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在今年的柏林电影节和戛纳电影节 上,韩国电影再次引起关注。金基德以 《撒玛利亚女孩》夺得柏林量佳导演银 熊奖,朴赞旭的《老男孩》获得戛纳评 委会大奖,并以其独特的风格博得观众 的赞赏。 最近五六年以来,日本渐失电影 大国风采,香港电影日渐沉沦,中国大 陆电影更是踯躅不前,而韩国电影却是 异军突起,成为亚洲电影一支重要的新 生力量。 很难想象,1990年以前的韩国电
At this year’s Berlin Film Festival and the Cannes Film Festival, Korean films once again attracted the attention. Kim Ki-duk won the Silver Bear Prize at “Berlin” with “Samaritan Girl”, and Park Won-wook’s “Old Boy” won the Cannes Jury Prize and won the audience’s appreciation for his distinctive style. In the recent five or six years, Japan has gradually lost its reputation as a movie powerhouse. Hong Kong films have become increasingly sinking. Movies in mainland China have been stagnant. However, Korean films have emerged as a sudden emergence and become an important new force in Asian cinema. It is hard to imagine that Korea Power before 1990