The equivalent to kenōsis in Gnostic literature is Christ's withdrawal of his own luminosity into himself, so as to cease dazzling his own disciples. At the request of his disciples, "Jesus drew to himself the glory of his light".  There are parallels to this voluntary withdrawal of the incarnate deity's light in the literatures of other religions also, such as in Daoism, where when the incarnate deity "Crane Boy" came to the world of humans in his incarnation as Han Xiangzi, he "concealed his auspicious light, left the underworld, and returned to the world of humans." 
De Chirico's style has influenced several filmmakers, particularly in the 1950s through 1970s. The visual style of the French animated movie Le Roi et l'oiseau , by Paul Grimault and Jacques Prévert , was influenced by de Chirico's work, primarily via Tanguy, a friend of Prévert.  The visual style of Valerio Zurlini 's film The Desert of the Tartars (1976) was influenced by de Chirico's work.  Michelangelo Antonioni , the Italian film director, also claimed to be influenced by de Chirico. Some comparison can be made to the long takes in Antonioni's films from the 1960s, in which the camera continues to linger on desolate cityscapes populated by a few distant figures, or none at all, in the absence of the film's protagonists.