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Melbourne: F. Chesire, Chesire, , Her research interests focus on cultural theory and popular culture in Thailand. Cheap Thai comics khatoon lem la baht are an overlooked cultural product.

In this paper, I argue that cheap Thai comics are cultural products with subaltern credentials due to their production process and the location of their distribution. Moreover, their status as an example of vernacular Thai culture segregates them from mainstream culture as they do not conform to official Thai cultural norms.

The paper further adopts a psychoanalytical lens in its analysis of cheap Thai comics. Despite their grotesque visuals and storylines, they are Buddhist didactic parables, conveying Buddhist messages such as morality and law of karma. Furthermore, cheap comics rely upon the aesthetics of horror and evidence an idiosyncratic artistic style.

Cheap Thai comics, commonly referred to by Thais to argue that cheap comics work as cultural catharsis. Though Buddhist didactic function. My objective here is to the price has now risen to between 5 baht and 15 baht, increase the visibility of the culture which is regarded people still widely refer to them as one-baht comics. Rather than seeing it as trivial, I propose that it convenience stores such as 7-Eleven. Interestingly, has cathartic function and opens up cultural space for however, although the comics can be easily found in subaltern people.

In this paper, I argue that cheap Thai comics are a History subaltern cultural product for subaltern people. First- According to Chulasak Amornvej, a veteran car- ly, I discuss its place in the Thai cultural realm catego- toonist, cheap Thai comics emerged around In- Thai culture situated at the margins of the cultural tarapalit. Although cheap Thai comics came later, the realm and is perceived to be of lower status in relation size of the two are similar: 16 pages at 13 cm by 19cm.

I expand this argument by tween the two points of time. I draw largely on Julia comics was due to certain market factors. This leads their low production cost — as a way to enter the pub- to the process of comparing, contrasting, and classify- lishing market.

Publishing houses then printed the works of Thainess as the national identity emerged in re- amateur cartoonists. The printing cost of ern nation state in late 19th century. The geo-body comedy comics and Japanese comics, however, were incorporated the small kingdoms that were tributaries high. Each month, more than Britain and Siam and France disregarded the diversity one million copies of cheap comics were sold.

Howev- of people under the indigenous polity and assimilated er, many of the comics were of low quality as publishers them into one bounded nation-state. The territory was opted to decrease the cost and time of production. The Siamese court, in the late 19th century, in- also had to be simple. Hence, their popularity de- vented the term chat, according to Western notion that clined. Cheap comics also came under criticism for a nation was the political expression of race. The two their provocative visuals and old-fashioned and stories overlapping concepts of defining the Thai race were at about the supernatural.

The first one was the people who spoke Thai not popular. They are still available in the suburbs or in language. The second one was the people who lived small rural bookshops and convenience stores, and are within the boundary. Thainess as the national identity a source of entertainment among low-income people. Now people see ry and bureaucracy aimed to tighten control over the them as lowbrow, out-dated, and marginal.

I argue that cheap comics are subaltern cultural Thainess does not have a clear definition and does products as they have been relegated to a low status in not function according to strict criteria. Nonetheless, it the Thai cultural realm, despite the fact that they are has led to a classification of cultural manifestations. Their affordability makes them The conservation of highly regarded cultural materials more accessible to low-income readers.

Also, their is of paramount importance, while those deemed as loose production process allows amateur artists to lowbrow are given lower status. For example, Central Thai culture is re- es grass-roots readers in particular locations.

Their garded as the official Thai culture. Hence, it holds lowbrow aesthetics and stories based on local myths higher status than other local or regional cultures such also attract rural readers. Official traditional culture is considered to have higher value than everyday popular culture. High-status cul- tional unity and development, and morality of the peo- ture revolves around Thainess. Siwilai is the Thainess.

Identity: From However, it also had a crypto-colonial internal effect as Thai to Thai- a cultural hegemony that repressed other cultures that Thai] Bangkok: did not conform to it. The invention of Thainess as Sameskybooks, well as the concept of the Thai nation was associated Popular elite and the bourgeoisie, to the exclusion of the rural culture seems not to be regarded as culture as it does subaltern.

Thainess, therefore, is not only a pride, and is thus, heavily sanitised. Cornwel-Smith raises the not conforming to the conventional criteria of the Roy- issue of everyday popular culture not being recognized al Society of Literature would face devaluation, which as culture. The Red Shirts mainstream culture.

They represent the culture that were stereotyped based on their rural origins and were has been expelled to the margins of cultural acceptabil- given the derogatory epithet of Red Buffaloes khwai ity. Vernacular Thai is considered to be tasteless in daeng , which connotes stupidity. The protests faced Thai society as it connotes a sense of lower class and it violent suppression by the Thai military resulting in the can be seen as kitsch.

Cheap Thai In the official narrative, what is considered as au- comics are categorized as vernacular Thai. Culture from culture. Vernacular Thai culture is essentially composed of sense of what it is to be Thai.

Thai-Thai is culture of a lower status and is found in everyday life. Vernacular Thainess. It can be found in public According to Pracha Suveeranont, the trend of and private spaces of everyday culture. This trend good taste? This essay was temple fairs, beauty queens, luk thung and mor lam , considered to be ground-breaking because it was the etc.

They are perceived to lack seriousness explicitly stated. In the same time, the essay also criti- and sacredness which make them differ from the offi- cized existing Thai identity that it was limited to only cial Thai culture. Hence, they are not quite considered official version of Thai culture. I culture was expanding. In the same time, the state also launched they are still subject to capitalist processes. They lack campaigns to preserve Thai identity. Besides, this proper seriousness and are not conferred with the sa- trend was also influenced by the global trend of post- credness of official traditional Thai culture.

Still, it can modernist movement, which admired vernacular cul- be said that they are not less Thai, only that they have ture or culture of ordinary people. They Here, I further argue that this trend was partly due contest folk Thainess as well because they do not have to the economic crash, when national pride was any authentic root. Nationalist sentiment ex- to other vernacular Thai. Examples are the vibrant pressed the disappointment with liberalization and contrasting colour scheme that can be seen in popular market economics, while there was also a call for a re- street culture such as motorcycle-taxi jackets, graphic turn to rural, indigenous Thai roots.

While some parts? I argue that because cheap comics vernacular culture are being seen as organic, nostalgic have a low status in the cultural realm there should be a and more Thai, some of them are still being seen as significant difference in how the comics are perceived crude, out-dated and lowbrow.

Only the sanitised ones between these two locations. In the two focus groups I are more acceptable and are more likely to be admired conducted, some of the informants shared similar de- by the urban middle class. For example, the simplicity mographic characteristics. Mainly, my informants were of rural lifestyle and nostalgic vintage stuffs have been people involved in local politics and bureaucracy such popular and highly romanticized.

Mostly, they are Ghost stories have social function as they impart from rural areas, not Bangkok. Pattana Kitiarsa cites Malinowski that In Roi-et, my informants said that they used to read experiences of encountering ghosts and ghostly pres- this kind of comic but now they are too busy working to ence are collective social phenomena and can be have time to read.

Two out of 10 of my informants still counted as a social idea. They say that in their ly haunting in horror films can be taken as a serious locality, there are people who still read this kind of category of social analysis. They seemed uncomfortable to the case of cheap comics as well. He further said that it is Thai but part of rural ums, who provide clients spiritual and psychological Thai culture which differs from present-day Thai cul- services, have become popular due to the expansion of ture.

Ghost stories fill up the gap between rural Catharsis local worldview and modern worldview in order to help Through their mundane visuals and stories, comics rural people making sense of rapid changing lives. However, in the wider context, they rural worldview by using superstitious explanations. In an couple who are in Thailand as illegal migrant workers interview with Tode Kosumphisai, he said that he for a Thai-Chinese businessman.

The businessman has draws the ideas of the stories from the news and he physical affections for the wife and tries to rape her.

For She resists him but the businessman accidentally kills example, if he hears a tale about a phi pop ogre , he her. Her spirit comes back to take revenge and kills would write a story about it. The horror genre is the him. Tode Kosumphisai said that ghost stories and concern in Thai society. Johnson elucidates that ghost supernatural beliefs are embedded in Thai society. He and criminal stories in abandoned high-rise buildings said he would never run out of phi22 to write about and gated communities in Chiang Mai are linked to the because there are many different kinds such as the 32 anxiety towards illegal alien migrants from the Shan kinds of pret dead sinners who become hungry States who come to work as wage labourers.

They are ghosts. However, these visuals also work as a are assumed to be capable of criminal and immoral form of catharsis in order to release repressed emo- acts. It depicts the story of a karma in the end. Therefore, I propose that cheap man who wants to contact the owner of a piece of land comics have double functions: one is to release re- in order to buy it but who ultimately finds out that the pressed emotions, and the other is to teach Buddhist Fig.

Covers of cheap comic booklets From Mod Ant-art. I argue morals. Hence, despite the grotesque and out-dated that the story is a manifestation of the anxiety over the look of their visuals, they are moral parables. It is mobile phones, which have significantly altered rural the primary religion and around 93 percent of Thai lifestyles. The storylines often involve the protagonist logic in perceiving the world.

Merit bun associates doing something bad, such as killing someone. The with power and justifies hierarchy in social order. I argue that they are Buddhist parables that ing beings stand in a hierarchy of varying ability to teach people about morals, despite the provocative and make actions effective and of varying degrees of abject visuals, which is always a point of criticism of the freedom from suffering.

One way relates to biological bodily functions. The abject is the object that ty again. The body ejects these substances Theoretical Approach and extricates itself from them and the site where they As cheap comics often belong to the horror genre, I fall in order that the body might continue to live.

The will draw on a psychoanalytic approach to analyse extreme form is the cadaver. The cadaver is extremely them. According to Kristeva: etc. In the come out. It is unconscious.

It is in a world where allows the repressed elements of the mind to safely the Other has collapsed. Kristeva also asserts that: come out without acting them out. The first sires, needs, and urges.

Psychoanalysis holds that sub- spectators. The second category is the abject of the jectivity is constructed rather than arising at the time of unstable state between human and inhuman.

It is the birth. A monster is con- oped by creating borders between the self and the oth- structed by crossing the border, for example the were- er. Lacan argues that subjectivity arises from the mir- wolf, Dr Jekyll and Mr Hyde etc.

The third category is ror stage, when an infant has a glimpse of himself in the the abject as maternal figure. This stems from the ar- mirror. Reflecting Lacan, Kristeva argues that the mir- chaic struggle of mother-child relation in which the ror stage brings about a sense of unity of subject, but child attempts to break away from the mother.

The she thinks that even before that, the infant starts to maternal body hence becomes a site of conflicting de- separate itself from others, creating the borders be- sires. Kristeva proposes that the maternal figure is constructed as the monstrous-femi- infant does this by a process of abjection.

Abjection nine. However, the overall didactic storyline of Bud- the reader to work through maladies that afflict their dhist morality helps clean, purify, and restore order, minds.

It allows subjects to work through conflicts leading to the reconciliation of the subject with the without acting them out. Literature can be cathartic. I propose that cheap comics function the same way as This process is not only confined to cheap comics literature. I argue, in agreement with general consensus seems to have it, this kind of Creed, that this demonstrates the ideological project of literature, or even literature as such represents the ultimate coding of our crises, of our most intimate horror texts in popular culture.

Hence its nocturnal power. Artistic expe- explicit nature of the horror texts demonstrates this rience which is rooted in the abject also has the same point. It provides a graphic portrayal of human flesh token of purification. She suggests that some litera- that produces perverse pleasure in its viewers.

The visual depiction of boundaries. It is a form of modern defilement rite. Cheap comics make extensive use of abject considered as abject imagery. They serve as a means to visuals such as rotten cadavers, entrails, and blood. Abject visuals are some of its idiosyncratic characteris- Cheap comics possess their own idiosyncratic vis- tics.

The illustrations of blood, putrefying flesh, en- ual style that are easily recognizable. The preferred trails, and the cadaver are normal images to be found in style of illustration is not neat.

The lines from the Chi- comics. I propose that these abject visuals have the nese paintbrush are messy. The colour scheme is vi- cathartic function of nocturnal power proposed by brant and intense with high contrast, similar to other Kristeva. They disturb social order and symbolic or- tai by Tode Kosumphisai, who is a veteran cartoonist der.

They let out repressed unconscious emotions. I of the genre. I located a copy in a catharsis. They allow the subject to imagine bad things bookshop in a Bangkok suburb in Abjec- results in the unexplained death of adolescents or adults during sleep. In , there was an incident of a healthy Thai man working in Singapore who died from this syndrome.

People used wooden Fig. In Bangkok, he dreams that a malevolent spirit in the form of a big strong man is attacking him. In reality, nothing hap- pens. His colleague suggests that he should move the site where he sleeps. It is a common folk belief that one can be haunted by a malevolent spirit if that person sleeps on a haunted site or where a person had died. Distressed by the nightmare, he cries out loud, causing his next-door neighbours to get angry with him.

They to be immoral in Buddhism, such as rape, murder and have a fight. His employer, Sia Kuang, who knows that adultery. They allow readers to imagine character and asks him to join his illegal business.

The spirit tells moral lesson. It is clear from the ending that the story Diew that she is the spirit of the woman he once raped. It teaches people The spirit says that she has gained merit in her many about karma and how one would receive bad karma if past lives to be reincarnated as this woman who was he commits sin.

Diew related to labour mobility. The story also depicts tress of Sia Kuang. One night, Diew meets Jeab and is anxiety over the health and welfare of wage labourers about to have an affair with her. Jeab tells him that from the countryside who move into the city, a situa- every gunman would be killed after he finishes his job, tion easily relatable for the target readers of cheap which is why his boss has sent him here.

It turns out comics. Although the story is fictional, it is a localized boss. It is no sur- things. The ghosts can be read as the myth that the parable. Also, the receive good. Diew, who com- ghosts can be read as his anxiety toward the changes mits a crime, earns his bad karma through the and the adverse living condition of wage labourers. In vengeance of the malevolent spirit. Overall, the story this manner, the ghost stories are related to reality. However, throughout the current affairs found in newspapers serve as a basis for story the illustrations contain many scenes considered many plots in cheap comics.

The malevolent ghost comes to him to explain his sin. In his dream he is brought to the site where he raped the woman and he is forced to confront her corpse. It is the confrontation of the most horrifying abject, the corpse of the protagonist to whom readers therefore relate. I feel like this sections needs a step by step analysis of how the readers relate. The scene also conveys the ephemeral nature of the body — the once beautiful woman turns into an ugly corpse when she is dead. Conclusion Cheap comics are subaltern cultural products.

They have comparatively low status in the Thai cultural realm and could be seen as lowbrow. Cheap Comics sits at the margins of Thai cul- Fig.

They contest official and traditional Thai culture by questioning the authenticity of Thai- ness and the criteria of good taste.

They have their own tion and folk myths to expand the story, linking up idiosyncratic aesthetics of everyday popular Thai cul- myths and social events.

In terms of aesthetics, the cover of Lai-tai provides I propose that cheap comics posses a cathartic a good example of the use of abject visuals in cheap function. They help let out the repressed emotions of comics. The hand of the malevolent spirit turns the readers; they catalyse the confrontation with the abject.

Nightmare of the cadaver. It Dao Publishing, accentuates the confronta- n. Ultimately, the themes and der, Death, and Modernity in Northeast Thailand. Ond and M. Peletz, such as morality and the law of karma. With these dual Berkeley: University of California Press, functions of cheap comics, I argue that they are cultur- A Brief History of Thai Comics people.

Acknowledgements Pattana Kittiarsa. Endres and A. Lauser, and encouragement. I also would like to thank my edi- Brottman, Mikita. Legend of Cartoons and Comics.

University of Washington, Cornwel-Smith, Philip. Bangkok: River Books, Thai [Thai identity: From Thai to Thai-thai]. Bangkok: Sameskybooks, Creed, Barbara. London: Routledge, Thongchai Winichakul. Tode Kosumphisai. Bangkok: Sam Dao Pub- lishing, no date. Harrison, Rachel. Disturbing Conventions. London: Rowman and Littlefield International, United Nations Statistics Division. Hewison, Kevin. Waller, Gregory A.