**Simon Frisch**

Faculty of Media, Bauhaus-Universität Weimar, 99423 Weimar, Germany; simon.frisch@uni-weimar.de

Received: 4 March 2019; Accepted: 28 August 2019; Published: 16 September 2019

**Abstract:** The general concepts in theorising the aesthetics of film are still rooted in occidental traditions. Thus, thinking about film is dominated by Western terms and aesthetic paradigms—such as "pieces of work", the representation of reality or regarding the arts as an act of communication. From such an angle, it is difficult to describe different characteristics of the cinematic image, for example, its ephemeral character. In contrast to occidental thinking, the cultural traditions of East Asia are based on the concept of *the way* (*do¯* or *dao*), which allow for the description of aesthetics of transitions and transformations. Inspired by the concept of *kire-tsuzuki*, as developed by the Japanese–German philosopher Ryosuke ¯ Ohashi, I shall, in this paper, describe some alternative ways of understanding ¯ appearance and occurrence in relation to the cinematic picture.

**Keywords:** cinematic picture; film aesthetics; theory of beauty; *ikebana*; *kire*; *geido¯*; film philosophy; Japanese aesthetics; transcultural thinking
