中国朝鲜族导演张律的电影，依托于不同国家、民族与文化的背景，以其对于梦境、时空与人的特别关照，辗转游走于东北亚文化褶皱的诗性风格与文人气质，关于个体身份、民族记忆、故土乡愁的主题呈现，在东北亚甚至是世界电影范围内独树一帜。

本文立足于张律独立编导的《庆州》《春梦》《群山：咏鹅》《福冈》《漫长的告白》五部影片，以其电影中重要的叙事意象及表意介质——“梦境”作为研究对象，通过对五部影片中“梦境”的主体建构、时空建构、视听建构三个维度的分析，以期探寻张律电影中的梦境建构模式。

本文的研究内容共分为五个部分：

绪论部分介绍张律的成长及创作经历，划分出张律的三个电影创作时期并针对每个时期的重点影片及风格呈现做展开论述，梳理近五年中韩两国对于张律及其电影作品的相关文献并完成综述；第一章从张律电影中的梦者及梦境内容出发，指出“异乡人”及多角关系中的男女是影片中做梦的主体，自我、乡愁、死亡是张律电影“梦文本”的核心表达；第二章着力于张律电影中梦境的时空建构，指出张律利用莫比乌斯环式与倒叙非线性式两种时空结构完成对现实与梦境时空的呈现，并归纳出镜子与类镜子、色彩及空间意象“隧道”是电影中“区隔”现实与梦境时空的三种标识；第三章从电影中的镜头与声音角度切入，指出张律电影通过特殊的镜语设计，即用主观镜头呈现客观现实、客观镜头仿拟“幽灵视点”，以及声音层面的对白、诗歌与环境音响的多重指向完成电影中梦境的视听建构；结论部分对本文的研究内容进行简单的总结，盘点分析尚存的遗憾与不足，并基于张律目前的电影作品探讨其梦境建构模式的可持续性及未来创作转型的可能性。

Based on the background of different countries, nationalities and cultures, Korean chinese director Zhang Lu's films are unique in Northeast Asia and even the world, with his special observation of dreams, time and space and people, poetic style and literati temperament wandering around the cultural wrinkles of Northeast Asia, presenting the themes of individual identity, national memory and homeland nostalgia.

This article is based on Gyeongju, A Quiet Dream,Ode to Goose,Fukuoka and Yanagawa, which are independently written and directed by Zhang Lu. In five films, Zhang Lu taking the important narrative image and ideographic medium -- "dream" as the research object, through the analysis of the three dimensions of the "dream" in the five films, such as the subject construction, space-time construction and audio-visual construction, in order to explore the dream construction mode in Zhang Lu's films.

The research content of this paper is divided into five parts:

The introduction introduces Zhang Lu's growth and creative experience, divides three periods of Zhang Lu's film creation and discusses the key films and style presentation in each period, sorts out the literature related to Zhang Lu and his film works in China and South Korea in the past five years and completes the review. The first chapter starts from the dreamers and the content of dreams in Zhang Lu's films, and points out that "strangers" and the men and women in the polygon relationship are the subjects of dreams in the films, and that self, nostalgia and death are the core expressions of the "dream text" in Zhang Lu's films.The second chapter focuses on the space-time construction of dreams in Zhang Lu's films, pointing out that Zhang Lu uses Mobius ring and flashback nonlinear to complete the representation of reality and dream space-time, and concludes that mirror and mirror-like, color and space image "tunnel" are three kinds of marks to "distinguish" reality and dream space-time in films. The third chapter, from the perspective of camera and sound in the film, points out that Zhang Lv's film through the special design of mirror language, that is, the subjective lens to present the objective reality, the objective lens to imitate the "ghost view", and the sound level of dialogue, poetry and environmental sound multiple references to complete the audio-visual construction of the dream in the film; In the conclusion part, a brief summary of the research content of this paper is made, and the remaining regrets and deficiencies are analyzed. Based on Zhang's current films, the sustainability of the dream construction model and the possibility of future transformation are discussed.