Abstract
“Chivalry, Military force, and Emotion” are not the only symbols of the traditional swordsmen film, and heroes are not omnipotent and perfect persons any more. The current Chinese swordsmen film could best showcase this point, and is undergoing criticism and deconstruction. We can see that a large number of Chinese directors such as Tsui Hark, Peter Chan, Haofeng Xu, and Wong Kar-wai began to re-examine the aesthetics and culture of swordsmen film after the wave of “historic costume blockbuster” in the mainland China. They have tried to give new charm to the Chinese swordsmen films by displaying their own styles and features.
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