Question: Do both Ruby Yang and Serguei Kouchnerov work in the film industry?
Context: The Warriors of Qiugang () is a 39-minute documentary film that chronicles the story of the Chinese village of Qiugang (pop.  1,900 in "ca."  2010), in the suburbs of Bengbu City in Anhui Province in central-eastern China.  It tells how a group of Chinese villagers put an end to the poisoning of their land and water by three chemical plants, the worst being Jiucailuo Chemical.  It was directed and produced by Academy Award winners Ruby Yang and Thomas F. Lennon, respectively.  Guan Xin was the field producer and cinematographer. Ruby Yang (楊紫燁; Simplified Chinese: 杨紫烨), is a Chinese American filmmaker. My Voice, My Life 《爭氣》is a feature-length documentary film directed by Oscar-winning Chinese-American filmmaker Ruby Yang.  It tells the poignant stories of a group of under-privileged Hong Kong youngsters who underwent six months of vigorous trainings to produce a musical on stage.  Through their trials and tribulations, the students challenge parents, teachers and policy makers to reflect on our way of nurturing the next generation. The Blood of Yingzhou District (; translation: The Children of Yingzhou) is a 2006 short film documentary directed by Ruby Yang and produced by Thomas F. Lennon.  The film is about the effect of AIDS on orphans in Yingzhou District of Fuyang, Anhui, China.  It won the 2007 Academy Award for Documentary Short Subject. Serguei Kouchnerov (born 22 June 1960 in Rahachow, Belarusian SSR) - artist, animator, director, story artist and screenwriter.  He started his career as an animator and director in Kiev, Ukraine.  In 1992, he was hired by Walt Disney Feature Animation as a character animator and came to the United States of America, where he currently lives and works at Illumination Entertainment. The Filipino Academy of Movie Arts and Sciences bestowed the Gregorio Valdez Memorial Award to Filipino producers and film industry leaders of distinction whose body of films produced and/or film industry achievements have given merit to the Filipino film industry as a whole, as well as Filipino film producers in other countries whose body of work is recognized in that particular country. Tulu cinema is a part of Indian cinema.  The Tulu film industry is also called Coastalwood.  It produces 5 to 7 films annually.  The first Tulu film was "Enna Thangadi" released in 1971.  Usually, earlier, these films were released in theatres across the Tulu Nadu region.  But currently the Tulu film industry has grown to the level where films are being released simultaneously in Mangalore, Udupi and Mumbai, Bangalore and Gulf countries.  The critically acclaimed Tulu film "Suddha" won the award for the best Indian Film at the Osian's Cinefan Festival of Asian and Arab Cinema held in New Delhi in 2006.  In 2011, the Tulu film Industry got second life with the release of the film "Oriyardori Asal".  The film turned out to be the biggest hit in Tulu film history to date. " Chaali Polilu" is the longest running film in Tulu film industry.  This movie is the highest grossing film in the Tulu film industry.  It has successfully completed 470 days at PVR Cinemas in Mangalore. The Cinema of Pakistan or Pakistani cinema (Urdu: ‎ ) refers to the filmmaking industry in Pakistan.  Pakistan is home to several film studios centres, primarily located in its two largest cities - Karachi and Lahore.  Pakistani cinema has played an important part in Pakistani culture, and in recent years has begun flourishing again after years of decline, delivering entertainment to audiences in Pakistan and expatriates abroad.  Several film industries are based in Pakistan, which tend to be regional and niche in nature.  Over 10,000 Urdu feature-films have been produced in Pakistan since 1948, as well as over 8000 Punjabi, 6000 Pashto and 2000 Sindhi feature-length films.  The first film ever produced was "Husn Ka Daku" in 1930, directed by Abdur Rashid Kardar in Lahore.  The first Pakistani-film produced was "Teri Yaad", directed by Daud Chand in 1948.  Between 1947 and 2007, Pakistani cinema was based in Lahore, home to the nation's largest film industry (nicknamed Lollywood).  Pakistani films during this period attracted large audiences and had a strong cult following, was part of the cultural mainstream, widely available and imitated by the masses.  During the early 1970s, Pakistan was the world's fourth largest producer of feature films.  However, between 1977 and 2007, the film industry of Pakistan went into decline due to Islamization, strengthening of censorship laws and an overall lack of quality.  Throughout the 1980s and 1990s, the film industry went through several periods of ups and downs, a reflection of its dependency on state funding and incentives.  By 2000, the film industry in Lahore had collapsed and saw a gradual shift of Pakistani actors, actresses, producers and filmmakers from Lahore to Karachi.  By 2007, the wounds of Pakistan's collapsed film industry began to heal and Karachi had cemented itself as the centre of Pakistani cinema.  Quality and new technology led to an explosion of alternative form of Pakistani cinema.  The shift has been seen by many as the leading cause for the "resurgence of Pakistani cinema".  Despite the industry crisis starting in the mid-1980s, Pakistani films have retained much of its distinctive identity.  Since the shift to Karachi, Pakistani films have once again began attracting a strong cult following. Sunil Rawal (born 23 May 1983) is a film producer and actor active in the Nepali film industry.  He has been involved in the film industry since 2012.  His first movie as a producer and actor was "Saayad", produced under the banner of Durgish Films Pvt. Ltd. and directed by Suraj Subba.  He is Managing Director of Durgish Films Pvt. Ltd.  Since his involvement in the industry, he has been the center point of attraction to both filmmaker and audience.  His First movie Saayad in 2011 was the trend breaker.  Rawal collected numerous award from that movie.  Being a Member of Nepal Film Producer Association, He was awarded by Nepal Film Producer Association for the best product, Saayad.  Then his dedication of filmmaking reached to another level, which helped him to produce another blockbuster movie HOSTEL, 2012, which was the heart of youth nepali audience.  Hostel too got numbers of award including national award.  After grand success of Hostel, Rawal came with another blockbuster movie Hostel Returns, Sequel of Hostel in 2015.  Till the date Rawal is only the producer in Nepali Film Industry with No flops.  Rawal is inspiration and role model to many youth who is willing to make their career in Nepali Film Industry.  Sequel of his first Film Saayad, Saayad 2 is set to release on 14 July 2017.  Beside Filmmaking, Rawal is busy on serving the society, in his initiation, library was established in Nirankari Aadarsha Bidhya Mandir, Kailali.  He was one of the active filmmaker to serve earthquake victims in different part of Nepal.  He has great contribution to flood victims of eastern and western Nepal.  Getting Back to film Industry, His upcoming Projects, Laaure and Woolen Marry is running smoothly on Pre-production. Like most other developed countries, South Korea’s film industry has had a great influence on the public.  As films can affect the public with their great popularity and their vivid audio-visual effect, it has such influence that alarms the government to place strict regulations which the films must follow in order to be viewed by the public.  This control on the film industry and filmmakers resulted in film censorship.  The censorship often changed depends on the government's attitude toward the social structure and films.  Thus, the filmmakers could not criticize the government in any aspect, instead, they could only promote and support the government.  Consequently, the filmmakers were not allowed to freely express their creativity as well as their ideas and thoughts, and these restrictions lead to the decline of the film industry.  There are 2 major time periods where film censorship strongly impacted on the growth of the film industry in South Korea, namely, the period during Colonial Korea which was under Japanese Rule (Japanese occupation) and the period when the film industry were under heavily surveillance from the new military regime.
Answer: yes