Af12 Week 11 Class Voice Assignments

Course Description
An intermediate level media studies course exploring how sound functions in cinema. This course focuses on sound as media and the relationship between sound and image through topics including the history of sound technologies and the so-called 'coming of sound;' film sound theories, such as French composer Michel Chion's influential work on audio-visual relationships and the human voice in cinema, as well as feminist film theories on the female body and voice; film music and audience reception; sound space, and the evolving practice of sound recording and reproduction in film. These topics are examined through reading assignments, screenings and listening sessions, in-class presentations, writing and sound recording assignments. This class encourages a critical, creative approach, non-traditional solutions, and awareness of both historical contexts and theoretical frameworks. The course fulfills the media theory and media history requirements for the Intercollegiate Media Studies (IMS) major and minor. Prerequisite:  MS49, 50, or 51; or some introductory level music theory courses.

Statement of Student Learning Outcome
By the end of this course, students ideally are expected:

  • To develop a historicized understanding of how sound was incorporated into film production, exhibition, and criticism;
  • To develop a working knowledge of major film sound theories;
  • To acquire skills in analyzing the audio elements in a wide variety of films, including narrative, experimental/avant-garde, documentary, and other genres;
  • To be able to discuss and convey the above-mentioned knowledge and skills in both critical written arguments and in oral presentations/discussion;
  • To be able to work and learn in both individual and group contexts.



Course Organization
Class activities include discussion of reading assignments, screenings, presentations, critiques, as well as individual and group assignments. Both works by students and examples from Hollywood as well as other industrial and experimental films and media will be presented in class. Depending on funding and availability, guest speakers (sound artists, film and videomakers, media artists, programmers, scholars, etc.) will be invited to class, or to the Media Studies cinematheque series - be prepared to attend out-of-class screenings and lectures.

Please turn off all phones and mobile digital devices during class. Laptops can only be used for taking notes and for relevant web searches; no emailing, texting, and other activities unrelated to this class. These and other diversions are not acceptable during class time, and will lower your grade. 

Course Requirements
1.Attend all classes
2. Participation in class discussions and group critiques
3. Completion of writing and recording assignments as well as a final project or research paper


Attendance and participation of all classes is required. Do not miss class or arrive late! If you miss class 3 times without a proper excuse, (e.g. a doctor's note if you are sick) you fail the class. Absences must be cleared by me before or after (in case of emergencies only) the class you missed in order for it to not affect your final grade. Attendance is determined by when I take roll.


Class Participation
Your active, well-prepared participation in class discussions is essential to creating a dynamic (i.e. not boring!) learning environment. Although you will not receive a letter grade for class participation, it will figure into your final grade based on my observations.

We may study sexually explicit, political, and otherwise challenging material in this course. These are not included for shock value, but are legitimate investigations of controversial subject matters in media. You are certainly encouraged to explore difficult and complex subject matters in your work, and you should be prepared to consider these issues intellectually and emotionally. Our class is a safe space in which students can express their beliefs and opinions. You always have a voice, but please be respectful of others as well. Abusive language and behavior are not be tolerated. Open-mindedness is encouraged!


Class Assignments and Projects
Students will complete the following assignments for this course:

1. In-class writing assignment: Identify. compare, and discuss the sound technologies used in 2-3 film excerpts (10% of class grade)
2+3. Choose TWO of the following assignments: a) take-home audio visual analysis assignment; b) take-home psychoanalysis assignment; c) take-home film music assignment; d) recording assignment (20% each, 40% total of class grade)
4. Working with a partner or small group (2-3 students), prepare a 5 minute excerpt from a film or video to present in class, accompanied by a 8-10 page paper. (30% of class grade)

Unless an extension is approved by myself in advance of the due date, your grade are reduced by one letter grade (i.e. B to C) per class day your project is late. You are encouraged to meet with me individually during my office hours to discuss your assignments, your grades, and your overall performance in class. I am always open to suggestions and feedback!

Reading Assignments
Required readings are drawn from the textbooks below. You can purchase copies of the required textbooks, as well as the optional ones (in limited numbers) at the Huntley Bookstore, or go to web sites such as Amazon.

(Required - buy these)
Michel Chion, Audio-Vision: Sound on Screen, trans. Claudia Gorbman, Columbia University Press, New York, 1994.
Michel Chion, The Voice in Cinema, trans. Claudia Gorbman, Columbia University Press, New York, 1999.
Claudia Gorbman, Unheard Melodies: Narrative Film Music, Bloomington: Indiana University Press, 1987. This title maybe out of print.
Anahid Kassabian, Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music, Routledge, 2000.
Kaja Silverman, The Acoustic Mirror; The Female Voice in Psychoanalysis and Cinema, Indiana University Press, Indianapolis, 1988.

(Optional - readings from these books will be posted on Sakai, you may buy them if you wish)
Rick Altman, editor, Sound Theory Sound Practice, Routledge, New York, 1992.
Rick Altman, Silent Film Sound (Film and Culture Series), Columbia University Press, 2007.
Christoph Cox & Daniel Warren, eds., Audio Culture: Readings in Modern Music, Continuum, 2004.
James Lastra, Sound Technology and the American Cinema: Perception, Representation, Modernity, New York: Columbia University Press, 2000.
Jonathan Sterne, ed., The Sound Studies Reader, New York: Routledge, 2012.
Emily Thompson, The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America (1900-1933), MIT Press, 2004.
Elisabeth Weis and John Belton, eds., Film Sound: Theory and Practice, New York: Columbia University Press, 1985.

Additional References
Jacques Attali, Noise: The Political Economy of Music, Univ. of Minnesota Press, Minneapolis, 2002.
Jean-Francois Augoyard & Henry Torgue, eds., Sonic Experience: A Guide To Everyday Sounds, McGill-Queen's University Press, 2006.
Jay Beck & Tony Grajeda, eds. Lowering The Boom: Critical Studies in FIlm Sound. Chicago: University of Illinois Press, 2008.
Karin Bijsterveld, Mechanical Sound: Technology, Culture, and Public Problems of Noise in the Twentieth Century (Inside Technology), MIT Press, 2008.
Barry Blesser & Linda-Ruth Salter, Spaces Speak, Are You Listening? Experiencing Aural Architecture, MIT Press, 2006.
Michael Bull. Sound Moves: iPod Culture and Urban Experience. New York: Routledge, 2007.
Michael Bull & Les Back, eds., The Auditory Culture Reader (Sensory Formations), London: Berg Publishers, 2004.
John Cage, Silence: Lectures and Writings, Wesleyan University Press, 1961.
Michel Chion, Sound: An Acoulogical Treatise. Durham, NC: Duke University Press, 2016.
---, Film, A Sound Art (Film and Culture Series), New York: Columbia University Press, 2009.
Donald Crafton, The Talkies: American Cinema's Transition to Sound, 1926-1931, History of The American Cinema, Vol. 4, Charles Scribner's Sons, 1997.
Leslie C. Dunn, and Nancy C. Jones, eds., Embodied Voices: Representing Female Vocality in Western Culture. Cambridge: Cambridge University Press, 1994.
Veit Erlmann. Reason and Resonance: A History of Modern Aurality. New York: Zone Books, 2010.
--- ed., Hearing Cultures: Essays on Sound, Listening and Modernity, Berg Publishers, 2004.
Scott Eyman, The Speed of Sound: Hollywood and the Talkie Revolution 1926-1930, New York: Simon and Schuster, 1997.
Ana Maria Ochoa Gautier. Aurality: Listening and Knowledge in Nineteenth-Century Colombia. Durham, NC: Duke University Press, 2014.
Simon Frith & Andrew Goodwin, eds. On Record: Rock, Pop, and the Written Word, Pantheon Books, New York, 1990.
Paul Hegarty, Rumour and Radiation: Sound in Video Art, London: Bloomsbury Academi, 2014.
---, Noise Music: A History, London: Continuum, 2007.
Stefan Helmreich. Sounding The Limits of Life: Essays in the Anthropology of Biology and Beyond. Princeton, NJ: Princeton University Press, 2016.
---. Alien Ocean: Athropological Voyages in Microbial Seas. Berkeley, CA: University of California Press, 2009.
Charles Hirschkind, The Ethical Soundscape: Cassette Sermons and Islamic Counterpublics, Columbia Univ. Press, 2006.
Don Ihde, Listening and Voice: Phenomenologies of Sound, State University of New York Press; 1976.
Lilya Kaganovsky & Masha Salazkina, eds. Sound, Speech, Music in Soviet and Post-Soviet Cinema. Bloomington, IN: Indiana University Press, 2014
Douglas Kahn. Earth Sound Earth Signal: Energies and Earth Magnitude in The Arts. Berkeley, CA: University of Calufornia Press, 2013.
---, Noise, Water, Meat: A History of Sound in the Arts, MIT Press, 2001.
Kathryn Kalinak. Settling The Score: Music and The Classical Hollywood Film. Madison, WI: University of Wisconsin Press, 1992.
Brian Kane, Sound Unseen: Acousmatic Sound in Theory and Practice, New York: Oxford University Press, 2014.
Anahid Kassabian, Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music, Routledge, 2000.
Michael C. Keith, Radio Cultures: The Sound Medium in American Life, Peter Lang Publishing, 2008.
Caleb Kelly, ed., Sound, Documents of Contemporary Art Series, London/Cambridge, MA: Whitechapel Gallery/MIT Press, 2011
---. Cracked Media: The Sound of Malfunction. Cambridge, MA: MIT Press, 2009.
Friedrich A. Kittler, Gramophone, Film, Typewriter, trans. Geoffrey Winthrop-Young & Michael Wutz, Stanford University Press, Stanford, CA, 1999.
Dan Lander and Micah Lexier, eds.,  Sound by Artists, Toronto and Banff: Art Metropole/Walter Philips Gallery, 1990.
Amy Lawrence, Echo and Narcissus: Women’s Voices in Classical Hollywood Cinema. Berkeley: University of California Press, 1991.
Brandon LaBelle, Lexicon of the Mouth: Poetics and Politics of Voice and the Oral Imagination, London: Bloomsbury Academi, 2014.
---, Acoustic Territories: Sound Culture and Everyday Life, London: Bloomsbury Academi, 2010.
---. Background Noise: Perspectives on Sound Art, Continuum, 2006.
Henri Lefebvre, The Production of Space, trans. Donald Nicholson-Smith, Blackwell Publishers Inc., Cambridge, MA, 1991.
Alan Licht, Sound Art: Beyond Music, Between Categories, Rizzoli, 2007.
Paul D. Miller, Sound Unbound: Sampling Digital Music and Culture, MIT Press, 2008.
David Morton, Off the Record: The Technology and Culture of Sound Recording in America, Rutgers University Press, 2000.
John Mowitt. Sounds: The Ambient Humanities. Berkeley, CA: University of Calufornia Press, 2015.
Jean Luc Nancy. Listening, Charlotte Mandell, trans., New York: Fordham University Press, 2007.
David Novak & Matt Sakakeeny, eds. Keywords in Sound. Durham, NC: Duke University Press, 2015.
Trevor Pinch and Karin Bijsterveld, eds., The Oxford Handbook of Sound Studies, New York: Oxford University Press, 2013.
Tara Rodgers, ed. Pink Noises: Women on Electronic Music and Sound. Durham, NC: Duke University Press, 2010.
R. Murray Schafer, The Soundscape: Our Sonic Environment and the Tuning of the World, Destiny Books, Rochester, VT, 1977.
David Schwarz, Listening Subjects: Music, Psychoanalysis, Culture. Durham, NC: Duke University Press, 1997.
Hillel Schwartz, Making Noise: From Babel to The Big Bang and Beyond, Cambridge, M.A.: Zone Books, 2011.
Kaja Silverman, The Acoustic Mirror; The Female Voice in Psychoanalysis and Cinema, Indiana University Press, Indianapolis, 1988.
Mary Ann Smart, ed. Siren Songs: Representations of Gender and Sexuality in Opera. Princeton, NJ: Princeton University Press, 2000.
Mark M. Smith, Hearing History: A Reader, Athens: Georgia University Press, 2004
Jonathan Sterne, The Audible Past: Cultural Origins of Sound Reproduction, Duke University Press, Durham and London, 2003.
---, MP3: The Meaning of a Format (Sign, Storage, Transmission), Duke University Press, Durham and London, 2012.
Peter Szendy, Listen: A History of Our Ears, Fordham University Press, 2007.
Mark M. Smith, Hearing History: A Reader, Georgia Univ. Press, 2004.
Michael Taussig, Mimesis and Alterity: A Particular History of the Senses, Routledge, New York, 1993.
Timothy Taylor, Strange Sounds: Music, Technology and Culture, Routledge, 2001.

Your final grade will be based on the following
Assignment 1 - 10%
Assignments 2 and 3 - 20% each (40% total)
 Assignment 4 - 30 %
Class participation* 20%

* Your general performance in class including participation, attendance, and punctuality, except in the special cases listed above, such as if you have more than 3 unexcused absences.

Generally, outstanding ('A') students in this class have good attendance and completed all their assignments on time. They are consistently well prepared for class, and actively participate in and advance our discussions with pertinent information, questions, and observations. Their work demonstrate their awareness of the issues at hand, the historical context for the film and videos they are discussing, as well as their ability to articulate their observations and analyses in a clear and concise manner. Only letter grades are given out in this class.

Academic Dishonesty-Academic dishonesty in any form -- including the representation of someone else's work as your own, the destruction or malicious alteration of the work of others, the re-use of work prepared for another course, and so on -- will be subject to the most severe penalties permitted under your school's student code.

Extra credit- Students are encouraged to attend screenings, conferences, lectures, exhibitions and web events related to this course. Write a two-page (typed and double-spaced) report of the event or activity. Incorporate the event's relevance to the class as well as your personal responses to it. Proof of attendance is required (keep your ticket stubs, programs, etc.) Students are allowed two extra credit papers. Announcements for events of interest to this class are done in the first 5 mins. of each class.

* I try my best to make my grading criteria as clear as possible, and you are welcome to come and discuss your grades and your class performance with me. However, I only consider legitimate concerns, and be aware that your grade is as likely to go down as it is to go up after I reassess your assignment. I do not tolerate haggling, bribing, threats, and any other pointless arguments. I consider all aspects of your performance before I assign a grade, please respect my assessment as I respect your efforts.

Equipment and editing rooms can now be reserved on-line at the Media Studies web site

Equipment Checkout Days:
Mondays and Thursdays

DVD, CD, DAT tapes and other media for class projects can be purchased at the bookstore, on-line, or at any good A/V supply store (Ametron, Studio Film & Tape, etc.) If you go to a supply store or buy on-line, it is usually cheaper to buy in bulk, so a group of you may want to organize and purchase tapes together.

* A note on general respect and care: we are all depending on each other to keep our equipment in good working order. If the equipment breaks down, no one can complete his or her work! You are responsible for reading and following rules for equipment usage. Stephanie Hutin, Eddie Gonzalez or myself may revoke access privileges at any time if the rules are not followed. Use common sense and please be considerate of each other: return the equipment on time.



True Academy Fantasia
Created byAuttapon Na-Bangchang
Presented bySettha Sirachaya (Season 1 - Season 12)
Suwikrom Amaranon (Season 9)
Country of originThailand
Original language(s)Thai
No. of seasons12
No. of episodes9 (Season 1)
12 (Season 2)
10 (Season 3)
13 (Season 4)
12 (Season 5)
12 (Season 6)
12 (Season 7)
12 (Season 8)
15 (Season 9)
12 (Season 10)
11 (Season 11)
12 (Season 12)
Running timeReality: 24 hours
2 hours
(Season 1-2, Season 9 Week 4-14, Season 10 Week 1-11)
2:30 hours
(Season 3-7, Season 9 Week 15, Season 10 Week 12, Season 11)
3 hours
(Season 8, Season 9 Week 1-3, Season 12)
Original networkTrueVisions, Modernine TV
Picture format576i (SDTV) (Season 1 - 6)
1080i (HDTV) (Season 7 - 12)
Original releaseJune 21, 2004 – September 19, 2015
External links

Academy Fantasia (or True Academy Fantasia, formerly UBC Academy Fantasia) is a reality show held in Thailand. It is a singing contest, judged through popular votes.

Current True Academy Fantasia is already terminated its broadcast season with 12 last season .


Created by cable TV provider TrueVisions, formerly known as United Broadcasting Corporation (UBC), Academy Fantasia is a franchise of La Academia, a popular reality TV show from Mexico. The contestants are selected through nationwide auditions, as well as through online audition clips. The live auditions take place in major cities in every part of Thailand to search for those who dream about becoming superstars. Four judges will eliminate thousands of people down to top 100 then last twelve or more finalists into the Academy House for study.

The contestants live in the same house with hundreds of hidden cameras. Audiences can watch them 24 hours live on TV and online. Each week the contestants are assigned individual songs and sometimes group songs to perform on stage every Saturday until the last week of the show. The contestants attend voice class, dance class, and acting class to practice the songs that they perform.

The audiences can vote for their favorite contestants through cell phones and land phones. The show usually airs 24 hours on True Vision 20 (digital) and 16 (analog) and the concerts will be broadcast live on True Music Channel (Digital:26, Analog:30) and ModernNine TV (public channel 9) every Saturday night between 20:40-23:10 Thailand time.

After each performance the commentators will evaluate the performance. At the end of the concert, the contestant(s) who received the lowest percentage of audience votes will have to leave the show. The winners of the first five seasons were all male and was the first female in the season 6. The winners and the runners-up will automatically receive record deals with True Fantasia record label. After the end of each season, there is a nationwide concert tour starring the top 12 finalists.


SeasonPremiere dateThe WinnerRunner-upFinalistsContestants in order of eliminationNumber of ContestantsNumber of Concerts
AF1June 21, 2004Vit (V2)Jeen (V1)Aof (V6), Z-Nam (V9), Namtarn (V7), & K (V4)Joomjim (V5), Por (V10), Nan (V3), Noon (V12), Mam (V11), & Top (V8)129
AF2July 18, 2005Aof (V4)Pat (V6)Boy (V8), Pas (V9), & Preaw (V2)Joe (V12), Loogtarn (V1), Kookkai (V7), Wan (V3), My (V11), Mew (V5), & Ao (V10)1212
AF3July 3, 2006Tui (V12)Ta (V1)

Boy (V8), Mint (V5), & Zara (V4)

Koh (V9), Dong (V7), Tune (V6), Apple & Cherry (V3), Bruna (V11), Pett (V2), & Louktarn (V10)

AF4June 18, 2007Nat (V1)Tol (V9)

Papang (V3), Music (V8), Lookpong (V17), & Pong (V19)

Cat (V11), Tee (V12), Eingeing (V6), Puifai (V18), Jack (V2), & Joe (V16)

12 (20)13
AF5May 12, 2008Natthew (V13)Ron (V12)

Pump (V8), Good (V10), & Kee (V14)

Green (V16), Micky (V6), Beau (V5), Tab (V3), Prink (V1), Wahn (V15), & Nim (V9)

12 (16)12
AF6June 28, 2009Zani (V6)Ann (V10)

Tee (V5), & Mac (V8)

Koonjae-Sal (V3), Nooknick (V9), Newty (V4), Aof (V2), Ich (V1), Itch (V12), Tabby (V11), & Krit (V7)

AF7June 27, 2010Por (V12)Ton (V13)

Boss (V10), New (V4), Namkhang (V6) & Grape (V2)

Pum (V7), Ben (V3), Natty (V5), Paprae (V9), Green (V8), & Meen (V1)

12 (100)12
AF8June 26, 2011Ton (V9)Praew (V15)

Kacha (V3), Frame (V21), Tao (V23) & James (V10)

Joy (V24), Praewa (V2), Lynn (V7), Tide (V1), Ann (V12) & Dew (V22)12 (24)12
AF9June 3, 2012Ice (V8)Zo (V1)Bright(V5), Nest(V7) & Kat (V4)K (V6), Sunny (V11), Earth (V10), Kong (V2), Opol (V12), Baimonh (V3) & Bombay (V9)12 (24)15
AF10June 23, 2013Tungbeer (V20)Tayme (V6)Tuey (V21), Beam (V15), Belle (V24), CoNan (V22), Mook (V4), Nan (V11), Hongyok (V23), Hernfah (V14), Tong (V8) & Nene (V18)Tung (V13), Taengthai (V10), Fluke (V3), Taengmo (V2), Ten (V1), Benz (V9), Ton (V16), Aee (V7), Prim (V19), Ryu (V17), Mangpor (V12) & Lisa (V5)12 (24)12
AF11July 20, 2014Aim (V12)Mac (V6)Poom (V2), Nam (V11) & Q (V10)Pond (V4), Jukkajun (V3), Poon (V8), May (V5), Mook (V1), Muayli (V9) & Way (V7)1211
AF12June 28, 2015Max (V12)Benz(guy) (V9)Mariew (V7) & Boat (V10)Praew (V1), Benz(girl) (V4), Focus (V2), Joker (V3), Ploysai (V5), Jaoh (V11), May (V6) & Joon (V8)1212

Season 1 (2004)[edit]

21 June - 21 August 2004 (9 Weeks)

  • Week 1 theme: Trainers' Choices
  • Week 2 theme: Trainers' Choices
  • Week 3 theme: Trainers' Choices
  • Week 4 theme: Trainers' Choices
  • Week 5 theme: Duets
  • Week 6 theme: Easy Listening
  • Week 7 theme: International Soundtracks
  • Week 8 theme: Rock n' Roll
  • Week 9 theme: Contestant's Favourites (Finale)

Season 1: Elimination chart[edit]

FemaleMaleTop 12Top 6Runner-UpWinner
Stage:FinalsGrand Finale
4Z-namBtmNone Elim1BtmFinalist
6KNone ElimBtmBtmBtmFinalist

1None elimination week due to a failure of system supported the votes.

Season 2 (2005)[edit]

18 July - 8 October 2005 (12 Weeks)

  • Week 1 theme: Songs from Audition Round
  • Week 2 theme: 80's
  • Week 3 theme: Duets
  • Week 4 theme: #1 Hits
  • Week 5 theme: Rock n' Roll
  • Week 6 theme: Voting Back
  • Week 7 theme: World Musics
  • Week 8 theme: Songs of "The Soontaraporn"
  • Week 9 theme: Dance & Remixes
  • Week 10 theme: Thai Local Musics
  • Week 11 theme: Movie Hits Soundtracks
  • Week 12 theme: Contestant's Favourites (Finale)

Season 2: Elimination chart[edit]

FemaleMaleTop 12Top 5Runner-UpWinner
Stage:FinalsGrand Finale
3BoyBtmElimReturn1BtmBtm3rd Place
4PasBtmBtmBtm4th Place
5PreawBtmBtmBtmBtm5th Place
1Contestant were voted back and returned to competition once again. The ranking would be reset, but the rewards still were as the same.

Season 3 (2006)[edit]

3 July - 9 September 2006 (10 Weeks)

  • Week 1 theme: His Majesty The King's Songs
  • Week 2 theme: Duets
  • Week 3 theme: Songs of Contestant's Idols
  • Week 4 theme: #1 Hits
  • Week 5 theme: Animals Songs
  • Week 6 theme: Songs for Mother
  • Week 7 theme: Dance n' Hip
  • Week 8 theme: Thai Country
  • Week 9 theme: Hits Soundtracks
  • Week 10 theme: Contestant's Favourites (Finale)
V3Apple & CherryV9Koh

Season 3: Elimination chart[edit]

FemaleMaleTop 12Top 5Runner-UpWinner
Stage:FinalsGrand Finale
3BoyBtmBtm3rd Place
4MintBtmBtmTop3Btm4th Place
5ZaraBtmBtmBtm5th Place
9Apple & CherryBtmBtmElim
10BrunaNone ElimBtmElim

1Contestant had the most popular vote on the special week and get the special prize, a trip to Hong Kong with his mother for one week.

Season 4 (2007)[edit]

18 March - 15 October 2007 (12 Weeks & 1 Extra Week)

  • Week 1 theme: Semi-Finals #1
  • Week 2 theme: Semi-Finals #2
  • Week 3 theme: Thai Contemporary
  • Week 4 theme: Boy Band & Girl Group
  • Week 5 theme: Thai Country
  • Week 6 theme: Cover Hits
  • Week 7 theme: Superstars Superhits
  • Week 8 theme: Tele Songs
  • Week 9 theme: Cheer
  • Week 10 theme: Karaoke (Surprised)
  • Week 11 theme: Dance
  • Week 12 theme: Contestant's Favourites (Finale)
  • Week 13 theme: Contestant's The Best of AF4 & His Majesty The King's Songs (The Extra Week)

Season 4: Elimination chart[edit]

FemaleMaleTop 20Top 12Top 6Runner-UpWinner
Stage:Semi-FinalsFinalsGrand FinaleExtra Week
3PapangBtm3rd Place
4MusicBtmBtmBtmBtmTop34th Place
5LookpongBtmBtmBtm5th Place
6PongElimReturn2Btm6th PlaceTop3
1Contestant have the most popular vote of the week and can choose two contestants (within top12) back to the competition once again.
2Contestants were selected by the most popular vote contestant of the week to come back into the competition once again, their ranking would be reset.
3Contestant have the most popular vote of the week and receive a special prize, trip to any country in the world.

In the 4th season, AF had 20 contestants go into the Academy house. However, this was still considered the Semi-Finals, since there are normally only 12 final contestants in each season. Thus, by the end of the week, 8 of the contestants were supposed to be eliminated, leaving with only 12 people as the real finalists. After the 1st week's performance, the voting results showed that only 3 girls survived to the next round if they really eliminated 8 people. However, this could not happen according to the show's "bible" because in every season, there needs to be 5-7 men & 5-7 women (roughly equal number of men and women among the 12 contestants). Therefore, this week, instead of eliminating the bottom 8, they eliminated only the bottom 4, who were all female. It was also announced that in the following week, 4 male contestants would have to be eliminated, while the female contestants would be safe. In the 2nd week, the bottom 4 male contestants were eliminated by the end of the show.

Season 5 (2008)[edit]

12 May - 2 August 2008 (12 Weeks)

  • Week 1 Theme: Semi-Finals #1
  • Week 2 Theme: Semi-Finals #2
  • Week 3 Theme: Not My Style
  • Week 4 Theme: Dance Group
  • Week 5 Theme: Thai Contemporary Duets
  • Week 6 Theme: Songs of "Asanee-Wasan"
  • Week 7 Theme: Indy Music
  • Week 8 Theme: Thai Country
  • Week 9 Theme: My Favorite Song
  • Week 10 Theme: Korean Songs
  • Week 11 Theme: The Battle
  • Week 12 Theme: Contestant's Favourites (Finale)
1Contestants from online auditions.

Season 5: Elimination chart[edit]

FemaleMaleTop 16Top 12Top 5Runner-UpWinner
Stage:Semi-FinalsFinalsGrand Finale
3PumpBtmBtm3rd Place
4GoodTop34th Place
5KeeBtmBtm5th Place
7MickyBtmBtm2nd2None Elim3BtmElim
1Contestants from online auditions.
2Contestant was the 2nd place popular vote of the week and received the Immunity Idol which could help her save herself from an elimination.
3None eliminated because a contestant decided to use the Immunity Idol to save herself from elimination.
4Contestants were given a chance to return into the Academy house just one week. There would be only 1 contestant can return to the competition again.
5Contestant got the most popular vote in the voting back week, and can return into the competition once again.

In the 5th season, 16 contestants were admitted to the Academy house, so in the first week 4 contestants were supposed to be eliminated (one male and one female from the online auditions, and one male and one female from live auditions.) At the actual concert, though, the audience and the contestants were surprised when only 2 female contestants were eliminated (one from online auditions and one from live auditions), so 2 male contestants (one from the clip auditions and one from the live auditions) would be eliminated in week 2.

Season 6 (2009)[edit]

28 June - 19 September 2009 (12 Weeks)

  • Week 1 Theme: My Style
  • Week 2 Theme: Party & Radio Hits
  • Week 3 Theme: Tributed to King of Pop "Michael Jackson"
  • Week 4 Theme: Hard Rock
  • Week 5 Theme: Dance
  • Week 6 Theme: Show Power
  • Week 7 Theme: Mother's Choice
  • Week 8 Theme: The Battle
  • Week 9 Theme: Featuring with Our Friend
  • Week 10 Theme: Thai Country
  • Week 11 Theme: The Musical
  • Week 12 Theme: My Dream with My Songs (Finale)

Season 6: Elimination chart[edit]

FemaleMaleTop 12Top 4Runner-UpWinner
Stage:FinalsGrand Finale
3TeeTop 3SavedBtmFinalist
4MacBtmTop 3BtmFinalist

Season 7 (2010)[edit]

27 June - 18 September 2010 (12 Weeks)

  • Week 1 Theme: Top 100 Semi-Final Audition
  • Week 2 Theme: Rock
  • Week 3 Theme: Hot Debut (During years contestants were born, 1988–1995)
  • Week 4 Theme: Korean Songs
  • Week 5 Theme: Single Show (Contestant's Choice)
  • Week 6 Theme: Songs for Mother
  • Week 7 Theme: Music Festival (International Hits)
  • Week 8 Theme: Tag Teams (Duet & Battle Songs)
  • Week 9 Theme: Songs of Thongchai McIntyre (Musical Part I)
  • Week 10 Theme: Thai Contemporary & Country (Musical Part II)
  • Week 11 Theme: Variety Dance
  • Week 12 Theme: Grand Finale

1Ton (V13) replaced Mark (V11), who retired the show at the end of concert week 3.

Season 7: Elimination chart[edit]

FemaleMaleTop 25WithdrewReplacedTop 12Top 6Runner-UpWinner


FinalsGrand Finale
1PorTop 12Top 5BtmWinner
2TonTop 25RPTop 5Runner-Up
3BossTop 12BtmBtmFinalist
4NewTop 12BtmTop 5Finalist
5NamkhangTop 12BtmsavedBtmBtmFinalist
6GrapeTop 12BtmBtmTop 5BtmBtmFinalist
7PumTop 12BtmBtmElim
8BenTop 12Elim
9NattyTop 12SavedBtmBtmElim
10PapraeTop 12BtmBtmTop 5Elim
11GreenTop 12SavedSavedElim
12MeenTop 12SavedElim
-MarkTop 12Did Not PerformWD


BellTop 25
DewTop 25
FrameTop 25
InkTop 25
JimTop 25
KachaTop 25
KhoTop 25
LoukkedTop 25
MayTop 25
NickTop 25
NoeyTop 25
PamTop 25

Season 8 (2011)[edit]

26 June - 17 September 2011 (12 week)

  • Week 1 Theme: Semi-Final #1
  • Week 2 Theme: Semi-Final #2 - Duo Song
  • Week 3 Theme: Semi-Final #3 - Thanks & Gives
  • Week 4 Theme: Tata Young & Jirasak Parnpum
  • Week 5 Theme: Hearthbroken
  • Week 6 Theme: In Love
  • Week 7 Theme: Variety Dance
  • Week 8 Theme: Killer Song
  • Week 9 Theme: The King's Songs, Thai Contemporary & Thai Country
  • Week 10 Theme: Musical
  • Week 11 Theme: Songs of 'Ohm Chatri' & 'Dee Nitipong'
  • Week 12 Theme: Grand Final

Season 8: Elimination chart[edit]

FemaleMaleTop 24Top 12Top 6Runner-UpWinner


FinalsGrand Finale
1TonTop 12Btm1stWinner
2PraewTop 12Runner-Up
3KachaTop 12Finalist
4FrameTop 12Finalist
5TaoBtmTop 12BtmFinalist
6JamesTop 12BtmBtmBtmFinalist
7JoyBtmBtmTop 12BtmNone ElimBtmBtmElim
8PraewaTop 12BtmBtmBtmElim
9LynnTop 12BtmElim
10TideTop 12BtmElim
11AnnTop 12Elim
12DewTop 12Elim

Season 9 (2012)[edit]

2 June - 15 September 2012 (15 Weeks)

  • Week 1 Theme: My Chosen Song #1
  • Week 2 Theme: My Chosen Song #2
  • Week 3 Theme: My Chosen Song #3
  • Week 4 Theme: 12 Dream 12 Style
  • Week 5 Theme: Re-stage: Friend's song
  • Week 6 Theme: Thai's life
  • Week 7 Theme: First Love
  • Week 8 Theme: Killer Songs
  • Week 9 Theme: The Battle: Senior's Song
  • Week 10 Theme: Mothers' Generation Songs
  • Week 11 Theme: Dance City
  • Week 12 Theme: Duets
  • Week 13 Theme: Musical
  • Week 14 Theme: Settha Sirachaya
  • Week 15 Theme: Grand Final

Season 9: Elimination chart[edit]

FemaleMaleTop 24Top 12Winner
Stage;Semi FinalsFinalsGrand Finale
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