让•鲁什是20世纪50、60年代活跃在法国纪录电影界的一位大师，他开创了法国真理电影流派，试图从人类学的研究角度去探讨纪录电影中的真实，大胆地将实验运用到每一次的作品中。本文将以导演研究的方式对让•鲁什的作品进行梳理，同时对他的真理电影代表作《夏日纪事》进行文本分析。在结构上本文分为三个部分，第一部分是探询鲁什的电影之路，人类学背景为鲁什带来新的视角，因此他的电影作品以追求内心真实为最终目标；第二部分中，论述了《夏日纪事》中的套层结构，以及外界对内心的刺激作用更有助于发现内心真实，朴实的影像风格也为影片带来现场感与真实感；第三部分是分析真理电影产生的历史语境，从“电影眼睛”学派到50年代的巴赞提倡的长镜头理论，以及技术上的发展，最终导致真理电影的实现；结语部分将简单介绍真理电影对后世的影响，将真理电影放进历史的大背景中做出定位。

Jean Rouch was a Documentary director who was active in the France cinema industry from the1950s to 1960s. He opened up the Cinema Vérité fraction in France, tried to discuss the reality in the documentary from the angle of the research of Anthropology, he used the trial into his every works bravely. The issue cardings the works of Jean Rouch’s use the way of director researching, analyze his masterpieces Chronique d'un été in the same time. In the structure, the issue can be divided into three parts. The first part seeks the cinema road of Rouch’s, the Anthropology background brings Rouch the new perspective, his cinema works aimed of pursuing the reality in the heart. In the second part, discusses on the case structure of the Chronique d'un été, the stimulation from outside is more helpful to find the reality of the heart, the style of plain image brings the cinema the scene flu and realistic, too. The third part of the issue analyzes the historical context from what the Cinema Vérité produced, from “cinema eyes” school to the theory of the long lens which was advocated by Bazin in the 1950s, and the development of the skills, all implementation the Cinema Vérité. The closing remarks introduce the impact to the later from the Cinema Vérité, location the Cinema Vérité from the big background of the history.