贾樟柯作为中国“第六代”导演中的领军人物,其影像风格独树一帜,纵观贾樟柯的三部作品《小武》《站台》和新作《世界》,悲剧色彩都十分浓厚。不过,这种悲剧性不像以往中国电影的传统悲剧那样,以人的死亡或爱情的不幸表现出来,而是通过理想的幻灭和抗争的失败体现出来,本文试图通过对历史上悲剧思潮的梳理来注解贾樟柯电影悲剧性的历史必然性和主要特征。 As the leading figure in the “Sixth Generation” of China, Jia Zhangke is unique in his image style. Looking at Jia Zhangke’s three works, “Xiao Wu”, “Platform” and his new book “The World,” tragedies are very tragic. However, unlike the traditional tragedies of Chinese movies in the past, such tragedies are manifested by the unfortunateness of human death or love, but are manifested through the failure of ideal disillusionment and resistance. This paper attempts to sort out the tragedy trend of thought in history To Explain the Historical Tragic Necessity and Main Characteristics of Jia Zhangke’s Films.