earticle

영어

In this thesis, the modern deconstruction of classical allusions as depicted in the 2023 Taiwanese film "The Pig, the Snake, and the Pigeon" is focused on, and the exploration of how the historical anecdote of "The Pig, the Snake, and the Pigeon" from the Jin Shu is utilized by the film as its narrative motif to reconstruct character images and traditional narrative structures is conducted, thereby revealing profound social metaphors and cultural critique (Fang Xuanling, 648/1974). The classical hero's tale of "removing evils" is reinterpreted within the context of modern society, and issues such as personal redemption, social order, and moral judgment are placed within a visual narrative interwoven with violence and fate. By beginning with an analysis of the historical prototype and the cultural transmission path of the "The Pig, the Snake, and the Pigeon" allusion, the reconstruction of the hero role and the imagery of the "three evils" by the film is then examined, with these elements being endowed with modern societal implications. Furthermore, the discussion of how violence, through the film's visual style, narrative rhythm, and religious symbolism, presents the tension of fatalism in a formalized and sensory cinematic language is conducted from the perspective of the aesthetics of violence. This violence is seen as a symbolic response to the mechanisms of social exclusion and a visual metaphor for the failure of individual self-redemption. Revealing how the ethical framework of classical narratives is integrated by the film with the spiritual dilemmas of contemporary society is tried to be realized in this research, with the traditional character archetype of "Zhou Chu" being transformed from a moral symbol into a modern individual's existential metaphor. Traditional value systems are re-examined by the film through formalized depictions of violence and a cyclical fate structure, presenting a contemporary expression of multiple themes such as good and evil, redemption, and social critique. Instead of being a mere reproduction of the classical hero narrative, "The Pig, the Snake, and the Pigeon" is an allegorical portrayal of reality: a ritualized imagery of violence and a narrative logic of cyclical fate are employed by the director to conduct a profound critique of modern society. Not only is the analysis of the film's narrative structure and visual expression deepened by this study, but the process of the reconstruction of classical narratives within the language of modern cinema is also demonstrated. As a dialogue space between classical culture and contemporary society, new insights into the continuation and transformation of traditional spirit in the modern context are offered by the film's visual practice. Additionally, a new theoretical perspective on the regeneration mechanism of traditional culture in modern imagery is provided, thereby offering a methodological reference for subsequent related research.