Tian Zhuangzhuang | |||||||||
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| Born | 23 April 1952 | ||||||||
| Alma mater | Beijing Film Academy | ||||||||
| Occupation(s) | Film director, producer, actor and professor at Beijing Film Academy | ||||||||
| Years active | 1980–present | ||||||||
| Parent(s) | Tian Fang (father) Yu Lan (mother) | ||||||||
| Awards | Tokyo Grand Prix 1993 The Blue Kite San Marco Prize 2002 Springtime in a Small Town Jin Jue for Best Director 2007 The Go Master | ||||||||
| Chinese name | |||||||||
| Traditional Chinese | 田壯壯 | ||||||||
| Simplified Chinese | 田壮壮 | ||||||||
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Tian Zhuangzhuang (Chinese: 田壮壮; born April 1952 in Beijing) is a Chinese film director, producer and actor.
Tian was born to an influential actor and actress in China. Following a short stint in the military, Tian began his artistic career first as an amateur photographer and then as an assistant cinematographer at the Beijing Agricultural Film Studio. In 1978, he was accepted to the Beijing Film Academy, from which he graduated in 1982, together with classmates Chen Kaige and Zhang Yimou. The class of 1982 collectively would soon gain fame as the so-called Fifth Generation film movement, with Tian Zhuangzhuang as one of the movement's key figures.[1]
Tian's early career was marked both with avant-garde documentary infused films (On the Hunting Ground (1985), The Horse Thief (1986)) to more commercial fare (Li Lianying: The Imperial Eunuch (1991)). In 1991, Tian began work on a quiet epic about one of modern China's darkest moments. This film, The Blue Kite (1993), would eventually result in Tian's nearly decade long exile from the film industry, an exile he returned from with Springtime in a Small Town (2001). Throughout the 2000s, Tian Zhuangzhuang returned to the fore of Chinese cinema, directing films like the biopic The Go Master (2006) and the historical action film The Warrior and the Wolf (2009). Since his banning after the release of The Blue Kite, Tian has also emerged as a mentor for some of China's newest film talents, and he has helped produce several important films for these new generations of directors.
- ^ Berry, p. 51.