舍方知[电影解说]

《舍方知[电影解说]》讲述的是什么故事？

《舍方知[电影解说]》“Break Through the Limits of Eroticism!” So read the title of one newspaper advertisement for SABANGJI, set during the Chosŏn dynasty (1392-1910) and undeniably catering to heterosexual male desire to gaze into the realm of female homoeroticism. In classic exploitation form, the title character of the film possesses both male and female genitalia, leading Sabangji to suffer an identity crisis and experience feelings of self-contempt. 　　And yet the film erases the protagonist’s masculine characteristics altogether. Sabangji’s penis never reveals itself even as a contour, existing merely as a crashing sound effect in the first sex scene. The erasure might be a sop to placate heterosexual men, but it also creates a space for female homoeroticism and an alternative, if tragic, form of love. In this sense, an otherwise sensationalistic phrase in the newspaper advertisement for the film is quite honest: “Hot female-to-female relations that rise above ethics and morals!” –Han Sang Kim

一、《舍方知[电影解说]》是哪一年上映的？

《舍方知[电影解说]》是京植松于1988年拍摄的一部经典电影解说。此片开创韩国当代电影解说的先河，《舍方知[电影解说]》上映时票房稳坐前三，创下当年纪录。当时李慧英,方姬,朴岩均为最佳主角，以精彩演技和突出形象，奠定在韩国影坛地位。京植松之前曾被人怀疑其能力，而《舍方知[电影解说]》却奠定了其电影解说风格。

二、被称为电影解说的开先河之作的《舍方知[电影解说]》，是京植松最好的作品吗?

从京植松斩获电影解说最佳导演，我就觉得这部《舍方知[电影解说]》是他最好的电影解说。虽然京植松后来还拍出来了评价特别好的电影解说，但是《舍方知[电影解说]》是他电影解说的代表作品。

三、《舍方知[电影解说]》为什么可以成为经典？

提起韩国，人们就肯定会说出《舍方知[电影解说]》的名字。这部由京植松导演，李慧英,方姬,朴岩主演的《舍方知[电影解说]》，在当时，真的是成为了一匹黑马，杀出了一条血路，创造了一个奇迹。正是这样的失意感和强烈的自尊心，他们在电影解说中投入的热情，是我们难以想象的，其实《舍方知[电影解说]》中的人物心理历程和感人的剧情，何尝不是现实中他们的真实写照呢？所以，他们怀着一腔心有不甘的英雄气，用他们的实力和人情成就了这部经典电影解说，也成就了他们自己！

四、如何评价《舍方知[电影解说]》?

《舍方知[电影解说]》口碑非常好深受广大观众喜爱，一经播放立刻引来无数人点赞，不仅李慧英,方姬,朴岩演的好而且该电影解说故事情节也非常紧凑，星辰影院（www.mgshj.com）观看起来特别流畅同时还能扣人心弦，虽然目前《舍方知[电影解说]》收视率一般但是该片目前受欢迎程度已经名列前茅。

五、《舍方知[电影解说]》电影解说的主要内容

《舍方知[电影解说]》是一部电影解说，由导演：京植松执导，主演：李慧英,方姬,朴岩

《舍方知[电影解说]》“Break Through the Limits of Eroticism!” So read the title of one newspaper advertisement for SABANGJI, set during the Chosŏn dynasty (1392-1910) and undeniably catering to heterosexual male desire to gaze into the realm of female homoeroticism. In classic exploitation form, the title character of the film possesses both male and female genitalia, leading Sabangji to suffer an identity crisis and experience feelings of self-contempt. 　　And yet the film erases the protagonist’s masculine characteristics altogether. Sabangji’s penis never reveals itself even as a contour, existing merely as a crashing sound effect in the first sex scene. The erasure might be a sop to placate heterosexual men, but it also creates a space for female homoeroticism and an alternative, if tragic, form of love. In this sense, an otherwise sensationalistic phrase in the newspaper advertisement for the film is quite honest: “Hot female-to-female relations that rise above ethics and morals!” –Han Sang Kim