2025年是中国电影120周年华诞，中国电影总票房获得超518.32亿元的好成绩，一批脍炙人口的佳片让人久久回味，其中动画电影票房突破250亿，成为中国 影史动画电影票房最高的一年。《哪吒之魔童闹海》成为全球动画电影票房新纪录创造者，《浪浪山小妖怪》刷新国产二维动画单片票房纪录。 系列报道《我与国家一起前行》，一起来看中国动画人如何把"国漫崛起"的梦想照进了现实。 0:00 《浪浪山小妖怪》这部动画电影，点燃了2025年的夏天。二维电影的创作形式、浓浓的中国风让不少观众感叹，熟悉的味道回来了。 电影成功的背后，是上海美术电影制片厂几十年间几代人的传承与创新，现代技术的应用，手绘软件的笔触，为中国风的动画创作赋能，增添神韵。 上海美术电影制片厂动画主管 冯洁：带水墨的笔刷去勾勒的话，它就会产生这种真实的水墨的灵动性。 上海美术电影制片厂制作总监 管敏波：一个镜头比如说30张画，按以前来讲的话，可能我们要画一到两个月的时间，可是我们现在做这一个镜头，大概也 就一天或一天半就能完成了。 新技术应用 为中国风动画创作赋能 全球第一部水墨动画电影《小蝌蚪找妈妈》，曾经是几代人共有的回忆。然而制作时间成本过高，让这种艺术 ...

央视网消息：2025年是中国电影120周年华诞，中国电影总票房获得超518.32亿元的好成绩，一批脍炙人口的佳片让人久久回味，其中动画电影票房突破250 亿，成为中国影史动画电影票房最高的一年。《哪吒之魔童闹海》成为全球动画电影票房新纪录创造者，《浪浪山小妖怪》刷新国产二维动画单片票房纪 录。系列报道《我与国家一起前行》，一起来看中国动画人如何把"国漫崛起"的梦想照进了现实。 《浪浪山小妖怪》这部动画电影，点燃了2025年的夏天，二维电影的创作形式、浓浓的中国风让不少观众感叹，熟悉的味道回来了。 新技术应用为中国风动画创作赋能 电影成功的背后，是上海美术电影制片厂几十年间几代人的传承与创新，现代技术的应用，手绘软件的笔触，为中国风的动画创作赋能，增添神韵。 上海美术电影制片厂动画主管 冯洁：带水墨的笔刷去勾勒的话，它就会产生这种真实的水墨的灵动性。 上海美术电影制片厂制作总监 管敏波：一个镜头比如说30张画，那么按以前来讲的话，可能我们要画一到两个月的时间，可是我们现在可能做这一个镜 头，可能大概也就一天或一天半就能完成了。 全球第一部水墨动画电影《小蝌蚪找妈妈》，曾经是几代人共有的回忆，然而制作时间成本过高 ...

Group 1 - The core point of the article highlights the significant achievements of the Chinese film industry in 2025, with total box office revenue surpassing 500 billion yuan and over 1.2 billion moviegoers, marking a notable recovery and growth in the market [3][9][12] - Animation films dominated the box office, contributing approximately 245 billion yuan, nearly half of the total revenue, with "Nezha 2" setting a new record for animated films globally [3][5][9] - The audience demographic for animated films has shifted, with a notable percentage of viewers aged 35-39 and 25-29, indicating that animation is appealing to a broader age range beyond just children [8][9] Group 2 - The film market experienced structural imbalances, with a significant reliance on blockbuster releases, as evidenced by the poor performance of certain holiday periods like the National Day and May Day, which saw the lowest box office figures in years [12][9] - A total of 50 films surpassed 100 million yuan at the box office, with domestic films accounting for 33 of these, contributing 409.52 billion yuan, reflecting a strong market share of 81.90% [12] - The year also marked the 80th anniversary of the victory in the War of Resistance against Japan, leading to a surge in films focusing on this theme, with "Nanjing Photo Studio" becoming a standout success [16][18] Group 3 - The article discusses the emergence of "small character" narratives that resonate with audiences, showcasing the success of films like "Nanjing Photo Studio" and "Longan's Lychee," which focus on individual stories and emotional connections [39][41] - The trend of "removal" from the market has shifted from pre-release withdrawals to post-release exits, indicating a high-pressure environment for films that fail to perform [48][52] - The film industry is moving towards a more segmented approach, with a focus on targeting specific audience demographics through tailored marketing and distribution strategies [60][61]

Group 1 - The animated film "Wang Wang Mountain Little Monster" has achieved a box office of over 6 billion yuan, breaking the previous record held by "Big Fish & Begonia" for nine years [1][2] - The film became the first domestic 2D animated film to surpass 1 billion yuan in daily box office, achieving this milestone within nine days of release [1][2] - The final box office prediction for "Wang Wang Mountain Little Monster" is approximately 15.34 billion yuan, which would place it just 0.01 billion yuan behind "Zootopia" in the domestic market rankings [2][3] Group 2 - The film has six production companies involved, including Shanghai Animation Film Studio and Shanghai Film Group, indicating a strong collaborative effort in its production [8][10] - The film's success has positively impacted the stock price of Shanghai Film, which has seen a rise of about 9% since August 6 [12] - The film has established partnerships with nearly 50 brands for IP derivative products, with over 800 SKUs launched, showcasing a robust strategy for monetizing the film's intellectual property [14][15] Group 3 - The film's merchandise sales have been significant, with over 300,000 blind boxes sold, contributing to a substantial revenue stream [22][26] - The overall performance of animated films this summer has been strong, with six domestic animated films surpassing 100 million yuan in box office, setting a record for the industry [5][6] - The film's marketing strategy includes collaborations with various sectors, such as food and beverage, stationery, and entertainment, reflecting a comprehensive approach to brand partnerships [30][34]

Core Insights - The domestic animation film market in China is experiencing a significant rise, with films like "浪浪山小妖怪" and "罗小黑战记2" achieving high box office numbers and ratings, indicating a growing audience interest in animated features [1][2][6] - "浪浪山小妖怪" has achieved a box office of over 3 billion yuan within six days of release, with a projected total box office of 13.59 billion yuan, while "罗小黑战记2" has reached a cumulative box office of 3.83 billion yuan with a forecast of 4.76 billion yuan [1][2][3] - The success of these films is attributed to their strong IP foundations, high audience ratings, and relatable storytelling that resonates with contemporary societal themes [3][4][6] Group 1: Box Office Performance - "浪浪山小妖怪" broke 3 billion yuan in box office within six days, with a total box office forecast of 13.59 billion yuan [1] - "罗小黑战记2" has accumulated 3.83 billion yuan in box office as of August 8, with a projected total of 4.76 billion yuan [2][3] - The box office performance of these films, while impressive, is still lower compared to "哪吒2," which achieved a record 154.45 billion yuan [7][8] Group 2: Audience Reception and Ratings - "浪浪山小妖怪" received a high rating of 8.6 on Douban, while "罗小黑战记2" scored 8.7, indicating strong audience approval [1][2] - Both films are noted for their engaging narratives and character development, which have garnered positive feedback from viewers [3][4] Group 3: Industry Trends - The rise of domestic animation films marks a shift from niche interest to mainstream cultural phenomena, with significant box office successes over the past decade [6][7] - The animation industry in China is witnessing advancements in production quality and storytelling depth, allowing it to compete with international standards [7] - The current market dynamics suggest that while high-quality animated films are being produced, external factors such as audience spending power and competition from other genres may impact box office outcomes [7][8]

Core Insights - The animated film "Wang Wang Mountain Little Monster" has achieved a box office of over 300 million yuan within six days of its release, with a revised total box office forecast of 1.359 billion yuan [2][3] - Another animated film, "The King's Avatar: Season 2," has also been performing well, with a cumulative box office of 383 million yuan and a predicted total of 476 million yuan [3][4] - The rise of domestic animation films is evident, with high ratings on platforms like Douban, indicating a growing audience interest and market potential [2][6] Box Office Performance - "Wang Wang Mountain Little Monster" grossed over 140 million yuan in its opening weekend, with a Douban score of 8.6 [3] - "The King's Avatar: Season 2" has reached 10 million viewers by August 5, with a Douban score of 8.7, surpassing "Wang Wang Mountain Little Monster" [2][3] - The total box office predictions for both films are 1.359 billion yuan for "Wang Wang Mountain Little Monster" and 476 million yuan for "The King's Avatar: Season 2" [4][6] Industry Trends - The domestic animation market has seen significant growth over the past decade, transitioning from niche appeal to mainstream cultural events, highlighted by the success of films like "Nezha: Birth of the Demon Child" [6][7] - "Nezha: Birth of the Demon Child" has set a record with a box office of 15.445 billion yuan, becoming the highest-grossing animated film in history [7] - The current summer season features two high-rated animated films, indicating a strong trend in audience engagement with domestic animation [5][6] Production Quality - "The King's Avatar: Season 2" underwent a six-year production cycle, increasing its original artwork from 70,000 to 200,000 images, showcasing a significant upgrade in production quality [4][5] - Both films incorporate modern themes and relatable narratives, resonating with contemporary audiences and reflecting societal issues [5][6] Audience Engagement - The success of these films is attributed to their strong IP foundations and positive audience reception, with both films achieving high ratings and favorable reviews [4][5] - The audience's consumption behavior has shifted, with many opting to watch only one film due to rising ticket prices and economic factors, impacting overall box office performance [7][8]

Core Insights - The film "The King's Avatar: For the Glory" continues the story from its predecessor, featuring the characters Xiao Hei, Master Wu Xian, and Senior Sister Lu Ye facing a crisis that threatens both the human and monster realms, embarking on an adventure filled with unknown challenges [1][2] - "The King's Avatar: For the Glory" was released on July 18 and quickly became a hot topic on Douban, grossing over 700 million yuan within two days [1] - The original film "The King's Avatar" released six years ago achieved a box office of 315 million yuan and received a high rating of 8.0 from nearly one million viewers on Douban, contributing to the rise of domestic animation [1] - The sequel "The King's Avatar: For the Glory" is part of a wave of successful animated films, following the global success of "Nezha" which grossed 15.446 billion yuan before its release [1] - As a leading IP in original 2D animation, "The King's Avatar" has a low frequency of content updates, with the original series releasing over 40 episodes in 13 years, yet it has garnered a dedicated fanbase due to its warm and delicate animation style [1] - The original film was nominated for the Golden Rooster Award for Best Animated Feature, showcasing its artistic merit and thematic depth, focusing on the coexistence of humans and spirits in a natural world [1] - "The King's Avatar: For the Glory" features over 200,000 hand-drawn original frames, reflecting the significant investment by the creative team over the past six years [2] - The film's settings, including villages and cities, are characterized by imaginative Chinese-style monster worlds and realistic seasonal changes, with each scene being described as healing and exquisite [2] - A key scene in the film, the "airplane battle," showcases dramatic and extraordinary imagination, highlighting the film's cinematic quality [2] - The premiere event held on July 11 in Beijing was emotional for the creative team, with the director expressing gratitude for the collective effort over the past six years [2]

Core Insights - The global anime consumer base has surpassed 1.2 billion, with domestic users reaching 300 million, indicating a broadening age range and aesthetic demand within the audience [1] - The Shanghai TV Festival and Tencent Video Animation co-hosted a forum discussing the lifecycle extension of animation IPs, featuring creators from around the world sharing insights on content themes, artistic forms, and international collaboration [1] Group 1: Industry Trends - The forum highlighted the importance of maintaining the vitality of an animation IP after it has gained visibility, emphasizing the need for high-quality production standards [3][6] - The animation industry is witnessing rapid changes in supply and demand, which drives continuous innovation and requires creators to engage more sincerely with their audience [10][13] - The rise of domestic animation is becoming a reality, with Tencent Video aiming to become a leading platform for cross-media works in the next decade [16] Group 2: Content Creation and Audience Engagement - Successful animation requires a deep understanding of audience preferences, with creators encouraged to collect data and engage with viewers to ensure their work resonates [13][15] - The importance of balancing innovation with audience expectations was emphasized, as creators must avoid merely catering to trends while still delivering meaningful content [17] - Various companies are exploring new technologies and narrative techniques to enhance their animation offerings, such as 3D printing and AI integration [8][20] Group 3: IP Development and Global Strategy - Companies like Wanda Animation are focusing on global operations for their IPs, aiming to represent Chinese culture on the international stage [18] - Tencent Video has developed multiple formats for its IPs, including special episodes and theatrical releases, and is planning long-term strategies for content expansion [20] - The industry is moving towards creating high-quality, large-scale domestic animation that meets diverse market demands, with a focus on technological advancements [20]

Group 1 - The China Youth Animation Creator Growth Program has extended its activity cycle to two years, focusing on nurturing new talent in the animation industry [1] - The program's theme is "Gathering New Generations for New Development," aiming to build a comprehensive incubation platform for young animation talents and promote high-quality development in the Chinese animation industry [1] - Since its launch in 2021, the program has awarded the title of "China Youth Animation Creator" to 40 young talents, with notable creators emerging from the initiative [1] Group 2 - This year's program introduces three specific tracks: "Independent Animators," "Illustrators," and "Cross-Media Creators," addressing the needs of industry newcomers and covering the entire creative field [1] - The program collaborates with platforms such as Bilibili, NetEase LOFTER, and Zhihu to facilitate online voting, work promotion, and professional Q&A, helping new creators break through barriers and grow rapidly [1] - A dialogue session titled "Dialogue with China Youth Animation Creators" was held, discussing industry trends and survival strategies for new generation animators [2]