensitive nong toom found it unbearable and longed for a room of his own, it was one of the things that drove him to excel (the best players slept in separate quarters). Still, all his hard work didn't prevent nong toom from appearing in the showers wrapped demurely in a floral-patterned towel or taking makeup lessons from his coach's (sorapong chatree) girlfriend. He gets his share of taunts and bullying, but on the whole there's surprisingly little turmoil; the movie is careful never to let any situation get ugly or even too emotional. When nong toom falls in love with a fellow boxer for example, what in another movie could have been the crux (or cross) of his life, is depicted here as a sweet, but casually sentimental affair. Eventually nong toom fights him and wins, whereupon the pair hug each other with mutual masculine respect.
And so it goes. "beautiful boxer" sticks to its own equilibrium, never resorting to camp, always unfailingly respectful about nong toom's cross dressing and pining to become a woman. Those hoping for something along the lines of "iron ladies" (the hilarious story of thai transvestites in a national volleyball team) or the gender angst of "boys don't cry" may be disappointed. On the other hand, this is a wonderfully accurate example of the thai state of mind: when it comes to issues of the body, anything goes. The family dispatches toom to a nearby monastery to become a novice monk, but he must race off to do odd jobs and help on the family farm plot, and eventually the abbot decides the best course of action is to send toom on the road with an itinerant monk. He dutifully goes, but after a while, the monk realizes toom isn't committed. Toom asks the monk whether he can accumulate enough good karma in this life to get what he wants in the next one. The monk reassures him that it may be possible for him to get what he wants in this life, and with that in mind, toom heads home.
Conclusion
Beautiful boxer movie that is basically trying to changes the thailand ideals masculin kick boxer. We have a agreement code for described masculin kick boxer. We can see the representation of masculin kick boxer in three aspect and there are: from physical, atletis and brave, from agresif inner, muscle on, sexsuality, love woman.
In this movie the concept as if changed. Maybe point number one still using in beautiful boxer movie but point number two and three change. The screen writer of this movie as if open on to new perception about masculin kick boxer in thailand.
Beautiful boxer a coming of age story about a man who wants to be female. In order to earn a living and save enough money, he starts to kick box on a dare at a temple festival. "beautiful boxer" at times feels repetitive and haltingly paced, but its blazing emotional core is the real-life boxer asanee suwan's joyously physical performance as nong toom. Whether lifting weights with his teeth or engaging in a delicate ritual dance before each match, mr. Suwan paints the character's simultaneous sweetness and toughness with a subtlety that confounds the traditional categories of "masculine" and "feminine." the intricately choreographed fight scenes are breathtaking, and if the exposition between them occasionally sags, the slack is soon picked up by yet another balletic action sequence.
Works Cited
• Affelay, james. (2000). Sexual masculinities in contemporary thailand movies. Philadelphia: open university press.
• Hall, stuart. (1992). Representation theory. Melbourne: melbourne university press
• Http://www.filmsasia.net/gpage216.html
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