“Kongqi” Theory and the Aesthetic Spirit of Chinese Film

Abstract

Abstract Based on the traditional Chinese “kong view” and “qi view” of classical literature and art, this article aims to further construct localized Chinese film theory, by combining methods and approaches to media archeology, and comparing Chinese and foreign literary aesthetics and film art poetics. The ancient Chinese word “dianying” (electric shadow) basically carries the same connotations as the modern word “cinema”, which is internally connected. The “kong view” (empty) and the “qi view” constitute the Chinese aesthetic foundation for the “kongqi” (atmosphere) theory of Chinese film. This theory has been nourished by western aesthetics since the 1920s, absorbing both film spirit theory and film art poetics. With exchanges and dialogues between ancient and modern language, and between China and other countries, this article examines the ways in which the “kongqi” (atmosphere) theory has nurtured a large number of outstanding Chinese film authors, and highlights the aesthetic spirit of “One World One Qi” that is perceived in Chinese films.