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	Movie Director Jia Zhangke -- china.org.cn
		Jia Zhangke believes the jury at the Venice Film Festival voted for him because Still Life reflected the Chinese people's capacity for action and their ability to stay in control of their lives despite problems and difficulties, touching jury members deeply.
		Thirty-six-year-old Jia Zhangke was born in an ordinary family in Fenyang county in Shanxi province.
		Jia Zhangke's unique style of making films and his obsession with grassroots themes means sometimes he has to sacrifice the box office results.
	www.china.org.cn /english/culture/185828.htm (975 words)

	THE BROOKLYN RAIL - FILM
		By his own account, Jia Zhangke was inspired to make the film by the architecture of Datong, a city on the northern Chinese plain that conjures up associations in the Chinese mind that lie somewhere between the impressions Americans have of Cleveland and of Chernobyl.
		Jia’s finest trademark is perhaps the driven attention he pays to the task of locating his characters in an environment, the vitality of which in no way exceeds or is exceeded by theirs.
		Jia’s earlier features dwelt in length on the physical personhood of his largely amateur actors and allowed many of them to convey a spontaneous charm; here, everyone seems weighed down by the challenge of working under a nervous new superstar director whose only stable capital as of yet is cultural.
	www.thebrooklynrail.org /film/winter03/unknowndirector.html (2067 words)

	Jia Zhangke (Site not responding. Last check: 2007-10-25)
		Jia was born in 1970 in the small, remote town of Fenyang in North China's
		At the age of 18, Jia was a painting student at a fine arts school in Taiyuan, the capital of Shanxi.
		Jia Zhangke's first feature was the 1997 acclaimed film "Xiao Wu" (Pickpocket), which he made the same year he graduated from the
	www.chinaculture.org /gb/en_artqa/2005-06/08/content_69443.htm (172 words)

	Jia Zhangke
		Though Jia was born in 1970 in Fenyang, a small rural town in Shanxi province, his family was not of peasant origin; they were sent to the countryside because of his grandfather's experience as a surgeon in Europe.
		Jia's technique of aural alienation acquires an explicitly personal significance when he appears as one of Xiao Shan's friends during an extended dormitory party sequence, and (bolstered by several rounds of liquor) his character unleashes a torrent of words in Jia's native Shanxi dialect.
		Jia's unapologetic use of dialect, comparable to Hou Hsiao-Hsien's groundbreaking work with multiple dialects in Taiwanese cinema, identifies him as a cultural minority in his home country, which paradoxically speaks on behalf of a majority of Chinese—particularly those in rural areas—who speak in their own local, non-standard tongues.
	www.sensesofcinema.com /contents/directors/03/jia.html (5449 words)

	Director Jia Zhangke: True to Life
		Jia Zhangke: Born in 1970 in Fenyang, a small town of Shanxi Province, China.
		Jia's reputation was built largely on his documentary style, with large amount of TV news, pop music, natural sound effects and local dialects.
		Jia was one of the young movie makers shooting their first documentary pieces while still students majoring in Movie Theory at the Film Academy of Beijing.
	www.china.org.cn /english/NM-e/81490.htm (2069 words)

	FalunInfo.Net - Taipei Times: Director aims lens at China's new generation
		Jia and cinematographer Yu Lik-wai (ÓàÁ¦é), also a Hong Kong filmmaker, used digital camerawork to present an indifferent and nihilistic world where the TV and radio are constantly advertising the lottery and broadcasting propaganda about Falun Gong or Beijing's Olympic bid.
		Jia Zhangke is fascinated by China's youth, who have never known the hardships their parents suffered in the Cultural Revolution
		Jia Zhangke's Unknown Pleasure looks at the lives of a new generation of Chinese, raised after the Cultural Revolution, who have not experienced the poverty that their parents and grandparents knew.
	www.faluninfo.net /DisplayAnArticle.asp?ID=5703 (973 words)

	Unknown Pleasures - Review
		One could argue that Jia is a little heavy handed in his attempt to include cultural gravitas, particularly the announcement of the olympics to be held in Beijing.
		Jia Zhangke is poised and ready to become the most important film director of this decade.
		When Xiao finally abandons his sputtering motor bike in the middle of a new superhighway, Jia seems to be suggesting that both he and China itself are at a precarious crossroads in their existence and must discard what isn’t working if they are to move on.
	www.coldbacon.com /movies/unknownpleasures.html (865 words)

	village voice > film > Lonely Planet by Dennis Lim
		After a repeat viewing, it still strikes me as Jia's fourth-best film (that it's one of the year's best says plenty about the level at which he's working), but it's more apparent that The Worl d's muffled emotional impact should be understood as a function of its setting.
		Tao and Taisheng are typical Jia lovers, playing romance as a desultory game of defense, but the oppressive backdrop diminishes their squabbles and infects their inner lives with a deadening blankness.
		Jia's characters are forever looking to escape their isolation (a key location in Unknown Pleasures is the half-built highway that will link the depressed mining town of Datong to Beijing).
	www.villagevoice.com /film/0526,lim1,65382,20.html (913 words)

	Beijing Scene (Site not responding. Last check: 2007-10-25)
		In the first scene of Jia Zhangke's award-winning underground film, the central character Xiao Wu ('Little Wu') boards a bus for his hometown of Fenyang and avoids paying the fare by claiming he is a cop.
		Jia's cinema-verité camera takes us to the front of the bus for a peek at an antique Mao medallion hanging from the rear-view mirror, then returns us to Xiao Wu's seat where he is quietly executing a hostile take-over of the wallet in the coat of the hapless passenger next to him.
		Jia Zhangke prefers not to be called an 'underground' filmmaker-"no one wants to be an underground director!"-or a 'sixth-generation' filmmaker, but rather an independent director.
	www.beijingscene.com /V05I023/feature/feature.htm (2012 words)

	Jia Zhangke Essay
		Jia’s films have valuable things to say about contemporary social and economic conditions shared throughout the world, but Jones is glossing over some of the specifically-Chinese contexts that contribute to the cultural, political and aesthetic importance of those films.
		All of Jia’s characters are incapable of adequately expressing themselves, but Jia’s movies are unfaltering in their depiction of the spaces these characters occupy and the problems they face.
		Jia situates his characters in larger landscapes, his camera finds the emotions evoked by his characters’ surrounds because they are unable to express themselves.
	www.dsm.fordham.edu /~beckett/zhangke.html (2733 words)

	China (Site not responding. Last check: 2007-10-25)
		Drawing an elegant strength from its amazing, allegorical location, The World revisits Jia's favourite subjects — youth, detachment and disillusionment — with appropriate reserve; though the film is about a tragic love story, the impression it leaves is one of extreme cold and disengagement, and of an incapability to communicate.
		Jia was born in 1970 in the small, remote town of Fenyang in Shanxi Province.
		Jia Zhang-ke's first feature was the 1997 acclaimed film "Xiao Wu" (Pickpocket), which he made the same year he graduated from the Beijing Film Academy.
	www.asianfilms.org /china/shijie.html (540 words)

	Chinese Wasteland: Jia Zhangke’s Still Life By Shelly Kraicer
		Jia Zhangke has been making films for ten years, but, until now, a major festival prize (from the “big three” of Cannes, Venice, and Berlin) has eluded him.
		Each of Jia’s films articulates an abstract structure of time and space, and a more sensual structure of feeling, through which we can see and feel our way to coming to grips with a new, changing world.
		Jia shot Still Life in some of the same locations and at the same time as the documentary Dong and the relationship between the two is provocative.
	www.cinema-scope.com /cs29/feat_kraicer_still.html (1995 words)

	eye - World's fare - 03.17.05
		Jia's uncompromising approach has caused some problems: neither Platform nor Unknown Pleasures was OK'd by the Chinese censor boards, and were thus denied above-ground distribution status in his home country.
		Jia takes aim not only at the implications of the park -- as the planet's largest free-standing metaphor for globalization, it's a pretty fat target -- but at the recent deluge of "personalized" technology, exemplified in the film by the characters' constant use of digital text messaging.
		Jia's trademark empathy for his disaffected protagonists is present but it never crosses the line into condescension: he feels for them without clumsily forcing our emotions.
	www.eye.net /eye/issue/issue_03.17.05/film/theworld.html (917 words)

	Bringing the World to the Nation: Jia Zhangke and the Legitimation of Chinese Underground Film
		Jia Zhangke's recent decision to make his next film through legal channels came on the heels of a pointed invitation from China's national Film Bureau, a branch of the nation's Ministry of Radio, Film and Television.
		Given all that Jia Zhangke represents to the Chinese cinematic world, it is easy to forget that he is still a very young artist (he was born in 1970), currently making his fourth film, with a budget quite a bit larger than those with which he is accustomed to working.
		Jia Zhangke is presumably as interested in these odd playgrounds as Buruma is; some of the Shenzhen portions of the film were filmed in Shenzhen's similar Window on the World theme park.
	www.sensesofcinema.com /contents/04/32/chinese_underground_film.html (4213 words)

	Dreamtigers and the Best of Everything: "Tropical Malady" and "The World"
		The locus of the movie's welter of subplots about China's young and restless, the park is also the metaphor of a lifetime, the ultimate manifestation of the ersatz quality of modern life, and an emblem of the promise and disappointment of globalization.
		In Jia Zhangke's "The World," there's a theme park unfortunately patterned after famous world landmarks; accordingly, there's a group of young and unhappy people who act in its charade, all of them trapped in an unchangingly overcast frame that renders the illusion somewhat hard to believe.
		Jia's doleful stylistics leave the film stunned and sluggish, leaving you painfully aware of what is coming next and feeling utterly powerless to do anything about it.
	www.indiewire.com /movies/movies_050628rev.html (2166 words)

	Film-Forward Review: [THE WORLD] (Site not responding. Last check: 2007-10-25)
		Director Jia Zhangke, whose previously three films had, until recently, been banned by the Chinese government, again focuses on young workers from the outskirts of China trying to pursue a better life.
		Guided by Zhangke's signature long takes and tracking shots of the park's backstage, it becomes apparent that for these employees, there is no more ironic a place than World Park, which is made up of scaled-down replicas of famous landmarks such as the Eiffel Tower, the Leaning Tower of Pisa and the pre-9/11 Manhattan skyline.
		Zhangke interweaves a number of subplots, all of which become steadily engrossing.
	www.film-forward.com /theworld.html (420 words)

	27ª Mostra BR de cinema (Site not responding. Last check: 2007-10-25)
		JIA ZHANG KE Chinese director Jia ZhangKe has received international attention for his first two features, PLATFORM and XIAO WU (PICKPOCKET).
		His work has been praised for filmmaking technique as well as its confrontation of everyday life in contemporary urban China.At the age of 18, Jia ZhangKe studied painting in Taiyuan, the capital of Shanxi province.
		Upon film school graduation in 1997, he made his first feature, XIAO WU (PICKPOCKET).Jia ZhangKe was born in 1970 in Fenyang, a small town in the northern province of Shanxi.
	www2.uol.com.br /mostra/p_exib_diretor_arquivo_4699_en.htm (178 words)

	Shanghaiist: Movie Review: Jia Zhangke's Still Life
		Jia Zhangke’s Golden Lion-award-winning Still Life (in Chinese, Sanxia Haoren, or "The Good People of the Three Gorges") isn’t quite the masterpiece that we’ve come to expect from the man responsible for the pitch-perfect The World (2004) or Platform (2000).
		Jia’s focus is dislocation—not only of the individuals forced out of their homes by the flooding, but culturally speaking as well.
		Jia oftentimes uses setting as an ironic construct—the laughably garish theme park of The World; the dilapidated nightclubs in Unknown Pleasures—but in Still Life, there’s no avoiding the albatross that is the Three Gorges.
	www.shanghaiist.com /archives/2006/12/08/movie_review_ji.php (799 words)

	Rotten Tomatoes Forums - THE WORLD - Jia Zhangke
		Jia Zhangke's The World, his first state supported film, continues his look at the disillusionment of Chinese youth with Western-style globalization but shifts the setting from a rural to an urban environment.
		Jia presents the world in small episodes, similar he says to the "way you use a computer—you click here, you click there, each time leading you to another location." The vignettes, however, did not come together for me as a totally satisfying experience and the animation effects seemed showy.
		Kevin Lee's article on Jia for Senses of Cinema has a footnotes providing a detailed description of the original ending and also touching on some of the other changes made between the festival cut and the final cut.
	www.rottentomatoes.com /vine/showthread.php?p=5359755 (2796 words)

	taz, die tageszeitung
		JIA ZHANGKE kam 1970 in Fenyang zur Welt.
		Jia Zhangke arbeitet oft mit dem Kameramann Yu Lik-wai zusammen, dessen tiefenscharfe Digitalvideobilder den Filmen besondere Anmutung verleihen.
		In der aktuellen Ausgabe der "tageszeitung" können Sie hier blättern, in den Ausgaben der letzten Monate hier.
	www.taz.de /pt/2006/09/22/a0199.1/text (237 words)

	The Horse Hospital: December 2003 Archives
		The Fifth Generation directors occupy themselves mostly with spectacle-driven mythic histories laden with pointed social criticisms that jeopardize their standing with the government censors.
		The film charts the span of a decade in which the adolescent members of the state-sponsored Peasant Culture Group of Fenyang face the immense economic and cultural reforms of the 1980s, leading to their privatization and reincarnation as the All-Star Rock n' Breakdance Electronic Band.
		A single, forty minute tracking shot taken from a windscreen of the journey by car through the mountains north of Beiijing, passing the burial places of the emperors of the Ming Dynasty.
	www.thehorsehospital.com /archives/2003_12.html (747 words)

	Jia Zhangke Rises to the Surface
		But whereas youth, for the Fifth Generation directors, was inexorably tied to the 'cultural revolution' and therefore invariably infused with idealism, Jia's idea of youth is more contemporary, and therefore much bleaker.
		Jia also claims the Taiwan director Hou Hsiao-hsien as one of his major influences.
		One of the key settings for the film will be the Window to the World in Shenzhen, an amusement park that has miniature replicas of famous landmarks and buildings from around the globe, where one of the protagonists works as a dancer.
	www.china.org.cn /english/NM-e/97624.htm (473 words)

	Montreal Mirror : Film : The World
		Like Zhangke's three previous feature films, The World focuses on the culture shock that rural people face in the age of ever-expanding urbanization.
		Having migrated to the nation's capital from a small town in the Shanxi province 12 years ago, he can relate to his film's characters, who are being destroyed both physically and psychologically in the cogs of big city life.
		In the film, Zhangke conveys these concerns through several subplots: Tao's boyfriend Taisheng is having an affair with a married woman who oversees a sweatshop that produces designer knock-offs.
	www.montrealmirror.com /2005/031705/film1.html (542 words)

	Director Jia Zhangke Considers Suing Zhang Yimou's Producer
		In a report carried by Monday's Chongqing Evening Post, Zhang Weiping was quoted as saying that Jia Zhangke and Marco Muller manipulated the award of the top prize to "Still Life" at the Venice Film Festival earlier this year.
		Jia's "Still Life" was released on the Chinese mainland this month, putting it head to head with Zhang Yimou's imperial palace drama "Curse of the Golden Flower", starring Chow Yun-fat and Gong Li.
		Jia has criticized the over-commercialization of Chinese film as hurting artistic films and the prospects of cultivating new talent.
	english.cri.cn /3086/2006/12/27/60@178088.htm (543 words)

	Anthology Film Archives - Film Schedule
		Jia Zhangke's debut feature is set in his backwater northern hometown of Fengyang.
		Jia Zhangke's second feature is his best work to date and one of the greatest of all Chinese films.
		Originally 192 minutes long, the film was recut by Jia to its current 155 minutes and improved in the process.
	www.anthologyfilmarchives.org /schedule/?start=2006-3-15&end=2006-3-21&submit=Search (3394 words)

	Unkown Pleasures (Ren Xiao Yao)
		Jia Zhangke's Unknown Pleasures is a powerful depiction of the spiritual malaise afflicting Chinese youth as a result of global capitalism.
		Jia avoids pathos and sentimentality, opting for a documentary-style realism that is deeply affecting.
		Jia, one of the best of China's new generation underground "indie" directors, has captured this sense of ennui more palpably than any movie I've seen in a long time.
	www.talkingpix.co.uk /ReviewsUnknownPleasures.html (589 words)

	Asian Canadian - arts:culture:news:events: Cinematheque Ontario presents FREE screenings of Jia Zhangke films! (Site not responding. Last check: 2007-10-25)
		We are pleased to present the local premiere of Jia’s extremely rare early fiction work, made while he was a student at the Beijing Film Academy.
		Jia’s inscription of his Big Theme (forever and always, China) in the experience of the provincial and dispossessed finds its first expression here, the film’s theme of urban migration looking forward to THE WORLD.
		Jia’s experimentation with image (intertitles containing newspaper stories, the cook’s vital statistics, etc.) and language (a woman speaking in untranslated, unidentified dialect), and his copious use of found sound and pop music, from The Carpenters to The Crash Test Dummies, also declare his future trademarks.
	www.asiancanadian.net /2005/04/cinematheque-ontario-presents-free.html (422 words)

	Le cinéaste Jia Zhangke ulcéré par les attaques d'un producteur \| Cinéma \| Cyberpresse
		Le cinéaste Jia Zhangke ulcéré par les attaques d'un producteur
		Le cinéaste Jia Zhangke ulcéré par les attaques d'un producteur
		Jia avait estimé que ce prix était un signe de respect envers les personnages de son oeuvre, des Chinois «ordinaires».
	www.cyberpresse.ca /article/20061226/CPARTS01/61226187/0/Category=CPCONTACT (328 words)

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