本文是對中國武俠電影進行了研究。運用中國文化生態原則對電影進行研究。審美與哲學的聯繫，又源於對根植於文化和生態中的人性的深刻理解，構成了本文分析的主要依據。中國武術超越了歷史的記錄。它是通過口口相傳、通過行動或通過家庭流傳下來的歷史。 Baguazhang或palm technique style是一種武術和能源藝術，其中有很多技術，只使用手掌打擊和軍刀等武器(energy Arts, 2017)。其他中國武術，如功夫，深深植根於這個國家的文化構成。本篇代寫論文 價格文章由美國論文人EducationRen教育網整理，供大家參考閱讀。
Chinese martial art movies are studied in this work. The movies are studied by making use of Chinese cultural ecological tenets. The aesthetic connection to philosophy which is in turn drawn from a deep understanding of human nature rooted in culture and ecology forms the main basis for this analysis.Chinese martial arts are something that goes beyond what is recorded history. It is history passed down by means of word of mouth, by actions or through families. Baguazhang or the palm technique style is a martial art and an energy art that has many techniques in it using only the palm strikes and weapons such as a saber (Energy Arts, 2017). Other Chinese martial arts such as Kung Fu are deeply rooted in the country’s cultural makeup.
Cultural ecology is considered as the study of human adaptations as in biology, culture of living, personality traits etc. based on the social and physical environment that one lives in. The natural environment modifies the way of living of the person and in academic and philosophical realm, it is understood as the natural environment having an effect on philosophical foundations such as heroism, affection towards one another etc. Chinese martial arts are in sync with nature. For example, in Chinese philosophy, religion and way of living, “Taoism” is seen to believe that men should live as one with nature. On a similar note, it can be said that core beliefs in martial arts are drawn from the same synchronicity. In the Baguazhang, it is seen that there is a Bagua circle of walking technique. This is a technique where the martial artist works with the energy in the circle. Twisting and spiral actions demonstrated within the circle show how physical strength is drawn from a unique movement connected with the energy of the place and the person.
Some of the earliest Chinese martial art movies were seen to be produced in Shanghai and these movies were heavily focused on wire works or sword plays. The year 1958 saw the movie, Battle with five tigers in the Boxing Ring, which was a popular success (Crave, 2008). Later international movies were mostly from Hong Kong and in some Hollywood end collaborations.
In representing techniques such as Baguazhang, different characteristic elements are included. For example, consider Baguazhang as represented in Chinese martial arts movies such as the table top fight in Ip Man 2. Similarly, other Chinese martials arts have been presented in movies with as much absolute essence of the original as possible. Now in there representations, some specific characteristics are always present and these characteristics are rooted in the philosophy, culture and ecology of the country. These are the “xia”, “wu” and the “qing”. It is the purpose of this work to study the aesthetic representations in Chinese Martial arts movies, namely the “xia”, the “wu” and the “qing”.