Chinese Kung-fu Films and the Posthuman Daoism

This paper argues that Chinese- Kung-fu films are unique presentations of human movement as a system bodily aesthetics. By adopting Daoist aesthetics yin-yang cosmology, martial artists perform the dictum by Zhuanzi’s “The myriad things come out ji and go into ji”, with character some kind Deleuzian “desiring machine”. There we see human-technicality convergence characterized posthuman merger within process complex visuality, particularly presented through cinematic form. performance on screen, therefore, affords natural cyborg intersectionality what can be called Daoism, commingling ancient technics.