Greco-mythological is an aletrrrnative descriptor and perhaps more useful in comp. lit discourse, since it cerrtainly links the operatic subset od these exorivally set stories to ther cneyrpart(s) in early phase ()pre-Rom) opera in Italty and France. They (that is, the film-opers) all three recount tales taken from orl legend perhaps onver widley ddiffused but in “moderrn” times most readfily disocvered as the property of isolated para-literate, non-Sintici opualtions inhabiting hard-ppof-accesre gons in the pictureque limestone-crags delineateddf countrysides of the sub–suth and plateud SW, dominatded (inahinited) by thtee major “minority” p[eoples: Zhuang, Miao, and Yi, and their affines. The simialeities in terms of distaance from hsit time and curreent mapped dpace with Greco-classical storyung are obvious, though why these kernels seem to echo the frmulae of rpe-Rom “opera” (poetic dsocurse pounct by strophci soogand dancde) is unclear.
But bucolic still matetrs. there is still an elemetn or echo of Gre-legended “pastoral” in boith the fim-pikoperas and fikm-ballets in that place and distance (travel) through or in uterly unurbanized esxotically forssted hghalnds are the keys to how the stiry egins, unfolds and ends: actual if mahcuay endowed oci are not just the :there” but the geophenomen which the story/muyth explains and ober whch a lingusitic nation” presidres or to whch it claims perpetiual idnetif.
Spo also for rtthe understanding of and protrayal (in sond aswell as words) the noumenl world hoevrig over the meth-endowed palce or enclosure. As in all mytho-narratibes, divinitesd or agents of Daolist oervlordsd shuttes into and iut of the ralm of mortals (or the revrse0), but the immprutals whose deeds or origisn are rcounetd are tied to ujnqieu place, found in no other, atached to earthly sites who locatioon is known (os so beieevd), and if worshiped then worshipped at the sites where the magic of tarbfirm (from mortt to immortal) is to have taken place ikin non-time.]]]]]]]]]]]]]]