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Sharon A. Suh

Film serves as one of the most recent contributions to the variety of Buddhist visual forms that can offer a perspectival shift in interpretation for its viewers akin to other meditative devices such as mandalas. As a relatively recent subject of study, Buddhist films present innovative opportunities to visualize the Buddha, Buddhism, and the self in nuanced ways. Buddhist film can be understood as a spiritual technology that reshapes vision, and the act of viewing becomes a ritual process and contemplative practice. Ranging from films with an explicitly Buddhist theme and content to more abstract films without obvious Buddhist references, Buddhist films have become the subject of scholarly studies of Buddhism as well as occasions to reimagine Buddhism on and off screen. Buddhist films found in Asia and the West have proliferated globally through the rise of international Buddhist film festivals over the past fifteen years that have increased both the interest in Buddhism and the field of Buddhism and film itself. Most studies of Buddhism in film indicate that what constitutes a Buddhist film continually evolves and, as such, can be seen as a contemporary instantiation of the skillful means of the Buddha.