中国电影和韩国电影在经历了各自百年的发展之后，都在新世纪取得了骄人的成绩，中韩两国自古以来长期保持着密切的交流，两国电影产业的合作开始于上世纪末期，在新世纪不断地加强深入，生产了众多优秀的合拍电影。2015年伊始，一部由韩国CJ公司主导的新型中韩合拍片《重返20岁》推出，该片一改以往中韩合拍的形式，而使用相同剧本在两国同时推进项目运作。在这样的背景下，获得了良好口碑和票房收益的《重返20岁》具有独特意义。本文首先交代新世纪以来中韩电影艺术创作的不同发展现状，这种现状为《重返20岁》的出现提供了大环境和促成因素。在中韩青春片创作母题不断的流动变换的时候，《重返20岁》开创了一种新的青春片创作主题。随后，论文关注了中国版和韩国版电影文本自身，对于两国不同版本的电影的艺术创作进行了比较分析，先后分析了影片对于青春新主题的发挥、多种类型元素的杂糅和运用以及作为一部具有魔幻现实主义的电影，影片用魔幻的手法关注到中韩社会中存在的老年人问题、父权社会下的女性形象和地位、家庭伦理现状等等。而对韩国剧本的中国本土化改造，也是电影创作过程中极为重要的一环，论文分析其改造成功的关键不仅仅是加入了中国观众所熟悉的中国元素，更重要的是，改造满足了中国本土观众的观影期待。之后，本文又对《重返20岁》中韩版本的产业运作进行了比较分析，将这种创新形式的先进性在历史背景下加以呈现，分析其在中韩两国的新政策下的特殊意义。尝试提炼出这种新模式的内核，在充分肯定了《重返20岁》的独特和先进性之后，分析了其在两国领域内的宣发行为，以及中韩之间的宣发对接。最后对于这种新形势的未来发展提出了展望，希望其对于中韩两国电影的发展起到促进作用。

With the Genesis and smooth deepening of the film co-operation between China and South Korea of close historical and cultural connections, both Chinese film and Korean film are witnessing pivotal development from the turn of the 20th century into the 21st, when excellent works keep emerging. On January 8th, 2015, a CJ dominating Sino-Korea film co-production and also the remaking of Miss Granny (Dong-hyuk Hwang, 2014), Miss Granny, or 20 Once Again (Leste Chen, 2015), was launched and had received public praise and commercial return. The portions in China and Korea of the project that employ the same script was simultaneously executed, thus showed difference from the previous co-productions. Therefore, the success of Miss Granny deserves a further investigation. This paper focuses on the text and the context of Miss Granny (Leste Chen, 2015). First of all the concerns of genre and intertextuality, I will look back into the film industries of China and Korea since the beginning of the 21th century from which Miss Granny (Leste Chen, 2015) might grow and renew the youth genre that holds constant attention of filmmakers in the two countries. And then a comparative study of Korean and Chinese versions is carried out to give considerations to theme exploration, hybridity of genres, and the magic realism representation of social issues including aged population problems, gender difference in patriarchal society and family ethics. Equally important in the film is the localization of the Korean story in China. Both the Chinese elements and the articulation of them meeting the Chinese moviegoers’ expectation contribute to the popularity of Miss Granny (Leste Chen, 2015). Analysis of the industrial strategies in both versions of Miss Granny by examining film industries in China and Korea of today and new mode of film production and distribution under new policies constitutes the second major part. In the end, I attempt to outline the future of Sino-Korean film co-production in the hope of providing several salutary references.