“Shaolin films” show a typical feature of regional transcendence and description of the family-country shared fate from the perspective of “Community Aesthetics”

which not only reflect the continuity of the nationalization and commercialization of traditional martial arts films

but also form a cultural dislocation with modern urban space

presenting a peculiar “discontinuity synthesis” trend. When investigating the modernity transformation problem of “Shaolin films” in urban image

we should avoid taking the city as the background and ignoring the spectacle in urban development

alienation of human beings and other common problems

rather

we need to pay attention to the refinement of abstract thinking in different films and pursue a metaphysical way of philosophical creation via the genre fusion.