Encountering Buddhism through Mise-en-scène and Affective Experience in Running on Karma and The Pig, the Snake, and the Pigeon

The relationship between mise-en-scène and Buddhist philosophy has increasingly attracted scholarly attention in studies of Buddhist film. Yet most studies address the intellectual alignment between films and Buddhist teachings, leaving relatively unexplored how cinematic aesthetics generate a Buddhist experience. To address this gap, this paper examines the role of specific elements of mise-en-scène and cinematography in evoking affective encounters with Buddhist concepts. It compares two films that depict violent anti-hero protagonists undergoing moral change: Johnnie To and Wai Kai-fai’s Running on Karma (2003) and Wong Ching-po's The Pig, the Snake, and the Pigeon (2023). By examining blocking, lighting, camera angles and movement, framing, depth of focus, and background music in selected scenes, this paper argues that both films situate moments of transformation within skillfully constructed visual and emotional environments. Together, this research contributes to discussions of how cinematic form shapes viewers' affective engagement with Buddhist ideas and praxis.