Communication and Intertextuality of Arts: A Case Study of Thawan Duchanee’s and MAMAFAKA’s Works of Art

Abstract

            This research aimed to study the communication and intertextuality of forms and contents of secondary texts originated from Thawan Duchanee’s works of art, which were regarded as high art; and MAMAFAKA’s works of art, which were regarded as popular art. It explored relevant factors affecting the intertextuality. Comparing between the two cases was also included in the analysis. This research used qualitative research methods that were document analysis, textual analysis, field research and in-depth interviews with key informants including producers and spectators of the original and secondary texts. Data were analyzed through the concept of intertextuality and reproduction.
            The research found that the secondary texts could be divided into 3 types, i.e., imitation, extension/reduction, and modification. Intertextuality expanded the number of spectators which brought about a greater degree of cultural democracy. Factor affecting the intertextuality were the producers’ backgrounds, respect for the original, copyright, goals of the reproduction, features of media and spectators.
             The results showed some similarities between the two cases. First, the producers have respected the artists and / or their works of art. Second, secondary texts might include the whole elements from the original or only selected elements using the metonymy approach. All of the secondary texts were created in line with the copyright except for some of the works in the modification category. Also, there were struggles and negotiations both in the areas of high culture and popular culture.
             For the differences, the works of Thawan Duchanee were difficult to imitate. The intertextuality of forms and contents was often very strict. The secondary texts in the imitation category had a relatively high value. The more the secondary texts were far from the original, the more the artist’s identity was discarded. The secondary texts also had a less commercial nature and tended to be closed texts. On the other hand, the works of MAMAFAKA were easier to imitate. The intertextuality of forms and contents was not strict. The secondary texts in the modification category had a relatively high value. The secondary texts were likely to maintain the artist’s identity. They were inevitably produced for commercial purposes and tended to be open texts.
            This research showed that reproduction was one of the methods to increase the longevity of works of art. If producers understand and accept the intertextuality, they will be able to create endless texts and continuously create value from the texts. This conforms to the concept of the reciprocal illumination of the arts. Anyhow, it should be noted that the reproduction will be always informed by the tension and negotiation between an attempt to keep the authority of primary texts and pseudo-authenticity created by secondary texts.