1. I use a modified version of the Royal Thai Institute mode of transliteration,
except in cases in which the filmmakers have a preferred style of transliteration. For
an English- language readership, I list En glish film titles first, except in cases where the
Thai title becomes significant for the analy sis.
2. Throughout this study I use the term attachment in the broad sense of afective
binding or libidinal investment to encompass both Buddhist- informed and other
understandings of the term.
3. In his synopsis Apichatpong writes that, as the boat cruises on the borderline
between Laos and Thailand, “the border links the worlds of the dead and of the living”
(Pinyo, Sat Wikan, 288). See also Quandt, Apichatpong Weerasethakul, 239.
4. In this study the concept of Buddhist melancholia primarily serves to outline
counternormative ways of inhabiting negativity and temporality. While my analy sis
does not primarily seek to intervene into Freudian concepts of mourning and mel-
ancholia, a few productive parallels and questions arise in relation to Freud’s seminal
text, “Mourning and Melancholia.” If that work describes a trajectory of enduring
attachment and subsequent progressive detachment for mourning and designates this
trajectory as normative, it represents a parallel to normative formulations of attach-
ment and detachment in Buddhist orthodox thought. In contrast to the trajectory that
it outlines for mourning, “Mourning and Melancholia” is conventionally understood
to delineate melancholia as an aberrance of mourning— a mourning without end,
devoid of a logical, productive, or healthy economy. In coining the term Buddhist
melancholia, I seek to provide a counterpart to normative Buddhist- informed under-
standings of the necessity of detachment and to make the excesses, counterintuitive
economies, and temporal nonlinearity of a Buddhist version of melancholia available
to queer and feminist interpretation. In this my analy sis contributes to previous queer
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