ABSTRACT
This chapter explores the key markers of the Asian aesthetic in contemporary cinema by drawing on a combination of mainstream and art house films even though these distinctions may be less apparent or critical to Asian audiences. The thoughts of Theodor Adorno in his final work Aesthetic Theory have been instrumental in guiding my thoughts on how best to approach the aesthetic dimensions in Asian film. Filmmakers may stick to one genre, or stamp out sequels with production-line precision, but each iteration is different enough to entice audiences to return. The aesthetic is one that seems to be recognised by the cinematic bourgeoisie and feted at international film festivals, but at the same time firmly locates Asian cinema as a form of alternative art cinema in the West. For instance, current art and architecture styles in South East Asia (SEA) are marked by their overabundance of motifs.
