This thesis addresses the distinct cultural and aesthetic characteristics of Chinese participatory video’s three development phases by assessing case studies that offer unique representations of living spaces in China. It analyses the spatial existences depicted in realistic videos, distinguishing between independent documentaries and participatory videos—as defined by Jackie Shaw and Paul Cooke et al.—in China. I apply Henri Lefebvre’s spatial theory to interpret representations of space and critiques of everyday life in Chinese participatory video. Through this framework, I examine how a living space is produced and represented in perceived space, conceived space, and lived space on screen. Additionally, I highlight the production characteristics of Chinese participatory video at each phase of the medium’s development and discuss how they relate to the representation of the different aspects of living space. Historically, participatory video has been theorised in terms of its impact on community empowerment and regional development. As a participatory research approach, it has been considered across the communications, anthropology, and sociology disciplines but has rarely received attention in the area of film studies. This research entails in-depth textual analysis of cinematic texts with references to documentary aesthetics and spatial critiques and asserts that this type of video production constitutes a form of participatory art.