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In order to achieve the primary mission of the Forestry Department, the hero and his colleagues, Thep and Lert, take the law into their own hands. However, the presentation of deforestation adopts an alternative perspective. While the hill-tribes and villagers are officially charged as the main culprits, Roi Pa highlights 'corporate crime' rather than the 'individual criminal'. Although he is unsympathetic to either the director presents the former as the real 'enemy' and the latter become 'one of us' as Sua Term, the great bandit, is won over by the hero. SUA: "Thank you for sparing my life, Uncle.., but you hills! not forge! your promise.. TERM: "Ye/i!" SUA: "From now on you can't cut any tree, not in any forest." TERM: "You bastard, do you mean to rid me of my living?" SUA: "If you are a man you 'd better keep your promise. .you can 'I take any of these logs either... TERM: "Sure, I won 't take theni. . . but what will I do for a living, may I ask? You want me to go back to robbery, do you?" SUA: "I don 't care., a promise is a promise. .other wise I don 't think you are a man at all..." (Roi Pa, 11:1-2) As the hero's formidable ally, Sua Term's role is second only to Sua himself. The image of their friendship and their respect for one another shares the populist view of the 'outlaw hero' to be found in many popular fictions and folk tales. TERM: "You are such a fine man, Sua. . .all my life I don 't think / will love anyone else as much as I love you. SUA: "Apart from Luangia and my patrons, you are another person whom I respect, Uncle Term. TERM: "(laughter)" (Roi Pa, 21:2) When the hero and his friend are endangered by the logger tycoons for example, it is Sua Term who comes to the rescue. THEP: "I heard that Polieng Ithi and his gang is very powerful because they have some influential figures be/i md them. That's why they could take over other people 's franchise or do whatever they wish to." LERT: "Yes, those who resisted them are murdered.. Sua and I have both experienced it, haven 't we? Luckily Sua Terni was in lime, otherwise.. " (Roi Pa, 17:4) 152
Sua Term is depicted as the hero's counterpart even though he is an outlaw. His generosity and humour is appreciated by the protagonists. More importantly, his positive image is constantly constrasted with the vulgarity of the business crooks. Roi Pa suggests that the real dangers of deforestation are generated by the logging industry, and especially by the influential tycoons who bribe their way into the business. ITHI: "We will have a new part/Icr.. WONG: "Good, the more we expand the better. Our business ivill be strengthened... after this, the next move is.. ITHI: "Yes, Polieng Tawee., WONG: "He is too arrogant.. we can 'I buy him out, so.. ITHI: "We will get rid of him.. we will take over his franchise.. .and we will continue until we own all the franchise in the nor/h.. (Roi Pa, 21:4) Although the corporation's attempt to monopolise the industry is revealed, their rejection is based upon their evil deeds of 'bloody murder' rather than their aggressively capitalist operations. In the end however, the plot is resolved by appeals to the religious solution and the defence of law and order. The melodramatic climax reinforces the axiomatic law of Kar,na. The 'corporate murderers' are defeated. Ithi is killed by Saengthong who avenges her father. Wong and Anirut are arrested by the police. On the other hand, Sua Terni's death is niore problematic. TERM: "Good god, it's the police!" POLICE: "Oi, Sua Term!" SUA: "Don 'I shoot, Uncle... do/I 'I shoot at the police. TERM: "(painful cries)" (RIFLE SHOTS) SUA/: "Oh no, no, Uncle Term!.. THEP THEP: "(shaken) go in peace, Uncle. .you should not have drawn your gun... (crying)" SUA: "(crying) Uncle Term, may you rest in peace.. if we reincarnate I pray that we meet again.." (THE END) (Roi Pa, 22:6) 153
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RADIO IN A TRANSITIONAL SOCIETY: TH
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Chapter 1 1.1 I .2 Chapter 2 2.1 2.
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Chapter 8 8.1 8.2 8.3 Chapter 9 9.1
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List of Figures Figure 1 The Admini
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Our inquiry therefore, is a small a
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4 --- First we begin with an apasis
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2.1 Introduction CHAPTER 2 MODERN T
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labour' either worked their own lan
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In the urban areas, the US military
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US, Japan and Europe. Between 1974
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In the present era of resurgent cap
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2.6 A Chronology of Events, 1932 -
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US government cut military aid to a
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on the other, it undermined the sub
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This was not the first time that th
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The cardinal position of the monarc
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3.2 Nationalism and Militarism; Con
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In the Thai language the word for '
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Reforms designed to 'modernise' the
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Development Plan (1961-1966), serve
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3.3 Paternalism and the Emergence o
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With Prem as the father figure (dub
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development of capitalism has trans
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democracy they were hostile to gove
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However, since the civilian governm
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egion total(%) Bangkok Central Nort
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the power of allocative control wou
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emained unfulfIlled. There were lar
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decisions used to secure the audien
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Restrictions on programme content w
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"Radio advertising is very cheap. A
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Although the emergent music industr
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million). This enabled it to expand
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In addition, the quantity of media
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editorial and advertisement. Commer
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O — V. '-'I C-.)- V- It) -V b1 I-
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ai C L I-. 0 L 0 H U 0 0 L 0 H 0 U
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5.1 The State and Media Production:
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Pua Pandin Thai shares similar ideo
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The closed form of the Sunday sermo
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5.2 The Production of News and Curr
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After the downfall of the military
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presentation. On AIvl radios, these
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Table 7 The Structure of Programme
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The routine of Kao Si Mum Baan begi
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commercial success, and the fact, a
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Table 8 A Summary of the Structures
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the theatre as well as from the civ
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How then can a declining industry n
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Phibun's military patronage, music
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a more cautious strategy. Since it
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The drama companies submit one-page
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Monthly salary - Main actors - Dire
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The production of popular music in
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Page 124 and 125: In this sermon, civil servants are
Page 126 and 127: Through these programmes the milita
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Page 131 and 132: The military argues that it is the
Page 133 and 134: The rigid divisions that operated i
Page 135 and 136: are sometimes present in the same p
Page 137 and 138: "The Japanese PM won the election a
Page 139 and 140: "Parliament is no! an arena for rev
Page 141 and 142: forms. Nonetheless, it contradicts
Page 143 and 144: A second politku problem is posed b
Page 145 and 146: PART ONE: THE FINAL PLANNING OF THE
Page 147 and 148: In this rationalisation the author
Page 149 and 150: and her courtly speech are always s
Page 151 and 152: CHAPTER 8 DRAMATISING MASCULINITY A
Page 153 and 154: Sua is trained in a male dominated
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Page 157 and 158: which carry the two themes simultan
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Page 165 and 166: "... My father wan Is me to have an
Page 167 and 168: The final way in which the film and
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Page 173 and 174: CHAPTER 9 PRIVATISING SENSUAL PLEAS
Page 175 and 176: ealistic lyrics. Pleng Luktoong bor
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Page 179 and 180: Luktoong lyrics: resistance and acc
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Page 183 and 184: When the balance is struck the song
Page 185 and 186: prevails. These songs juxtapose the
Page 187 and 188: These pre-emptions are however, ove
Page 189 and 190: Ah, ha, cutie, so handsome Whose lo
Page 191 and 192: This track reproduces the style of
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Page 195 and 196: 9.3 Luktoong Music Radio: DJs and C
Page 197 and 198: Programme of Luktoong Artists -Adve
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Page 205 and 206: It is in this final slot, where the
Page 207 and 208: The field research The field study
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small dinning hail (which seats abo
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Category I Accommodation 2 Food 3 C
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positions, though some of their act
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The Unionisation of the Aporn Texti
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". .we can 'I bear the house-keeper
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after her predecessor resigned, the
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einforce alternative spaces by inte
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A collective biography All of the n
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drama and the prime-time soap opera
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In the factory, the workers are abl
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pointed out, "a tragic ending is to
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of the story however. One responden
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(1) "1 wonder if they are from Kora
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sung among the women workers and on
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On the first anniversary of the Uni
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ealist narrative were rejected. As
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(B) "Now, there are well wishers wh
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In this manifestation of symbolic p
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CHAPTER 11 CONCLUSION The aim of th
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11.2 Cultural Mediation and The Lim
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occured within the workers themselv
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Bibliographies Adorno, T. and Horkh
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Chaloemtiarana, T. (1976) "The Evol
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Huncharoen, C. (1983) "Panha karn K
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Murdock, G. and Janus, N. (1985) Ma
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Rajakool, C. (1984) The Social and
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Volosinov, V. (1973) Marxism and th
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