COUNTERING MARGINALIZATION IN THIBAAN CINEMATIC UNIVERSE

Abstract

Introduction: The echoes of “marginality” within social contexts often act like shadows that perpetually cast individuals or communities living in remote areas as outsiders. The Tai Baan Universe (Jakkawan Tai Baan) represents a distinctive cinematic portrayal of the Isan region, diverging from conventional representations in other Isan films. It emphasizes the simplicity of rural communities without comparing them to or portraying them as inferior to urban settings. Through character development and narrative techniques that challenge dominant paradigms, these films offer a counter-discourse to mainstream portrayals. Objectives: 1) To examine the construction of characters in Tai Baan Universe films as a form of response to marginalization. 2) To analyze narrative structures in these films that reflect a counter-response to marginality. Method: This qualitative research employed content analysis of six films from the Tai Baan Universe, namely Tai Baan: The Series (2017), Tai Baan: The Series 2.1 (2018), Tai Baan: The Series 2.2 (2018), Tai Baan x BNK48: From the Heart of a Local Girl (2020), Doctor Pla Wan (2022), and The Undertaker (2023). The study also included in-depth interviews with scriptwriters, directors, and leading actors. Result: Character development and storytelling in the Tai Baan Universe present narratives rooted in personal conflicts and community-specific situations. The films adopt a serialized format with straightforward storytelling that reflects the realities of local Isan communities. They integrate rituals, beliefs, and everyday life in Isan, centering “Tai Baan-ness” through the character “Sergeant Lod,” who lives a simple and self-defined happy life. The casting process intentionally avoids conventional beauty standards found in mainstream media. These films highlight the abundance of natural resources, the villagers’ reliance on nature, and their ability to pursue livelihoods without capital investment. The character “Pong” represents urban capitalist ideals and cultural influences, but his failure to apply such concepts to the local context signifies a critique of their universality. Conclusion: The Tai Baan Universe portrays local communities from an insider’s perspective, focusing on authenticity, self-reliance, and mutual support. Rather than drawing comparisons or depicting inferiority, the films pose critical questions about Isan identity and urban influence, offering a nuanced and self-reflective representation of marginality from within.