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This thesis redefines the Sixth Generation of Chinese film by examining the characteristics of some young directors’ films from the perspective of theme, form and production mode, essentially, from the perspective of the relationship between these directors and their times. I suggest that the most important condition in the construction of the concept of the Sixth Generation and the Sixth Generation film is the ideological rebellion against the government after the events of 1989. I hold the opinion that the Sixth Generation has adopted a more commercial outlook after the end of the 1990s, and explore reasons of this change from the perspectives of economy, culture and individual existence.

This thesis redefines the Sixth Generation of Chinese film by examining the characteristics of some young directors’ films from the perspective of theme, form and production mode, essentially, from the perspective of the relationship between these directors and their times. I suggest that the most important condition in the construction of the concept of the Sixth Generation and the Sixth Generation film is the ideological rebellion against the government after the events of 1989. I hold the opinion that the Sixth Generation has adopted a more commercial outlook after the end of the 1990s, and explore reasons of this change from the perspectives of economy, culture and individual existence.

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As a leading figure of “The Six Generation” directors, Jia Zhangke’s films focus on reality of contemporary Chinese society, and record the lives of people who were left behind after the country’s urbanization process. He depicts a lot of characters who struggle with their lives, and he works to explore one common question throughout all of his films: “where do I belong?” Jia Zhangke uses unique filmmaking techniques in order to emphasize the feelings of people losing their sense of home. In this thesis, I am going to analyze his cinematic style from three perspectives: photography, musical scores and metaphors. In each chapter, I will use one film as the main subject of discussion and reference other films to complement my analysis. / Graduate

Jia Zhang-ke est un cinéaste chinois. Il est généralement considéré comme une figure de la Sixième génération. De son premier court-métrage Xiao Shan Going Home (1995) jusqu’à I Wish I Knew, de son premier films trilogie Xiao Wu, artisan pickpocket (1997), Platform (2000), Plaisirs Inconnus (2002) qui est considéré comme des films underground, à la sortie en Chine de Still Life en face du film blockbuster La cité interdite de Zhang Yi-mou, Jia Zhang-ke reste fidèle à son attitude de cinéaste de films d’auteur. Il ne change jamais. Il est un authentique paradigme de la société chinoise. Il est comme un écrivain qui enregistre la mutation de la société chinoise des années 1980 et 1990 jusqu’à aujourd’hui. Il cherche la vérité, avec sincérité, soucieux de ne jamais simplifier la réalité, dans le respect de l’homme et de la complexité de sa vie quotidienne. Ce que je crois avoir bien dégagé dans ma thèse, c’est la fertilité des oppositions symétriques : arrière-garde et avant-garde, ancien et nouveau, tradition et modernité, culture réservée à une certaine élite et culture de masse. Parce que Jia Zhang-ke est toujours un entre-deux : Oriental et Occidental, procédure de fiction et procédure documentaire. / Jia Zhang-ke is a Chinese film director. He is generally regarded as a leading figure of the Sixth Generation mouvement of Chinese cinema. From his first short Xiao Shan Going Home (1995) to the last film I Wish I Knew (2010), from his early films trilogy Xiao Wu (1997), Platform (2000), Unknown Pleasures (2002), which are considered underground film, to the film Still Life in front of the blockbuster film Curse of the Golden Flower by Zhang Yi-mou, Jia Zhang-ke remains faithful to his attitude film d'auteur. He never changes. He is a true paradigm of Chinese society. He is as a writer who records the transformation of Chinese society in the 1980s and 1990s until today. He seeks the truth with sincerity, careful, not to simplify the reality, within the respect of man and the complexity of everyday life. What I think I have identified in my work, is the fertility oppositions symmetrical: avant garde and rear garde, old and new, traditional and modernity, cultural elite and mass culture. Because Jia Zhang-ke is always an in-between: Oriental and Occidental, process documentary and fiction process. / 贾樟柯是一位中国导演.他被公认为是第六代电影导演的代表人物.从他的第一部短片小山回家,（1995年），直到海上传奇（2010年），从他的第一个故乡三部曲，小武（1997年），站台（2000年），任逍遥（2002）, 他的地下电影时期，到三峡好人, 和张艺谋的大制作满城尽带黄金甲同日公映,贾樟柯始终保持他作者导演的态度。他从来没有改变. 他是一个真正的中国社会的范式。他像是一个作家，记录了中国社会在20世纪80年代和90年代直到今天的社会转型。他用真诚寻求真理，小心的从来不简化现实, 尊重人和日常生活的复杂性。在我的论文中,我坚持用对比：后卫和先锋，旧的和新的，传统与现代，精英文化和大众文化。因为贾樟柯总是跨界：东方和西方，剧情