香港电影是世界电影一个极其重要的组成部分，在上个世纪中后期，向来重视市场和娱乐性的香港电影制作队伍，深深地影响了亚洲乃至全球的电影创作方向，赢得了票房上的丰收。然而，电影制作公司银河映像却诞生于香港电影急速下滑的阶段，面对金融危机、人心惶惶的局面，这个团队逆流而上、异军突起，奉献了一批高水准的兼具票房号召力和艺术性的影片。作为其中的一员大将，游达志在银河期间导演的三部电影（《两个只能活一个》、《暗花》和《非常突然》）具有鲜明的黑色特征，同时加入了许多独创性的变革，无论在影像探索抑或是思想内涵上都到达了同时期香港类型片一个新的高度，在创立初期奠定了银河映像的影响力和自我风格。本文以游达志导演的这三部影片以主要研究对象，分析了游达志电影的商业性、类型化倾向和其在类型中的突破和创新，以及在艺术层面传达的哲学主题。首先分析了传统黑色电影的特征和美学倾向，而后，从电影时空、剧作结构、视听语言三个方面对游达志的三部代表作品进行深入研究，分析它们如何构建在传统的类型片框架内，又从中突破创新、到达了一个新的高度。在此基础上，论文深入探讨了在此影像表达方式下，导演通过影片传递的哲学思索。黑色电影被认为是表现主义的摄影风格和存在主义思想相结合的产物，本文着重在萨特等人的存在主义理论、拉康的镜像理论等理论基础上，探求游达志黑色电影在主题表达上的深度。最后，结合前两处分析结论，比较游达志电影在类型化和反类型化及变革类型上做出的探索和实验，以此找出其在商业和艺术间游走的规律。作为香港电影市场急剧萎缩阶段出现的救市力量，游达志代表的银河创作集体在成本不高的前提下，依旧坚持高质量的剧本和影片创作，并努力创新，突破类型桎梏和行情低迷的重围，赢得了口碑和票房上的亮眼成绩。无论是其坚持不懈的创作态度，亦是其新奇独特的表现手法，都值得学习借鉴，本文的最终目的亦是为依然在探寻商业化和类型化道路的中国大陆的电影创作从他们的宝贵经验中寻求参考价值。

Hong Kong film industry is an extremely important component in the world, and has deeply influenced the direction of filmmaking in Asia and even around the world after 1950s in last century. Focusing on the audience’s feedback and entertainment function，what lead them to a good harvest on the box office part. However, the famous film production company Milkway Image was found in the depression period of Hong Kong’s film industry. As an emerging power, they conquered financial crisis and produced a series of grossing films with high artistic values. Patrick Yau, one of the most successful directors in this team, directed three films with a distinctive black identity and tried a lot of original changes in them. He and his works, which reached a distinguished new level from other Hong Kong films in the same period both in ideology and image exploration, established the style and influence of Milkyway Image at its beginning.This article will focus on Patrick Yau’s three main films which were produced in his Milkway Image period, analyzing their commercial properties, tendency and surmount of modelization, and artistic expression of philosophical theme. At first, the author cite traditional ways to make film noir as reference, then have a specified analysis on Yau’s style from three aspects: time and space on the screen, screenwriting and visual language, and conclude the methods how the director broke the traditional framework of this genre as well as making innovation and reached a new level in this field. Based on these analysis, the paper make an in-depth study on the philosophy thought that was expressed in his films. Film noirs are viewed as a compound combining the expressionistic shooting style and existentialism thoery. The author use Sartre's existentialism theory and Jacques Lacan's mirror theory astheoretical basis to explore the philosophy expression in Patrick Yau’s movies. At the end of the paper, the author summarizethe difference and superiorin Yau’s films compared to typical film noirs and try to find the law of how he strike the balance between commerce and art. As a powerful production team, the Milkway Image staff insist on creative scripts and high-quality films, also make efforts on breakthrough, both their attitude and creative filmmaking skills would be a valuable reference for the Mainland Chinese films which are exploring their possibilities of commercialization and modelization.