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In the face of the unprecedented new landscape, new phenomena and new types of Chinese cinema in the new century, it is no longer possible to use the traditional cinematic type paradigm to make perfect use of it. This paper quotes the points of phenomenology, returns to the ontology of cinema art and reconsiders the cinematic type in the new media age by means of phenomenology. This article summarizes many new paradigms of contemporary Chinese cinema: parallel nosy, imitative intertextuality and collage intertextuality, and conducts conversational aesthetic criticism of these cinematic types. Keywords—Chinese film type ontology; aesthetic symptom; intertextuality; dialogue; evolution of the discourse

Intertextuality and Dialogue and Evolution of the Discourse. The Type Ontology and Aesthetic Symptom of Chinese Film in the New Century