A Study On The TV Adaptations Of The Deer And The Cauldron

The novel The Deer and the Cauldron has been put on the TV screen since 1977.So far,eight versions of the TV adaptions have been filmed in Hong Kong,Taiwan and mainland in China.On the one hand,different versions of adaptions reflect the different understandings of the original novels by the adapters,so that each version presents its own different aesthetic characteristics.On the other hand,behind the adaptations,what is highlighted is the Meaningful choices of the original novels,such as different regional cultures,acceptance psychology,epochal context,and aesthetic fashion.Combining the social,historical and cultural contexts of Hong Kong,Taiwan,and mainland in China,this paper examines the characteristics of different regions,cultures and eras in the The Deer and the Cauldron from the intertextuality in a broad sense,and analyzes the differences between the original novels and the TV adaptations as well as the links among the various versions from the intertextuality in a narrow sense.In a word,this paper aims at combing out the trends of the adaptations of The Deer and the Cauldron,which attaches importance to emotional interpretation and entertainment.Based on a detailed review of filming process of The Deer and the Cauldron in China,this paper focuses on how the special historical culture,the context of the times and the acceptance psychology of the three regions lead to the differences in the adaptations of different regions.And these differences have prompted the aesthetic styles and artistic characteristics of different versions of the The Deer and the Cauldron.In Hong Kong,the change of people’s identity consciousness was reflected in the three TV adaptations before and after the handover to China in 1997,and were influenced by the singular martial arts dramas that formed the entertainment comedy in aesthetic style.In Taiwan,The “martial law” policy implemented by the Kuomintang has made the Taiwanese versions form the features of avoiding historical politics,carrying the obligation of social education,and showing exquisite and cautious performance.In the mainland of China,under the influence of the stipulations of the film and television guidelines,the stimulation of mass consumers,and the martial arts and television culture of Hong Kong and Taiwan,the two TV adaptations have shied away from sensitive political events and highlighted family ethics and social harmony national concept with filial piety as the core,and,at the same time,put the pop idols and non-mainstream aesthetic culture together,imitating the classic characters and plots of Hong Kong and Taiwan versions.Above all,whether it is the Hong Kong drama with hidden identity anxiety,opening up entertainment and carnival features,or the Taiwanese drama that evades regional history,attaches importance to political and religious love,or the mainland drama that swings between the main theme and the mass entertainment culture.Among them,they have not only bring various styles of aesthetic enjoyment to the public in the long process of creation,but also highlight the multiple meanings behind the various adaptations,and become a mirror for us to look back and reflect the specific historical context of Hong Kong,Taiwan and mainland in China.