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Open AccessArticle

The Aesthetics of Flow and Cut in the Way of Film: Towards Transnational Transfers of East Asian Concepts to Western Film Theory

Faculty of Media, Bauhaus-Universität Weimar, 99423 Weimar, Germany
Arts 2019, 8(3), 119; https://doi.org/10.3390/arts8030119
Received: 4 March 2019 / Revised: 19 August 2019 / Accepted: 28 August 2019 / Published: 16 September 2019
(This article belongs to the Special Issue Japanese Transnational Cinema)
The general concepts in theorising the aesthetics of film are still rooted in occidental traditions. Thus, thinking about film is dominated by Western terms and aesthetic paradigms—such as “pieces of work”, the representation of reality or regarding the arts as an act of communication. From such an angle, it is difficult to describe different characteristics of the cinematic image, for example, its ephemeral character. In contrast to occidental thinking, the cultural traditions of East Asia are based on the concept of the way ( or dao), which allow for the description of aesthetics of transitions and transformations. Inspired by the concept of kire-tsuzuki, as developed by the Japanese–German philosopher Ryōsuke Ōhashi, I shall, in this paper, describe some alternative ways of understanding appearance and occurrence in relation to the cinematic picture. View Full-Text
Keywords: cinematic picture; film aesthetics; theory of beauty; ikebana; kire; geidō; film philosophy; Japanese aesthetics; transcultural thinking cinematic picture; film aesthetics; theory of beauty; ikebana; kire; geidō; film philosophy; Japanese aesthetics; transcultural thinking
MDPI and ACS Style

Frisch, S. The Aesthetics of Flow and Cut in the Way of Film: Towards Transnational Transfers of East Asian Concepts to Western Film Theory. Arts 2019, 8, 119.

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