Acknowledgments  vii

Introduction. Buddhist Sexual Contemporaneity  1

1. Nang-Nak—Ghost Wife: Desire, Embodiment, and Buddhist Melancholia in a Contemporary Thai Ghost Film  47

2. The Ghost Seer: Chinese Thai Minority Subjectivity, Female Agency, and the Transnational Uncanny in the Films of Danny and Oxide Pang  87

3. Tropical Malady: Same-Sex Desire, Casualness, and the Queering of Impermanence in the Cinema of Apichatpong Weerasethakul  122

4. Making Contact: Contingency, Fantasy, and the Performance of Impossible Intimacies in the Video Art of Araya Rasdjarmrearnsook  160

Coda. Under Permanent Exception: Thai Buddhist-Muslim Coexistence, Interreligious Intimacy, and the Filmic Archive  185

Notes  199

Bibliography  231

Index  249

“Ghostly Desires is about much more than Thai cinema. Fuhrmann pursues these diverse moving image-makers far beyond the nation’s moral-institutional architecture; and their “queering” of that architecture takes her far beyond the critical conventions of gender studies.” — David Teh, Pacific Affairs

"Ghostly Desires has indeed opened new conversations on the question of how the diverse genres of recent Thai cinema challenge us to refashion theory." — Peter A. Jackson, Journal of Southeast Asian Studies

"A deft and delicately defined analysis of the intersections between queer sexuality, vernacular Buddhist tenets and Thai cinema, tales and images." — Rachel Harrison, Sojourn

"Ghostly Desires has achieved a rare accomplishment in the field of Thai studies. It fuses innovative, postmodern theoretical sophistication with a rich grounding and expertise in the Thai cultural, historical, and aesthetic context." — Megan Sinnott, Sojourn

“Ghostly Desires is about much more than Thai cinema. Fuhrmann pursues these diverse moving image-makers far beyond the nation’s moral-institutional architecture; and their “queering” of that architecture takes her far beyond the critical conventions of gender studies.” —David Teh, Pacific Affairs

"Ghostly Desires has indeed opened new conversations on the question of how the diverse genres of recent Thai cinema challenge us to refashion theory." —Peter A. Jackson, Journal of Southeast Asian Studies

"A deft and delicately defined analysis of the intersections between queer sexuality, vernacular Buddhist tenets and Thai cinema, tales and images." —Rachel Harrison, Sojourn

"Ghostly Desires has achieved a rare accomplishment in the field of Thai studies. It fuses innovative, postmodern theoretical sophistication with a rich grounding and expertise in the Thai cultural, historical, and aesthetic context." —Megan Sinnott, Sojourn

"Through a bravura queering of Buddhist discourses of attachment, loss, and desire, Arnika Fuhrmann advances a deft and compelling critique of the limited framing of the current debates over state sexual regulation and queer and feminist advocacy in Thailand. Modeling how a queer feminist consideration of religion and film might proceed, this extraordinary book advances a queer critique of cinema that draws on Thai politics and counterdoctrinal uses of Buddhism. A brilliant book and an unquestionably major scholarly intervention, Ghostly Desires will galvanize the study of Thai cinema while taking the study of queer and political film more generally in new directions." — Bliss Cua Lim, author of, Translating Time: Cinema, the Fantastic, and Temporal Critique

"Arnika Fuhrmann's brilliant book focuses on nondoctrinal, Thai, Buddhist ontologies where queer female figures form around Buddhist melancholia, affirming an impossible, temporally failed desire. Fuhrmann shows the critical potential of Buddhist-coded anachronism to reimagine attachment and create subjects who are universalizable but only in relation to queer soteriology and to our shared historical time. Beautifully written, Ghostly Desires is a joy to read and to contemplate." — Tani Barlow, author of, The Question of Women in Chinese Feminism

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