This article begins with an observation of the imitations of Asian cinematic aesthetics, especially John Woo s (sic) 'aesthetics of violence," in contemporary Hollywood The author points out the fallacy of the binary between Hollywood s attention to realistic details and what Hollywood filmmakers usually perceive as "fantastic/other-worldly" in the "Asian elements The author uses John Woo as the primary example of a global affective cinema, which not only features qing (sic) (feelings affects, love) thematically but also relies on qing as the guiding stylistic principle to intensify the emotional and affective power Drawing on recent scholarships on affect which has been distinguished from feeling or emotion he argues that the increasingly popular global affective cinema is different from traditional Hollywood narrative cinema in the sense that it is all about the very effect of intensification, not what is intensified John Woo's films strike a chord with the international affective politics that seek to move the 'irrational," "individual," and "private" affects into the arena of the rational collective and public politics
