The national identity， which has been shown in Chinese films， has been prolonged the same as the history of Chinese films， as well as it is closely related to Chinese classical cultures that have been inspired into Chinese people by government and education. Chinese famous for poetry denotes that the poetry has deeply acted on erecting country or national identity. To maximize national destiny and tragic sensation esthetically， the 'Yijing'， classical esthetic is introduced.
The movie BaShanYeYu(1980) sutures the tragic history elated to the victims in Great Proletarian Cultural Revolution and converges into new age and national system regardless of race and region， based on the image of [夜雨寄北].
The movie Farewell My Concubine(1993) shows that the esthetical values of traditional art named Peking Opera is continuously performed in spite of such historical confusions， under the name of immutable cultural tradition. The cultural and mental aspects identifying the Peking Opera with the country are not in the opera itself， but in the poetic 'Yijing'. Chinese arts and literatures expressed history and life as uncertainty for thousands of years， and it is a esthetical space that China imagines.
The movie The Hero(2002) skillfully identifies the uncertainty of the unlimited space shown in 'Yijing' with the sublime of imperialism. In order to attain '大音希聲' ego should be '坐忘' and '喪我'. 'Yijing' is esthetical space expanded widely from physical space. Thus， the imperialism cannot be communicated with the 'Yijing'.
The fact， which cultural difference or ideological difference is diluted， is easily shown in the preceding Chinese movies. The establishment of China， which completed cultural symbolism， was perfected by the poetry. Writing and reading poetry have leaded the construction of national ideology and its deconstruction. Writing and reading poetry has been permeated into the Chinese movies， thus， Chinese films are imaginable solutions for establishing national image.