This article by Mark Cousins talks about the emerging influence of Asian cinema in the West.
"As the art form most swayed by money and market, cinema would appear to be too busy to bother with questions of philosophy. Other Asian nations are proving that this is not the case. Just as deep ideas about individual freedom have led to the bracingly driven aspirational cinema of Hollywood, so Buddhism and Taoism explain the distinctiveness of Asian cinema at its best. In Venice in 1951 and Cannes in 2004, audiences left the cinemas with heads full of dazzling images. But the greatness of Rashomon, Ugetsu, 2046 or House of Flying Daggers is, in the end, not to do with imagery at all. Yes, they are pictorially distinctive, but it is their different sense of what a person is, and what space and action are, which makes them new to western eyes."W: http://www.prospect-magazine.co.uk/ArticleView.asp?P_Article=12875
