Mongkut

The English Governess at the Siamese Court is reduced to the role of a romantic partner for King Mongkut by the media of film adaptation. There is a trend in which films increasingly reduce the role and contribution of women from independent to dependent in order to appeal to a male-dominated audience. Anna Leonowens’ memoirs display its narrator as an independent and audacious woman who has

about leaving and stays with the royal family. The Burmese advance closer to Siam, forcing Mongkut to arrange a meeting between the leaders of both parties. Strategically, he chooses a bridge with the intention of blowing it up, hoping to kill his enemies and to scatter any remaining rebels. Anna however sees a flaw in this plan: the king will also be on the bridge, meaning he could die as well. Though King Mongkut orders Anna and the royal family to flee, with the help of Prince Chulongkorn, they remain

felt in the palace, stating, “the closer [Anna] looked, the surer she was of what she saw: a tyrannical, omnipotent "father" surrounded by frightened girls who lived in constant terror of his brutish advances” (Kepner 12). The relations that King Mongkut had with his wives and family, while normal for those in Siam, were a cultural shock for Anna, and she drew completely different comparisons due to her unfamiliarity with the culture. She did not interpret what she saw as kindness, but instead saw

The King and I takes place in Bangkok, Siam in the year 1862; after a recently widowed English schoolteacher, Anna Leonowens, and her son, Louis, move there to give the King of Siam’s children and wives a westernized education in hopes that this will plunge Bangkok into the modern world. Anna struggles with the king because their cultural beliefs are so different, but the conflict diminishes after the king finds out that Britain would like to take over Siam. He calls upon Anna to help him look less

King Mongkut had succeed his brother, King Rama Ⅱ, after his death. But before that, he had become an abbot of a Bangkok monastery and made the monastery the center of intellectual debate, which came to include American and French Christian missionaries and included as part of their curriculum the study of Western languages and science (The Editors of Encyclopædia Britannica, Mongkut). Mongkut at this point is around his 20s and 30s and is studying

the 1944 novel Anna and the King of Siam by Margaret Landon. The novel is based on an actual series of events, which are based on the memoirs of Anna Leonowens, the governess to the children of King Mongkut of Siam (Thailand) in the early 1860s. Anna, a British schoolteacher, was hired by King Mongkut was hired in the hopes of modernizing his country. We have to understand that Richard Rodgers and Oscar Hammerstein were risking their success by creating this sensational musical, at the time, the

The film industry is driven to find simple but effective storylines that entertain viewers and gratify their expectations for the characters. Weiss suggests that chick flicks meet all the requirements of a popular film because they confirm the traditional type casting of females into romantic roles and convince both men and women that a female is destined for marriage. This prevailing idea of traditional women designed for marriage is exemplified in Harlequin novels that are notorious for their book

Sangha Act of 1941 The Sangha Act of 1941 followed the shift in Thai politcs toward a more democratic approach after monarchy fell in 1932. A demonstration of two thousand monks from twelve provinces in Bangkok in 1935 calling for greater democratization of the sangha represents this shift. The sangha was also structured to reflect the modern government with a separation of powers into a legislative, executive, and judiciary systems, with an ecclesiastical assembly, ecclesiastical cabinet, and

superpowers and their mutually competitive imperial projects closing in around Siam, it was a very dangerous time period for them. They had to remain vigilant against the two countries or else be annexed by either one. In 1855, the king of Siam, Mongkut, along with the British

The Many Faces of Racism in Hollywood Of course there’s various times where racism has occurred in the past at Hollywood, but is it over? Just because black face isn’t that much of a thing anymore, does it mean that there’s less subtle forms of racism and ignorance that still occurs today? Of course it does. Black Face is when someone puts on dark makeup to “try to look” African American. Black Face was used in plays, television shows, cartoons, Broadway, the silver screen, and even in cartoons