Horizontal Comparison Of Contemporary Chinese Film And Thai Film

Nowadays we have to accept that many film directors from Asia have been recommended in the international celluloid world by their auteur system. Many auteur films not only reflect director's personal creative vision, but also make a big progress to the film industry in their home countries. This phenomenon has continued to develop in China and Thailand as well, especially among groups of "Chinese Sixth Generation" directors and "Thai New Wave" directors, which became well-known in the year of 1997. Their films have been significantly awarded in many categories of film competitions and others international film festivals during the past decade. Their outstanding accomplishment therefore brings about our interests toward their screenplay, cinematography, and the way of thinking, etc.This study will focus on the two author directors' personal styles, by horizontal comparison between one of Chinese "Sixth Generation" directors' films, Zhang Yang, and Thai director, Pen-ek Ratanaruang. Their films include Zhang Yang's film "Love Spicy Soup" "Shower" "Quitting" "Sunflower" and "Getting home", Pen-ek's films include "Fun Baa Karaoke" "Ruang talok 69" "Monrak Transistor" "Last Live In The Universe" "Invisible Waves " and "Ploy". Therefore the study will examine into their different characteristics of films, film narration and directors' thoughts. Also it will further observe China and Thailand's film creation and industry development, including the relationship between impact of globalization and cinema culture in both China and Thailand.