Career
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In 1990, at the age of four, Yang acted in the historical television series Tang Ming Huang directed by Chen Jialin, playing the role of a young Princess Xianning. Two years later, she acted with Liu Xiao Ling Tong in the television series Hou Wa and won the 14th Flying Goddess Award and 12th Golden Eagle Award for Best Children's Television Series. After that, she focused on academics while working as a model for the magazine Duan Li. She also had a minor role as Beggar So's daughter in King of Beggars (1992), which starred Stephen Chow as the titular character.
In the late 2000s, Yang rose to fame for her roles in television series such as The Return of the Condor Heroes (2006) and Chinese Paladin 3 (2009). Her popularity increased after she starred as Luo Qingchuan in Palace (2011). Her increase in popularity from her performance in Palace helped land her a role in Painted Skin: The Resurrection, a sequel to Gordon Chan's 2008 film Painted Skin. In 2010 she participated in Empires of the Deep, a Chinese-American co-produced film with a budget of US$100 million.
In 2011, Mei Ah Entertainment announced that it will be producing four tailored-made films (Wu Dang, Chinese Princess Turandot, Windseeker, and Butterfly Cemetery) for Yang with a total investment of 300 million yuan for the four films due to the box office success of the horror film Mysterious Island (2011), which starred Yang.
In 2012, Yang stated that she will be producing for the first time in her career, and her project will be a Chinese version of the American television series Gossip Girl, with Chinese Girl as a possible working title.
Read more about this topic: Yang Mi
Famous quotes containing the word career:
“In time your relatives will come to accept the idea that a career is as important to you as your family. Of course, in time the polar ice cap will melt.”
—Barbara Dale (b. 1940)
“What exacerbates the strain in the working class is the absence of money to pay for services they need, economic insecurity, poor daycare, and lack of dignity and boredom in each partner’s job. What exacerbates it in upper-middle class is the instability of paid help and the enormous demands of the career system in which both partners become willing believers. But the tug between traditional and egalitarian models of marriage runs from top to bottom of the class ladder.”
—Arlie Hochschild (20th century)
“The problem, thus, is not whether or not women are to combine marriage and motherhood with work or career but how they are to do so—concomitantly in a two-role continuous pattern or sequentially in a pattern involving job or career discontinuities.”
—Jessie Bernard (20th century)