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Using Aristotle’s ethos and a microanalysis of audiovisual elements in Crouching Tiger, Hidden Dragon (2000), it clarifies how strategic cinematic rhetoric and Chinese aesthetics together sustain wuxia storytelling.",{"@graph":14,"@context":77},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & 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of“Wuxia”Film “Crouching Tiger, Hidden Dragon”  \n\n| Mao Sijie1, Chow Ow Wei2, Loo Fung Chiat3, & Megat Al-Imran Yasin4 Universiti Putra Malaysia. Kuala Lumpur, Malaysia\u003Cbr>Received: 8 January 2025 | Revised: 19 February 2025 | Accepted: 3 March 2025\u003Cbr>Abstract |\n| --- |\n| Wuxia, a standardised epic genre originating from a typical Chinese literature, has inspired mainstream global films for almost a century of motion picture evolution. Nevertheless, it often appears distant and enigmatic to certain audience, largely because of being set in an imagined ancient Chinese world underpinned by chivalrous and righteous ideals. It is therefore a challenge for filmmakers to strategically visualise the wuxia realm and materialise the jianghu world into a convincingly authentic depiction of in ancient China.\u003Cbr>Building on Aristotle’s concept of ethos, this study constructs a conceptual framework grounded in wu, xia, and jianghu, treating film as a deliberately orchestrated form of rhetoric. Through a microanalysis on the audiovisual elements with a special focus in “Crouching Tiger, Hidden Dragon”(2000), this research aims to uncover the “secret manual” behind wuxia film through an illumination of strategic filmmaking methods in the ethos established from the Chinese martial arts world. The findings offer a paradigmatic approach for wuxia filmmaking: one that not only harnesses audiovisual elements to fulfil narrative function but also integrates them with Chinese aesthetics and cultural traditions. By clarifying the complex interplay of audiovisual elements, this research enhances the understanding of the cultural and rhetorical factors that shape contemporary Chinese audience. Furthermore, by integrating classical rhetorical theory with modern film analysis, the study provides a robust framework for examining the enduring influence of wuxia storytelling through the cinematic landscape as presented in a significant wuxia film of the era.\u003Cbr>Keywords |\n\nFilm; Film Score; Audiovisual; Wuxia; Martial Arts World; Ethos; “Crouching Tiger, Hidden Dragon”  \nThis work is licensed under a Creative Commons “Attribution” 4.0 International License  \n1 Email: gs58236[at][student.upm.edu.my ORCID](student.upm.edu.my ORCID) [https://orcid.org/0009-0009-6904-0370](https://orcid.org/0009-0009-6904-0370)  \n2 Email: chowwei[at][upm.edu.my ORCID](upm.edu.my ORCID) [https://orcid.org/0000-0002-2360-5083](https://orcid.org/0000-0002-2360-5083)  \n3 Email: lfc[at][upm.edu.my ORCID](upm.edu.my ORCID) [https://orcid.org/0000-0002-0387-1173](https://orcid.org/0000-0002-0387-1173)  \n4 Email: megat[at][upm.edu.my ORCID](upm.edu.my ORCID) [https://orcid.org/0000-0003-0065-9983](https://orcid.org/0000-0003-0065-9983)  \n| В поисках «секретного свитка» в мирекитайского у -ся: переосмысление этоса фильма«Крадущийся тигр, затаившийся дракон» |\n| --- |\n| Сыцзе Мао1, Вэй Чоу Оу2, Чиат Лу Фун3, & Ясин Мегат Аль-Имран4 Университет Путра Малайзия . Куала-Лумпур, Малайзия\u003Cbr>Рукопись получена: 8 января 2025 | Пересмотрена: 19 февраля 2025 | Принята: 3 марта 2025\u003Cbr>Аннотация |\n| У-ся — эпический жанр, возникший в традиционной китайской литературе, который на протя жении почти века эволюции кинематографа вдохновлял мейнстримное мировое кино.Тем не менее, он нередко кажется далёким и загадочным для определённой аудиторииглавным образом потому, что его действие разворачивается в воображаемом древнекитайскоммире, основанном на рыцарских и праведных идеалах. Таким образом, перед режиссёрамистоит задача — стратегически визуализировать мир у-ся и воплотить вселенную цзянхув убедительно аутентичном образе древнего Китая.\u003Cbr>Опираясь на концепцию этоса Аристотеля, данное исследование выстраивает концептуальнуюмодель, основанную на понятиях «у», «ся» и «цзянху», рассматривая кино как намеренно орга низованную форму риторики. Посредством микроанализа аудиовизуальных элементов,с особым вниманием к фильм","cbCaiurOszzng3AX","https://ap.wps.com/l/cbCaiurOszzng3AX","pdf",2045104,29,"English","# Abstract\n# Introduction\n## Wuxia","[{\"question\":\"What problem does the study address about wuxia on film?\",\"answer\":\"It addresses why wuxia can feel distant or enigmatic to some audiences and how filmmakers can strategically visualize the wuxia and jianghu worlds convincingly in ancient China.\"},{\"question\":\"Which theoretical lens does the research use to interpret wuxia film?\",\"answer\":\"The study builds a conceptual framework grounded in Aristotle’s notion of ethos, treating film as deliberately orchestrated rhetoric.\"},{\"question\":\"What film and method are used in the analysis?\",\"answer\":\"The research performs a microanalysis of audiovisual elements, with a special focus on Crouching Tiger, Hidden Dragon (2000).\"},{\"question\":\"What is the main outcome for wuxia filmmaking practice?\",\"answer\":\"It proposes a paradigmatic approach that coordinates audiovisual elements with narrative function and integrates them with Chinese aesthetics and cultural traditions.\"}]","In Search of the “Secret Manual” in the Chinese Wuxia World - Re-examining the Ethos of “Crouching Tiger, Hidden Dragon” | PDF",73]