在二十一世紀改編的「白蛇傳」作品，常被視為「顛覆傳奇」，但是白蛇故事的現代性轉折早在上個世紀七○年代就已發生，其中最有引導作用的首推林懷民的舞作《白蛇傳》，本文將以此為起點，試圖探討文學經典如何在我們的時代和社會語境下有了新生命，特別是將台灣介入與台灣「無關」的故事，也就涉及了傳統中國和本土化的國族命題，當中還包括了獨立女性和解消父權等的性別議題，若從這兩個面向出發，我們就有了探討李碧華的《青蛇》以及徐克導演的同名電影《青蛇》的基礎。李碧華的《青蛇》以「背叛性創造」重寫白蛇故事，有著承先啟後的重要作用，九○年代由徐克改拍的電影《青蛇》，雖以李碧華的小說為本，卻浮現了對此作的反挫（backlash）力量。本文力圖從文化批判的角度檢視由林懷民開始的白蛇「新」傳統，並解讀他們如何解消傳統白蛇的主導位置，建構新的關懷意識。

The adaptations of ”The Legend of the White Snake” in the 21st century are often regarded as ”The Legend of Subversion.” However, the modern twist of the story of the white snake has started in 1970s. The leading one is the famous dance work, ”Madame White Snake” by Lin Hwai-min. This article starts from ”Madame White Snake”, attempting to explore how classical literary work has gained its new meaning through recontextualisation in the contemporary era and social context. This study will be related toissues of traditional China and the localization of Taiwan, particularly including gender issues about independent female and dismiss of patriarchy. Based on the thread of thought, this article will continue to examine relevant issues through Lilian Lee's ”Green Snake” and the homonymy movie directed by Tsui Hark. Lillian Lee's ”Green Snake” as the reference is its important role of continuing the tradition of ”The Legend of White Snake” due to its adaption from the view of ”betrayal of creation”. Through this lens, we cannot ignore Tsui Hark's film, ”Green Snake”. Although Tsui Hark adapted his work on the basis of Lillian Lee's novel, it highlights the power of backlash for Lillian's work. This paper examines the new tradition of ”The Legend of the White Snake” starting from Lin Hwai-min's work in terms of the perspective of cultural criticism, and interprets how different producers dismiss the dominant position of the traditional white snake and project personal concern and awareness.