【摘 要】
：
从90现代至现今,韩国电影进入了第二个黄金时代。柳河从独特角度挑战现行既定的婚姻制度而引起人们关注的《周末同床》到“暴力三部曲”的电影作品创作,通过其独特的视角、极
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从90现代至现今,韩国电影进入了第二个黄金时代。柳河从独特角度挑战现行既定的婚姻制度而引起人们关注的《周末同床》到“暴力三部曲”的电影作品创作,通过其独特的视角、极具冲击力的叙事、大胆直接的影像展开对社会、人性的深度探讨,成为韩国电影界中一位独具特色的导演。柳河拥有诗人、编剧家、导演等多重身份,也因此在他创作的电影作品中,透漏出柳河风格烙印的诗意化影像特点。具体体现为三方面:影像的暴力美学,影像的人物塑造,影像的细节意象。
From 1990s to the present, Korean films have entered the second golden age. Liu Hai uniquely challenges the existing established marriage system and attracts people’s attention from “Weekend on the Same Bed” to “The Trilogy of Violence”. Through its unique perspective, highly impactful narrative, bold and direct The video explores the depth of society and humanity and becomes a unique director in Korean film industry. Liuhe possesses multiple identities such as poets, screenwriters and directors, and therefore reveals the poetic image features of Liuhe style imprints in the films he creates. Embodied in three aspects: image violence aesthetics, the image of the characters, the image of the details of the image.
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