The essay examines a tropical manifestation of camp deployed by queer independent filmmakers in Thailand in response to virulent censorship measures. Through close analysis of performances and films produced between 2000 and 2010 by Michael Shaowanasai and Tanwarin Sukkhapisit, the author reads wer aesthetics as a response to cultural nationalism and a global queer discourse in military-resurgent Thailand. In its use of complicity as critique, wer aesthetics blurs the lines between capitulation and protest, abjection and enjoyment, thus revising how normativities and nonnormativities are imagined, produced, and inhabited.
Nguyen Tan Hoang; Wer Aesthetics in Contemporary Queer Thai Cinema. Camera Obscura 1 May 2018; 33 (1 (97)): 139–169. doi: https://doi.org/10.1215/02705346-4336872
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