Abstract
Abstract When linking Chinese film theory with traditional Chinese aesthetics, it is worth considering that the core categories of ancient Chinese aesthetics ought to be incorporated into a film paradigm that includes the meaning of film itself and it should not just be the way of transplanting the concepts of ancient Chinese literature directly into the system of film theory, for example, introducing the concepts of poetry, painting and opera directly into the evaluation system of films. For this reason, the author expects to establish a core concept in Chinese film aesthetics as an aesthetic category that may be considered to be parallel to the poetic, the pictorial and the calligraphic: this concept is named ‘the Filmic’.
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