Jia Zhangke (, born 24 May 1970) is a Chinese-language film and television director, screenwriter, producer, actor and writer. He is the dean of the Shanxi Film Academy of Shanxi Media College and the dean of the Vancouver Film Academy of Shanghai University. He graduated from the Literature Department of Beijing Film Academy. He is generally regarded as a leading figure of the "Sixth Generation" movement of Chinese cinema, a group that also includes such figures as Wang Xiaoshuai, Lou Ye, Wang Quan'an and Zhang Yuan. Jia's early films, a loose trilogy based in his home province of Shanxi, were made outside of China's state-run film bureaucracy, and therefore are considered "underground" films. Beginning in 2004, Jia's status in his own country rose when he was allowed to direct his fourth feature film, The World, with state approval. Jia's films have received critical praise and have been recognized internationally, notably winning the Venice Film Festival's top award Golden Lion for Still Life. NPR critic John Powers praised him as "the most important filmmaker working in the world today." Early life Jia Zhangke was born in Fenyang, Shanxi, China. His interest in film began in the early 1990s, as an art student at the Shanxi University in Taiyuan. On a lark, Jia attended a screening of Chen Kaige's Yellow Earth. The film, according to Jia, was life changing, and convinced the young man that he wanted to be a director. Jia would eventually make it to China's prestigious Beijing Film Academy in 1993, as a film theory major, giving him access to both western and eastern classics, as well as an extensive film library. Career Early work While a student at the Beijing Film Academy, Jia would make three short films to hone his skills. The first, a ten-minute short documentary on tourists in Tiananmen Square entitled One Day in Beijing, was made in 1994 on self-raised funds. Though Jia has referred to his first directorial effort as inconsequential and "naive", he also described the short day and a half shoot as "excitement...difficult to express in words." But it was Jia's second directorial effort, the short film Xiao Shan Going Home (1995), that would bring him to the attention of the film world. It was a film that helped establish Jia's style and thematic interests and, in Jia's words, was a film that "truly marks the beginning of my career as