摘要:贾樟柯是第六代导演中风格独特的一位，他的作品与第五代导演的批判现实主义不同，以冷峻的平民化视角讲述小人物或是边缘人物的生活琐事。人文关怀是贾樟柯电影的一贯精神诉求，通过对小人物的喜、怒、哀、乐的展现，升华了电影的内在精神，充满了人道主义的关怀。通过对贾樟柯剧情电影《三峡好人》的解析，延伸至导演其他几部剧情片，探寻电影的纪实风格背后蕴含的深层现实意义。通过电影反思当下小人物的生存状态，进而反思当下人们的价值追求。

关键词：贾樟柯；人文关怀；纪实 ；《三峡好人》

ABSTRACT:Jia Zhangke is a unique director of the sixth generation. His works what are different with critical-realism of the fifth director are from the solemn view of civilians to perspective about the trivial things of a little or borderline character. Humanistic concern is the consistent spirit in Jia Zhangke’s movies which through showing the joy, anger, sorrow and happiness of a little character to sublimating the inner spirit of the movie and being full of humanism. The papers are through analyzing the movie “Still Life” and extend to the other movies of Jia Zhangke, which seek the deep realistic significance behind the documentary style. And the papers are through the movie to describe the living status of a little character and reflect the present values of human.

Keywords: Jia Zhangke; humanistic care; documentary;" still life"

　贾樟柯用他对生活的理解，对生命的尊重唤起人们对于当下社会问题的思考，以纪实的风格的描绘着人生的百态。通过《三峡好人》电影主题、叙事结构、电影美学运用的分析，对贾樟柯的电影有了一定的了解，其电影纪实风格所展现出来的是对小人物的关心，对时代变迁的思考，对国家大事的关注等。电影充分体现了导演敏锐的观察力，对人文关怀的表现力以及引导人们思考的牵引力，使得贾樟柯在对电影的表达过程中，赢得了尊重。