If you’re interested in film, you’ll want to read this article on the rise of Asian filmmaking. It points to China as the new breadbasket of cinematic creativity and raves about the beauty of Zhang Yimou’s newest hit in China, House of Flying Daggers, which the writer says is a product of its Taoist philosophy.

Despite the range of western cinema today, most of it derives from the assumption that movies are narrative chains of cause and effect, that their characters have fears and desires, and that we follow the film by understanding these fears and desires. The new films of Zhang and the others make similar assumptions but are less driven by them and balance questions of selfhood with Zen ideas about negation and equilibrium. This makes their beauty hard to replicate in the west.

But Buddhism is not the whole picture. Another Asian philosophy explains the sense of gender and use of space in these films. Unlike Maoism, which pictured a clear moral opposition between the good workers and bad bosses, and unlike Confucian philosophy, in which masculinity is noble and femininity is not, Taoism is less clear-cut. Morally, it sees good within bad and vice versa. The feminine is a virtue in the same way that emptiness may be for artists.

Every one of the great Asian films in the pipeline evinces Taoist ideas of sex and space. In none of them is gender polarised. In all of them, space is crucial. And the influence is acknowledged. Zhang, for example, has talked about the way Chinese painting has affected his work. His shots are often very wide. Space and landscape weigh as heavily within the frame as the human elements. Art historians have long discussed the Taoist component of such paintings.

I’m no film expert, but I found this a good read.