Abstract: The film Legend of the Demon Cat is unique in the convergence and interaction of literature and cinema narrative. The cinema expressions of the poetic images in Bai Juyi’s “Song of Everlasting Sorrow” which is made as the background text, are able to transcend the narrative/poetic binary and lead us to the potential reinterpretation of the poetics of cinema. In modern poet Luo Fu’s same titled poem “Song of Everlasting Sorrow”, the frequently occurring images of lotuses in Bai’s version created in Tang Dynasty are replaced by the images of roses. This transformation signifies that the depiction of the Imperial Concubine Yang has changed from the traditional discourse system of Chinese poetics to that of contemporary poetics. In the film Legend of the Demon Cat, the images of lotuses and roses converge with each other, and the literary narrative of the “Song of Everlasting Sorrow” in the textual form and the non-narrative of the lens language of the film work together to achieve a poetic effect that breaks away the limit of carrier awareness. The coexistence further contributes to the breakdown of the demarcation between moral preaching and romantic narrative, returning to the poetry-film convergence of local visual thinking.

Key words: Key words： “Song of Everlasting Sorrow”, Legend of the Demon Cat, local visual thinking, convergence of poetry and cinema