Anas Ahmadi
Background and Objectives: Monks play an integral and important role in Thai society because monks in Thailand serve as spiritual teachers, guardians of tradition (Buddhism), and provide services to the community. The phenomenon of monks' integral and important roles in Thailand is not only evident in the socio-cultural realities of society but also in contemporary media narratives, namely Thai cinema. Monks in Thai film narratives appear in various narratives that are inseparable from socio-cultural phenomena in society. Therefore, this study aimed to critically examine how Thai films constructed the spiritual and social identities of monks, revealing the underlying tensions between traditional monastic roles and contemporary societal expectations. Methodology: This study employed a qualitative method, utilizing six Thai films that represented Buddhist monks: The Holy Man (2005), Pee Mak (2013), Arbat (2015), The Forest (2016), Pee Nak (2019), and The Medium (2021). The research data took the form of visual, narrative, and script elements, all of which were relevant to the monk theme. At this stage, the researcher watched the film, read the script in-depth, and interpreted the visual symbols contained in the Thai film. The data analysis technique employed was the stages of identification, classification, reduction, exposition, and validation. Main Results: The results of this study showed that the representation of monks in Thai films reflects three main dimensions. First, monks and exorcism rituals are presented as part of a complex spiritual role, where monks not only perform exorcisms through religious ceremonies but also face inner conflicts, social tensions, and serve as a bridge between the real and supernatural worlds. Films such as Pee Mak (2013), Pee Nak (2019), and The Medium (2021) demonstrate that exorcism rituals do not always succeed literally, but instead become symbols of human struggles against fear and inner imbalance. Second, monks and self-enlightenment are depicted as a lengthy process involving failure, moral transgressions, and profound reflection. The images of monks in The Forest (2016), Arbat (2015), and The Holy Man (2005) do not achieve holiness immediately, but rather through inner repentance, personal introspection, and taking social responsibility. Enlightenment in this context is humane and contemplative, not always achieved through formal rituals, but rather through awareness and the transformation of the heart. Third, monks and the spread of Buddhism are presented in the form of loving preaching. The monks in The Holy Man (2005) and The Forest (2016) convey Buddhist teachings not only through sermons but also through real-life actions, such as helping the community, the oppressed, and giving hope to those who are marginalized. Involvement to Buddhadhamma: This research explored the application of Buddhism in contemporary contexts (Thai Films), integrating modern scholarship with traditional Buddhist knowledge to develop wisdom and morality through Buddhism. Through contemporary films, global audiences can better understand and recognize Buddhist wisdom and morality from an aesthetic perspective. Conclusions: The study concludes that Thai films represent the spiritual-anthropological journey of monks, with three main findings: 1) Monks as exorcists; 2) Monks with self-enlightenment; and 3) Monks and the spread of Buddhism. All three represent the spiritual-anthropological journey of monks in Thai films, with various obstacles that monks must face and overcome. The representation of monks in Thai films is inseparable from the projection of monks in the real world. The world of film and the world of reality are two entities. © 2025, Temple of Wang Tawan Tok. All rights reserved.
Faculty of Languages and Arts, Universitas Negeri Surabaya, East Java, Indonesia
