Apichatpong Weerasethakul – for anglophone cinephiles and film scholars the most famous contemporary Southeast Asian filmmaker – creates a kind of cinema that is not only Thai, Southeast Asian, Asian, global, ‘glo-cal’, slow, worldly and transnational, but also planetary. Because of its emphasis on the relationship between humans and the nonhuman, as well as its signature images of animals, ghosts and the jungle, Apichatpong’s work has long called for an environmentally oriented critical framework. In recent years his films have been discussed in edited collections on ecocinema, in journal articles on the subject of posthumanism and ecologies, and in various postgraduate courses on film, art and nature.1¹ The trajectory of this interest corresponds with a scholarly turn in which research on national, transnational and world cinema frameworks has begun to embrace an environmental dimension.2² The arrival of the Anthropocene in film studies challenges film scholars to frame the concepts of national, transnational and world cinemas in a new light. One might reconsider the word ‘world’ in ‘world cinema’ in relation to the Earth or the planet itself, in the sense that world cinema tends not only to reflect the domains of the cultures in which it is produced or circulated, but also represents part of the history of the Earth where culture, the ecology and affect are all intertwined. In this respect we may perceive the films of Apichatpong as engaging with and representing Thailand or the Southeast Asian region, while also being an example of planetary cinema that arrives from, speculates and visualizes the past and the future of Planet Earth.

中文翻译：

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阿彼察邦·韦拉斯哈古的行星影院

阿彼察邦·韦拉斯哈古（Apichatpong Weerasethakul）——对于讲英语的影迷和电影学者来说，当代最著名的东南亚电影制片人——创造了一种不仅是泰国、东南亚、亚洲、全球、“全球”、缓慢、世俗和跨国的电影，而且是全球性的. 由于它强调人类与非人类之间的关系，以及其标志性的动物、鬼魂和丛林形象，阿彼察邦的作品长期以来一直呼吁建立一个以环境为导向的批判框架。近年来，他的电影在生态电影编辑集、关于后人文主义和生态学主题的期刊文章以及有关电影、艺术和自然的各种研究生课程中得到了讨论。^{1 1}这种兴趣的轨迹与学术转向相一致，在该转向中，对国家、跨国和世界电影框架的研究已经开始包含环境维度。^{2 2}电影研究中人类世的到来挑战电影学者以新的眼光来构建国家、跨国和世界电影的概念。人们可能会重新考虑与地球或行星本身相关的“世界电影”中的“世界”一词，因为世界电影不仅倾向于反映其生产或流通的文化领域，而且代表文化、生态和影响交织在一起的地球历史的一部分。在这方面，我们可以将阿彼察邦的电影视为与泰国或东南亚地区的互动和代表，同时也是行星电影的一个例子，它来自、推测和可视化地球的过去和未来。