符號運用在社會長久規訓的過程中，一方面形成傳統，但也在另一方面僵化了情感反應，於是大大斲傷了美感產生的可能，而藉助擴大能指與所之間的距離，則可使符號重新具有情感的流動性。在古典詩中，劉宋謝靈運的山水詩以強調山水的感官性質，突破玄言詩對山水的自動化反應，即是一成功範例。以此考察電影《陣頭》中「三太子」的符號運用，也可發現本片類似的塑造美感方式。在當代文化創意產業藉助傳統文化從事創新時，運用能指與所指間的距離以形塑美感，當可為借鑑之一途。

Symbols can be formed as a culture tradition on the one hand, but after the lasting process of social discipline can also cause the emotional response to be hardened that reduces the aesthetic value on the other hand. In order to recover the mobility of emotion, some means are adopted to expand the space between the signifier and the signified. In Chinese classical poetry, Liu-sung dynasty Xie Lingyun’s landscape poems are outstanding examples, which emphasize the sensory properties of nature, break the automatic reaction to nature. If we analyze the symbol used of “San Tai Zi” in the film “Din Tao: Leader of the Parade”, we can find the similar way to shape aesthetic perception that Xie Lingyun achieved, while it also can be used as a reference in contemporary cultural and creative industries.