Ang Lee | |||||||||||||||||||||||||||
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| 李安 | |||||||||||||||||||||||||||
_(cropped).jpg) Lee in 2016 | |||||||||||||||||||||||||||
| Born | October 23, 1954 Chaozhou, Pingtung, Taiwan | ||||||||||||||||||||||||||
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| Years active | 1991–present | ||||||||||||||||||||||||||
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| Children | 2, including Mason | ||||||||||||||||||||||||||
| Chinese name | |||||||||||||||||||||||||||
| Chinese | 李安 | ||||||||||||||||||||||||||
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Ang Lee OBS (Chinese: 李安; pinyin: Lǐ Ān; born October 23, 1954) is a Taiwanese[1][2] filmmaker. His films are known for their emotional charge and exploration of repressed, hidden emotions.[3][4][5] During his career, he has received international critical and popular acclaim and numerous accolades including two Academy Awards, four BAFTA Awards, and three Golden Globe Awards. In 2003, he was ranked 27th in The Guardian's 40 best directors.[6]
Born in Pingtung County, Lee was educated in Taiwan and later in the United States. He rose to prominence directing films such as Pushing Hands (1991), The Wedding Banquet (1993), and Eat Drink Man Woman (1994), which explored the relationships and conflicts between tradition and modernity, Eastern and Western; the three films are informally known as the Father Knows Best trilogy.[7] The films were critically successful both in Taiwan and internationally.
His breakthrough in Hollywood was the costume drama Sense and Sensibility (1995), which was also his first entirely English-language film. Lee went on to receive the Academy Award for Best Director twice for the romantic drama Brokeback Mountain (2005) and the survival drama Life of Pi (2012). He directed films in a broad range of genres, including the drama The Ice Storm (1997), the martial arts drama Crouching Tiger, Hidden Dragon (2000), the superhero movie Hulk (2003), and the erotic espionage drama Lust, Caution (2007).
- ^ "戰爭人性與電影科技 李安：視覺對我是信仰 [Humanity during War and Film Technologies: Interview of Ang Lee]". 中天的夢想驛站 (in Chinese). November 12, 2016. Event occurs at 23:20. CtiTV. Archived from the original on October 30, 2021.
我很想跟他們講其實我也沒有入美國籍，我拿的還是綠卡。(I was willing to tell them that I am not naturalized as U.S. citizen. I still hold the green card.)
- ^ 王, 篤若 (July 29, 2007). "李安對威尼斯不滿：「色戒」代表中華民國". tw.aboluowang.com (in Chinese). Retrieved March 9, 2021.
李良山 (李安的特助)表示: "「色，戒」雖有美國資金，並是在大陸拍攝，但歐洲三大影展坎城、威尼斯、與柏林都是依導演的國籍來確定這部電影的出處，而李安至今仍是拿中華民國護照，從未申請入美國籍，所以「色，戒」當然是屬於中華民國、台灣的電影"... 據了解，李安旅美多年只持有美國綠卡，並未申請入美國籍 [...Ang Lee's personal assistant stated:"Though Lust, Caution had received fund from the US, and been filming in mainland China, but three major film festivals in Europe including Cannes, Venice, and Berlin, all decide the origin of the cinemas according to the nationality of the film director. As of now, Ang Lee still holds ROC passport, and he never apply to naturalize himself as American citizen. Surely Lust, Caution is originated in Taiwan"... It was learned that Ang Lee has been a US permanent resident for years without a citizenship by naturalization]
- ^ Williams, Sarah (February 20, 2013). "'Life of Pi's Ang Lee Conquers Anti-Asian Bias". Voice of America. Retrieved February 20, 2013.
Like many Asian-Americans in Hollywood's film industry, Chinese-born American film director Ang Lee struggled for acceptance early in his career.
- ^ Corliss, Richard (November 20, 2012). "Ang Lee's Life of Pi: Storm and Fang, Water and Wonder". Time. Retrieved November 20, 2012.
The Chinese-born American director mastered the nuances of 19th-century English manners in Sense and Sensibility, set martial-artist adversaries to dancing on tree tops in Crouching Tiger, Hidden Dragon and sold the mainstream audience on the love story of two cowboys in Brokeback Mountain.
- ^ "Life of Pi – film that transcends global emotions". The Times of India. September 27, 2012. Archived from the original on November 13, 2013. Retrieved September 27, 2012.
- ^ "40 best directors | Features | guardian.co.uk Film". www.theguardian.com. Archived from the original on June 29, 2019. Retrieved January 18, 2020.
- ^ Wei Ming Dariotis, Eileen Fung, "Breaking the Soy Sauce Jar: Diaspora and Displacement in the Films of Ang Lee," in Hsiao-peng Lu, ed., Transnational Chinese Cinemas: Identity, Nationhood, Gender (Honolulu: University of Hawaiʻi Press, 1997), p. 242.