培根曾把人类的认识能力分为三种：记忆、想象和理智，“历史涉及记忆，诗涉及想象，哲学涉及理智”。真正的影像艺术应当用视听感觉、情感与想象去触发记忆，激励人生，不断地揭示和接近真理——优美含蓄、别具一格的泰国优秀民俗史诗片，不仅在面临低谷时引领并促进了泰国民族电影的迅速复苏与多元发展，也为21世纪世界影坛提供了一份难得的、弥足珍贵的经验！

由于中国学生教育的特殊环境，反映学生生活的电影往往回避爱情问题。因为这有被提倡早恋的的嫌疑。在中国的学校里，谈恋爱是被禁止的，原因是影响学习，其实是应试教育。一切只是为了升学。知识的长进可以跟情感的成长相脱离吗？答案一定是未必。我们常常指责独生子女自私等等，可是我们又有谁真正让他们在健康的爱情、友情与亲情中自主的发展成长呢？

搜索中国青春电影，描写学生生活的是少数，主要描写学生爱情生活的几乎为零。一旦涉及也总是躲躲闪闪，隐藏在其他更教条的话题阴影之下。大部分影片强调的是理想教育励志教育。总是一副教训者的面孔，意识形态的痕迹过于浓烈，因而不受学生的欢迎。看泰国青春电影几乎没有看到教师对学生的干涉和训导。但中国校园电影只要出现教师，总是表现他们如何解决差生问题，后者是如何探求素质教育。这素质教育中自然不包括爱情问题。谁都知道，由于电视和网络的信息快速和强化传递，青年的成熟大大提前。所谓的青春骚动期也遭了好几年。13、4岁开始谈恋爱实属正常。想想贾宝玉和林黛玉，他们不是也在这个年龄就发生了朦胧的爱情吗？青少年观众喜欢动漫、喜欢科幻、喜欢动作片，但是他们同样喜欢真正写出他们情感生活的爱情和友情影片。这是中国青春电影需要进一步突破的方面。应当破除“寓教于乐”的创作观念，完全站在现实主义的立场上，客观真实地去表现青年人的情感生活和内心世界。用真正平等的态度去表达，力求从审美上把青年人的可爱、纯情与真诚传达给观众。编导心目中，青年人的情感经历一定要是美好的、充满激情非常浪漫的。当然，青年人也许由于幼稚，在情感的上会出现问题，比如《荷尔蒙》中那个差一点掉进移情日本姑娘陷阱的男孩。但是，编导丝毫没有指责，而是自然的表现了他的醒悟。他真诚的向女朋友说出了自己的艳遇，并表示了道歉，显得真诚可爱。这也就是我们研究这些泰国青春电影的意义所在。

如今，泰国电影迈步向前，其商业制作方式正在朝着产业化、多样化的方向发展。一些成熟的商业类型电影已纷纷进入国际院线、各国音像市场并有了一批成熟的热心观众。我们相信，随着泰国民族电影的不断被推向与世界文明对话的历史前沿，有一天她必将突围出后殖民文化的樊篱，在立足本土的民族电影发展过程中尽显一方风采。

Bacon used to classify human beings’ memory into 3 types: memory, imagination and reason. “The history involves memory; poetry involves imagination; and philosophy involves reason.” Real image art should touch off the memory, encourage lives and reveal and get close to truth constantly applying audio-visual feelings, emotion and imagination. Beautiful and reserved Thai epic films with special styles have succeeded in leading and promoting recovery and diversified development of national films of Thailand when film industry went to the bottom status; they have also provided a precious experience for the global film field in 21^st century.

Due to the special education environment of Chinese students, films describing students’ life usually avoid love issues. Because they could be doubted to advocate puppy love. In Chinese schools, puppy love is forbidden, the reason is that puppy love would affect study, especially under the macro environment of exam-oriented education. All effort was for entering a higher school. Can improvement of knowledge break away from emotion growth? The answer is “not really”. We usually blame the only child to be selfish. But we haven’t let them grow up in healthy love, friendship and family relation indeed?

Looking back on Chinese youth films, very few of them are describing students’ life, and even no one of them mainly describes love of students. Once if a film involves puppy love, they usually hide it under the shadow of other topics of dogmatism. Most of them stress on ideal education and inspirational education. With heavy traces of ideology, they always appear as educators. As a result, they are not popular with students at all. By contrast, Thai youth films don’t depict teachers’ interference and discipline on students. However, once roles like teachers appear in Chinese youth films, they usually talk about how they solve bad students’ problems, while Thai youth films usually explore how to improve quality education. Of course, quality education doesn’t include love issues. Everyone knows that maturity of youths has been brought forwarded due to fast and strengthened information passing through TV and network. And the so-called youth unrest is also brought forwarded by several years. Puppy love at 13 or 14 is very common. Considering Lin Daiyu and Jia Baoyu, they also fell in love with each other at this age. Teenagers like flash, science fiction and action films, but they also like films describing their love and friendship truly. This is an issue requiring breakthrough in Chinese youth films. We should breakout the concept of “edutainment” totally and place ourselves in position of realism, and represent youths’ emotional life and mentation objectively with an attitude of equality. We shall make every effort to impress the audience with cute, pure and sincere youths from emotional experience of young people must be beautiful, passionate and romantic. Naturally, young people usual esthetics. In choreographer’s mind, they have problems in love due to immaturity; e.g. a boy in Hormone almost fell into a trap transiting his love to a Japanese girl. However, the choreographer didn’t blame him at all; instead, he had described his waking up to reality. He told his girlfriend sincerely about the trap, and apologized to her. That made him sincere and cute. This is also the meaning why we study on these Thai youth films.

Today, with Thai film’s development, its mode of commercial production is being industrialized and diversified. Some sophisticated commercial genre films have already tapped into international cinemas and various countries’ film market, and won a batch of mature and enthusiastic audiences. We believe that, with Thailand’s national cinema being continuously brought towards the front of world civilization, it will finally break through the obstacle of post-colonial culture, and display its full appeal in the development process of national cinema based on local characteristic.

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