A Study of Zhong Zhaozheng’s The Song of Chatian Mountain and Its Adaptation into Film
|關鍵字:||鍾肇政;客家文學;插天山之歌;文學改編電影;台灣人三部曲;Zhong Zhaozheng;Hakka literature;The Song of Chatian Mountain;adaption from novel to film;The Trilogy of the Taiwanese|
This thesis is a study of Zhong Zhaozheng’s novel The Song of Chatian Mountain and its adaption into a film with the same title. With a focus on the two main characters Lu Zhixiang and Benmei, my research adopts postcolonialim and feminism to discuss the process of Lu’s de-colonization and Benmei’s awakening, which also involve the class issue as well as the metaphor of “the female orphan.” In terms of the filmic adaptation, the thesis compares its similarities to and differences from the original novel, in the order of characterization, story line, language style, theme, timeline, place arrangements and aesthetic effects. As the author of the novel has characterized the theme of this novel as “escape” which implies his (post)colonial experience, my discussion is on the primal fear he felt in his learning of Japanese-language education and on the new fear that he obtained in his re-learning of a new language—this time the Chinese—in his prime time as a postcolonial writer. The double experience of fear has made him decide to take “the meaning of being a Taiwanese” as the motif of his writing. The Song of Chatian Mountain records the male protagonist’s cultural struggle in de-colonization, his subjective experience of the colonized, and the remaining trauma of colonization. If he looks weak and victimized, the female protagonist, in comparison, has not only the motherly power of recovery but also the courage to break up the constraints of patriarchy. The filmic edition of this novel has combined Zhong’s two novels—Under the Eight-Cornered Tower as well as The Song of Chiatian Mountain, thus giving more description to the formative age of Lu Zhixiang. My observation is that the hero’s image in the novel has been reduced as the director is more interested in his interior personality such as irresolution and anxiety. While Lu in the novel is made to move from low to high positions to symbolize his heroic action, in the film he mostly has a parallel movement, giving the audience an impression that he is less active and determined than Benmei. Although the film cannot fully explore the depth of the literary representation, it does succeed in its artistic beauty in the form of popular culture.
|Appears in Collections:||Thesis|
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