Thinking, Feeling and Experiencing the “Empty Shot” in Cinema

Abstract

This article introduces the unique Asian film technique of the “empty shot” (kong jingtou 空镜头) from the perspective of Chinese philosophical thought and aesthetics. In Chinese cinema, the “empty shot” is understood as a shot comprised of nonhuman subjects, distinct from both the establishing shot and the cutaway. Perhaps due to the lack of understanding of its philosophical grounding, the “empty shot” has not received much attention in Anglophone film studies, and has been criticized as an overgeneralised concept. This article first relates the “empty shot” to the more widely accepted “pillow shot” in Anglophone studies of Japanese cinema. This article aims to make visible a non-anthropocentric worldview conveyed through the “empty shot”, and to make space for the potentialities of this film device, which may also be found in non-Chinese cinemas. It explains the “empty shot”’s central features: firstly, its visible scenes are imbued with invisible emotion, leaving space for the audience to feel what the characters are feeling. Second, it facilitates the generation of qi or “air” in a film, indicating the circulation of qi in a process of dynamic transformation between “actual” and “virtual”. Thirdly, the “empty shot” communicates with the audience, allowing them to more fully experience natural scenery and to encounter other beings while suspending everyday experiences, existing biases, and the separation between self and other.

Keywords

• empty shot
• pillow shot
• Kaili Blues
• Spring in a Small Town