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The Spatial Aesthetics of Hu Jinquan's Martial Arts Films

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DOI: 10.23977/artpl.2021.21007 | Downloads: 15 | Views: 1220

Author(s)

Junfei Xu 1

Affiliation(s)

1 Peking University School of Arts, Beijing, China

Corresponding Author

Junfei Xu

ABSTRACT

The main purpose of this article is to understand the artistic style of Hu Jinquan's films and his clever use of film space through the analysis of his martial arts films. He also explores how he perfectly integrates real history, Chinese cultural contexts and Chinese philosophy into film space, forming unique The aesthetics of film space with “Chinese characteristics”.

KEYWORDS

Martial art film, Traditional aesthetics, Spatial art

CITE THIS PAPER

Junfei Xu. The Spatial Aesthetics of Hu Jinquan's Martial Arts Films. Art and Performance Letters (2021) 2: 33-35. DOI: http://dx.doi.org/10.23977/artpl.2021.21007.

REFERENCES

[1] Jiao Xiongping, The Inn Face Epiphany Walk - The Film World of Hu Jinquan, (Taiwan : Yuanliu Publishing Company, 1991), pp. 17.
[2] [Spain] Héctor Rodríguez, ”Questions of Chinese Aesthetics: Film Form and Narrative Space in the Films of Ambrose Hu In memory of Ambrose Hu (1931-1997)”, Film Art, 1997 (6).
[3] Gu Chunfang, “The Sword and the Mirror: The Clarity of the Mind: The Aesthetic Quest of The Assassin Nie Yinniang”, Film Criticism, 2015 (6).

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