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ABSTRACT
This qualitative dissertation report aims to study 1) the narration in Jataka commentary 2) the narration in Thai films reflecting of the Ten Perfections as appeared in the ten birth-stories of the Buddha in Jataka Commentary and 3) the Buddhist integration of narration in Jataka commentary with narration in Thai films. The research methods used for analyzing Dhamma Narration are by integrating the Narration structure scheme of (1) what to narrate and (2) how to narrate to comparative study of Dhamma as appeared in the Jataka Commentary and 10 designated Thai Films. It is found that the essential structure of Narration in Jataka commentary comprising of (1) subject of the present (2) subject of the past (3) Gãthã (verses) (4) Veyyãkarana (prose-exposition) (5) samodãna (story conclusion) in order to narrate and make confirm of the connection between individual and his kamma in the past life through narrative story. The narrative of Dusajãti (the ten longest birth-stories of the Buddha) deliberates stories to show the great effort of Buddha-to-be in doing the Perfections through one-dimentianal character or flat character with one exaggerated personality quality. The character has obviously external conflict which may range between person-to-person and person-to-social. Stories are chronicles of what happened. The point of view is omniscient.
As for the studied Thai film, it is found that the main plot structure being used to deliberate Dhamma in films are “Drama” “Fantasy” and “Comedy” that help linking people’s faith to Dhamma through narrative techniques. Most of the characters are multi-dimentional or round character with more complex personality and undergoes development. Those characters are representing as ordinary people who have avijja which means ignorance of life associated to human nature that exist in real life. Most movies are merely chronicles of what happened. The character has expressing both internal and external conflict. The point of view of film narratives are varity where the narrators are taking turn to narrate the story.
The Buddhist Integration of Narration in Jataka Commentary can be more interesting and up-to-date with the Narration in Films with two approaches: 1) Puggalàdhiññhàna - it is the way to adjust the narration package, including of storyline, characters, scenes, conflict, story development and point of view, that wrapped up “Dhamma” with the technique of Abstract-to-Concrete Dhamma narration to be suitable for Dhamma propaganda and easy understanding in modern times. 2) Dhammàdhiññhàna – it is the way to support the Dharma narration, focusing on “Dhamma teaching” greater than “the Scripture (Pure Dhamma)” itself, paving a way of thought that Dhamma is for everyone and not attacking on Dhamma no matter what you want to make film more interesting to catch public attention. Dhamma essences are never change.
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