Fenyang

The walled city of Fenyang, with a population of over 20,000, was a sizable objective. It was the most important Japanese base in this area outside of the provincial capital of Taiyuan itself, and a principal concentration point for the start of large-scale mopping-up operations.

1945, Harrison Forman, Report from Red China, New York: Book Find Club, →OCLC, →OL, page 229

Charting modern China's breakneck pace is a staple of Jia Zhangke's cinema. In his latest film, the Fenyang-born director once again delves into the social and economic upheavals that have led his country to raise and flatten mountains – real or imaginary – as though they were toys.

2015 December 23, Benjamin Dodman, “Film review: ‘Mountains May Depart’ probes China’s latest leap forward”, in France 24, archived from the original on 23 Dec 2015

The Brazilian director Walter Salles, whose work has somewhat similar themes to Mr. Jia’s, has produced an admiring documentary portrait of the filmmaker, “Jia Zhangke, a Guy From Fenyang,” shot a few years back when Mr. Jia was preparing “A Touch of Sin” for release in China, which was subsequently denied. It begins with Mr. Jia revisiting his hometown, Fenyang, in the Shanxi province of northern China, and looking at the now-ruined locations of his early films.

2016 May 26, Glenn Kenny, “Review: ‘Jia Zhangke, a Guy From Fenyang,’ a Portrait of a Visionary Filmmaker”, in (Please provide the book title or journal name), archived from the original on 30 May 2016, Movies