ABSTRACT
This chapter further expands the conversation of the notion of “More in life than Meets the Eye” by placing it within the larger framework of Paul Tillich’s phenomenology of religion. Tillich’s perception of the religious dimension in culture and, in particular, his discourses on ultimate concern relating to existential questions are a useful framework to interpret Chinese yearnings for Transcendence as “ultimate concern,” which is also present in Chinese films. Tillich’s theory helps sharpen our focus on how Mao’s political ideas flourished as a religious entity within such a spiritual environment. In short, the entire discourse of his thoughts, propagandas, and actions became a unique quasi-religion which left an indelible mark on that generation of filmmakers. I juxtapose two of Tillich’s work, The Courage to Be (1952) and his short essay, “One Moment of Beauty” (1955), with brief discussions of the Chinese films, The Blue Kite (1993) and Farewell My Concubine (1993), to illuminate Chinese transcendental dimensions.
