贾樟柯对矿工命运的态度变化从对中国底层群体的同情与悲悯到其命运走向的绝望,从富有质感的生命经验到充满隐喻象征的艺术呈现。本文将重点结合影片《三峡好人》、《天注定》和《山河故人》从现实态度和艺术观念两个方面阐述贾樟柯电影中矿工形象由集体面对到个人面对的转变。 Jia Zhangke’s attitude towards the fate of miners changed from sympathy and compassion to the underprivileged groups in China to desperation of their fate. From rich life experiences to metaphorical representations of art. This article will focus on the film “Three Gorges Good People”, “Heavenly Annotations” and “Mountains and rivers” from the realistic attitude and artistic concept of two aspects of Jia Zhangke film miner image from collective to individual changes.