"Journey to the West" is very popular in film creation themes in recent years, and the images of gods, demons and demons provide creators with natural advantages in creating a magical world. Breaking the classics is to reconstruct the classics and to break away from the original work and establish a new film context, which is inseparable from the deconstruction of the original themes, characters and other elements. And Director Zhou Xingchi and Tsui Hark used Western postmodernist deconstruction techniques to jointly create an oriental magical world of Journey to the West with affection, love, truth, goodness and beauty. So "Journey to the West: The Demon" came into being. The editor will come to everyone today. Look at the three types of deconstruction in "Journey to the West: Fu Yao Pian".
First, the deconstruction of love. Since "Journey to the West", the movie "Journey to the West" has added another theme-love. In "Journey to the West: Conquering the Devil", Tang Seng talked about love, and it continued into "Journey to the West: The Demon". However, the Tang monk in the original work is just a monk who is dedicated to kindness and learning from the west. And Zhou Xingchi boldly deconstructed it, so that Tang Seng, a Buddhist disciple, broke the lust.
Dao is different and not conspiring, Buddhism and monsters have always been opposites, and Tang Seng unexpectedly had a love story with the white bone spirit. In fact, isn’t the White Bone Spirit Zixia in "A Westward Journey", Miss Duan in "Journey to the West", and is Tang Seng the Monkey King in "A Westward Journey"? Because of this bold deconstruction, the audience did not feel disgusted with such love, but envied the possession of such love, which resonated with the audience. It can be seen that Zhou Xingchi's deconstruction is successful, and he uses postmodernism to create a magical world of Journey to the West with love and love for the audience.
Second, the deconstruction of identity. In "Journey to the West: The Demon", Zhou Xingchi and Xu Ke deconstructed the four masters and apprentices into exorcists, reconstructed a world of Journey to the West, completely separated from the original work. The four masters and apprentices are exorcists, performing street art, like warlocks. But what is a demon? Are both demon and demon bad people? Xiao Bian thinks otherwise. The identities of the four masters and apprentices in the original work are all "practitioners" from the West. Monkey King, Pig Bajie, and Drifting Monk are demons or monsters themselves. Monkey King is the Demon King, Zhu Bajie is the Pig Demon, and the Drifting Monk is the Fish Monster.
Although Tang Seng is not a monster himself, he is deeply controlled by his heart. The Tang monk in this movie is greedy for fame and fortune, loves vanity, and is trapped by love. In addition, the white bone spirit in the original book is a fairy who wants to eat the Tang monk, but in "Journey to the West" he becomes a kind and righteous person. The name in the play is still "Xiaoshan". Zhou Xingchi deliberately beautifies his human nature, completely subverting the image of the white bone spirit in the original work, and reconstructing the kind demon and the kind demon for us. Therefore, the construction of "learning from the classics" as "exorcism" is just that Zhou Xingchi uses postmodernist deconstruction to recreate a true, good and beautiful westward journey for the audience.
Third, the deconstruction of the relationship between master and apprentice. The so-called deconstruction is to decompose the traditional deconstruction to produce new meaning. Zhou Xingchi breaks down the traditional master-disciple relationship in "Journey to the West: The Demon". In traditional Chinese society, one is a teacher for one day and a father for life, and a teacher and an apprentice are like father and son. And Zhou Xingchi deconstructed the relationship between teacher and student into an equal relationship. Tang Seng could beat, insult, and threaten Monkey King at will, and he could also kneel to his apprentice and admit his mistakes. This deconstruction is simply counterintuitive.
But it is the deconstruction in the magical world of Journey to the West constructed by Stephen Chow, so the audience didn't think there was anything wrong, but just used it as a joke. And Monkey King can also play with Tang Seng and let Tang Seng dance in front of everyone. At the same time, the three apprentices all have the "longing" to kill Tang Seng, and Zhu Bajie has encouraged Monkey King to kill Tang Seng more than once. The relationship between mentor and apprentice here is more like a parallel hierarchical relationship, with no subordinates, no so-called leaders and subordinates. This is different from the strict hierarchical concept in the original book. Zhou Xingchi completely deconstructed the relationship between the teacher and the apprentice and boldly subverted it. Zhou Xingchi used postmodernist deconstruction to transplant his own values, and constructed an oriental magical world of Journey to the West for the audience.
Conclusion: Zhou Xingchi subverted the image and behavior of the characters, mixed with square language, made the film absurd and increased the film's comedic effect. At the same time, he also used deconstruction techniques to deconstruct and subvert the original work, breaking the original value system of Journey to the West, adding love elements, and deconstructing the original four masters and apprentices to exorcist, making the film more magical And established a new world of Journey to the West, in which there is love and hate, sentiment and righteousness, truth, goodness and beauty. In general, deconstruction is just aTechniques, a kind of thought, Zhou Xingchi just uses them to show his unique humanistic care and construct the "utopian" world in his mind.
-
-
-
-
-
-
-
-
-
-