Core Viewpoint - The article discusses the current state of the film industry, highlighting both the challenges and opportunities it faces, particularly in light of the release of "Zootopia 2" and the evolving landscape of cinema and audience behavior [1][3][21]. Group 1: Industry Performance - "Zootopia 2" has shown promising box office performance, with pre-sale tickets exceeding 180 million yuan, setting a record for imported animated films in China [1]. - As of November 27, the film's cumulative box office reached 350 million yuan, with total earnings including pre-sales hitting 650 million yuan [1]. - Despite the positive reception, the overall cinema attendance remains low, with some theaters only filling 200 out of 500 seats on premiere day, indicating a decline in audience turnout compared to previous years [3][11]. Group 2: Technological Changes - The cinema industry has undergone significant technological advancements, reducing the need for traditional roles such as projectionists, with operations now largely automated [12][14]. - The shift to online ticket sales and cloud-based film distribution has streamlined operations, allowing a minimal staff to manage a cinema [12][14]. - The rise of streaming platforms has changed the revenue dynamics, with some films recouping costs more effectively through online viewership rather than traditional box office sales [15]. Group 3: Changing Audience Behavior - The social dynamics of cinema attendance have shifted, with younger audiences seeking alternative forms of entertainment and social interaction, such as theme parks and interactive experiences [16]. - The perception of cinema as a social venue has evolved, with audiences now valuing the experience and community aspect over the film itself [16]. - The article notes that while "Zootopia 2" has a good rating of 8.7 on Douban, audience expectations have changed, making it difficult for sequels to match the impact of their predecessors [3][8]. Group 4: Future Outlook - The cinema industry is viewed as a "sunset industry," with projections indicating a stagnation in box office revenues, expected to reach 42.5 billion yuan in 2024, a level comparable to 2014 [18]. - The industry faces an existential challenge as consumer habits shift, leading to a decline in traditional cinema attendance [19]. - Despite these challenges, there remains a belief that as long as films are being made and shown, there will be an audience, albeit in a different format [21].

AI是潘多拉之盒？还是普罗米修斯的火种？ 在刚刚落幕不久的威尼斯电影节上，导演吉尔莫·德尔·托罗带来了他的最新作品《弗兰肯斯坦》。记者们都很关⼼⼀个"赛博朋克"的问题：这部关于⼈造 ⽣命失控的电影，是否在隐喻AI？ 记者们之所以有此一问，是因为吉尔莫·德尔·托罗此前曾公开表态：他在制作《弗兰肯斯坦》时拒绝使用过多数字特效和绿幕。 我想要真实的场景。我不想要数字的。我不想要人工智能的。我不想要模拟的。我想要传统的工艺。我想要人来绘画、搭建、锤造、抹灰。 即使"陀螺"是奥斯卡最佳导演，也并非所有电影人都同意他的观点。就在今年的威尼斯电影节上，力挺AI介入电影创作的观点也大有市场。 威尼斯电影节甚至下设了一个Reply AI电影节，AI电影与"陀螺"的手工电影共聚一堂，共同接受观众的品评。 △ 今年的Reply AI电影节获奖者合影 在AI横扫全球各行各业的大背景下，电影行业内部却正分裂成"支持AI"和"反对AI"的两大阵营。说这种分裂即将酝酿出一场"内战"也不过分。 分裂的一个重要原因显然是利益相关。在这波AI浪潮中，有些电影人正在或即将获益，他们自然支持AI；有些电影人担心被AI抢了饭碗，或更严重一 点，AI会 ...