A Study on the Aesthetics of Chinese “Handscroll Films”
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Yang Chen
Yang Chen is a professor and doctoral supervisor from the School of Liberal Arts at Renmin University of China.
and
Dailin Zhao
Dailin Zhao is a Master of Arts in film studies in the School of Liberal Arts at Renmin University of China.
Abstract
The handscroll, a traditional painting format in China, has had a profound impact on Chinese films. Handscrolls display not only lively landscape paintings, but also ingenious concepts. In Chinese cinema practice, a handscroll-like composition contributes to the combination of “immersion” (沉浸, Chenjin) and “understanding” (认识, Renshi), two different philosophical and aesthetic concepts. These are used to show a strong sense of history within the limited space of rectangular film scenes, reflecting dynamism and rich with soul. Combined with the technique of “looking back” (回眸, Huimou), handscroll-like compositions function as a chain of connectivity, further leading the audience into a reverie. Consequently, many young directors have applied this creative method to whole film structures in recent years, showing courage to push creative limits.
About the authors
Yang Chen is a professor and doctoral supervisor from the School of Liberal Arts at Renmin University of China.
Dailin Zhao is a Master of Arts in film studies in the School of Liberal Arts at Renmin University of China.
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Postscript
The originally article entitled 中国手卷式电影审美研究 was published in Minzu Yishu Yanjiu 民族艺术研究 (Ethnic Art Studies) 2021(6): 41–48.
© 2023 Walter de Gruyter GmbH, Berlin/Boston
Articles in the same Issue
- Frontmatter
- Research Articles
- An Exploration of “Shadow Play”: An Analysis of the Origin of Chinese Film Aesthetics
- Ethnic Identity and Traces of Culture: Pema Tseden in a Centenary History of Films
- Rhythmic Vitality: Traditional Aesthetics and the Theoretical Vision of Contemporary Chinese Film Aesthetics
- Spiritual Wonderings: A Study of Phantasmagoria in Early Chinese Cinema
- A Study on the Aesthetics of Chinese “Handscroll Films”
- Tragedy and Tender Beauty: Exploring the Tradition of Kuqing in the Chinese Film School
- Revivalism in the New Life Movement and Cultural Conservatism in Early Chinese Films, 1934–1937
- Analysis Report on the Development of the Chinese Film Industry in 2023
- Renegotiating Jia Zhangke’s Contestious Auteurism on Douban
- Interview
- A “Creating God” Experience of Chinese Film Industry and Aesthetics: Conversation with Wuershan, Director of Creation of the Gods I: Kingdom of Storms
Articles in the same Issue
- Frontmatter
- Research Articles
- An Exploration of “Shadow Play”: An Analysis of the Origin of Chinese Film Aesthetics
- Ethnic Identity and Traces of Culture: Pema Tseden in a Centenary History of Films
- Rhythmic Vitality: Traditional Aesthetics and the Theoretical Vision of Contemporary Chinese Film Aesthetics
- Spiritual Wonderings: A Study of Phantasmagoria in Early Chinese Cinema
- A Study on the Aesthetics of Chinese “Handscroll Films”
- Tragedy and Tender Beauty: Exploring the Tradition of Kuqing in the Chinese Film School
- Revivalism in the New Life Movement and Cultural Conservatism in Early Chinese Films, 1934–1937
- Analysis Report on the Development of the Chinese Film Industry in 2023
- Renegotiating Jia Zhangke’s Contestious Auteurism on Douban
- Interview
- A “Creating God” Experience of Chinese Film Industry and Aesthetics: Conversation with Wuershan, Director of Creation of the Gods I: Kingdom of Storms
