A Dual-Dimensional Framework for a New Typology of Chinese Buddhist Film

Early definitions of Fuohua Dianying (1926) established a functionalist logic that persists in ritualistic narratives, yet contemporary Chinese cinema has expanded into complex philosophical inquiries. Existing binary classification systems fail to capture this structural diversity, often conflating didactic propaganda with artistic expression. This study proposes a Dual-Dimensional Coordinate Model that assesses films based on element engagement and philosophical expression. Through a structured qualitative analysis of a purposively selected 32-film corpus spanning from 1928 to 2019, the study identifies three distinct paradigms: ritualistic-didactic, philosophical-metaphorical, and cross-boundary experimental. The analysis further suggests a gendered pattern within the corpus: male-coded narratives more often reinforce institutional or martial forms of religious authority, while female-centered stories tend to relocate spiritual conflict into the body, memory, family, and ethical choice. This framework serves as a methodological tool for understanding the creative transformation of religious culture in Chinese film.