日本王朝物语部分书封及书脊 异界的核心载体类型 王朝物语中的异界叙事的空间载体可划分为三类，每一类空间都承载着独特的叙事功能与文化寓意，共 同构建了古代人对"非凡空间"的想象体系。第一类是超自然空间，《竹取物语》中的月之国有着与人间 截然不同的时间流速、生命形态与社会秩序，月之国的叙事功能在于构建一个"理想的超现实空间"，与 人间的短暂、烦恼、充满欲望形成鲜明对比。辉夜姬因"罪孽"被放逐人间，最终回归月之国的情节，既 体现了"神圣者下凡—历劫—回归"的叙事模式，也暗含了古代日本人对"彼岸世界"的向往与对现实世界 的美好追求。此外，《源氏物语》中的须磨浦与明石浦、《松浦宫物语》中的蓬莱仙宫也属于此类空 间。龙宫作为海龙王的居所，象征着"神秘的自然力量"与"丰饶的生命源泉"，光源氏在须磨浦遭遇暴风 雨时梦见海龙王的邀请，实则是对其命运转折的象征性预示；蓬莱仙宫在《松浦宫物语》中被重塑 为"转世之地"，华阳公主死后在蓬莱转世，打破了传统蓬莱作为"不死仙山"的单一意象，融入了佛教的 轮回观念，体现了文化交融对异界空间想象的重塑。 第二类是未知地域，未知地域是指现实世界中存在但未被人充分认知的空间，其核心特征是"陌生 ...

澳门的实践证明，跨文化叙事的关键不是追求单一标准答案，而是搭建"可对话的多元语境"。 第一财经全球中心（Yicai Global）在助力中国企业出海、创造多元沟通场景的过程中，特发起以文化 交流为背景的主题沙龙：一财全球人文沙龙（Yicai Panorama），旨在汇集艺术、人文、创意、商业等 全球跨界人士，在时间和空间的维度中共享文明财富，承托历史记忆，共创美好未来。 2025年11月，一财全球人文沙龙的第二场活动在中国澳门举行，由大湾区当代艺术促进会与北师香港浸 会大学人文社科学院联合主办，主题聚焦"文化在粤港澳大湾区的交融作用"。 大湾区欢迎文化，绝对不仅仅是口号。2024年，湾区文化制造业营收达12639亿元，全国占比25.5%， 消费电子、智能终端、潮玩等特色集群成型，从设计到生产的配套能力全国领先。2024年，湾区文化服 务业规模突破1.3万亿元，网络游戏、动漫影视、网络视听、电子竞技等领域领跑全国；游戏产业营收 占全国近八成；动漫产值约占全国1/3。 国际化的文化市场机遇应该从哪里破局？如何更加融入当代艺术市场？如何让中国的传统文化更好地被 看见？这些课题都是巨大市场机会之下需要精耕细作、需要专 ...

Core Insights - The event "Wind Moves, Shadows Change - Sino-French Film Dialogue" featured renowned French director Jean-Jacques Annaud and Chinese director Wu Ershan discussing cross-cultural creation, industry collaboration, and nurturing new generations of filmmakers [1][3][9] Group 1: Cross-Cultural Narrative - Jean-Jacques Annaud emphasized that the essence of film transcends language, relying on visual storytelling to convey emotions and ideas that resonate universally [3][5] - Wu Ershan agreed, stating that the common emotional experiences among people outweigh their differences, highlighting the emotional needs of audiences worldwide [3][5] Group 2: Sino-French Film Industry Collaboration - Annaud cited "Wolf Totem" as a successful example of Sino-French collaboration, noting the shared cultural heritage and pride in identity among both nations [5][6] - Wu Ershan shared insights from the production of "Fengshen," which involved a diverse team from 21 countries, enhancing the creative process through varied perspectives [6][8] - Both directors expressed optimism for future collaborations, with Annaud mentioning dedicated film festivals in France for Chinese creators [6][8] Group 3: Nurturing New Generations of Filmmakers - Annaud and Wu Ershan, both experienced in advertising before directing, highlighted the importance of practical experience in film education [8][9] - The French film system, particularly the support from the CNC, serves as a model for nurturing young filmmakers in China, balancing artistic freedom with industry development [8] - Both directors encouraged young filmmakers to practice and collaborate, emphasizing the need for mutual respect and love within creative partnerships [8][9]

Group 1 - The 8th Malaysia International Film Festival is currently taking place in Kuala Lumpur, showcasing the increasing presence of Chinese films, including "My Friend Andre," which is competing for the highest award, the "Golden Ring Award" [1] - The Chinese animated film "Ne Zha" has gained significant attention in Malaysia, providing an excellent opportunity for Malaysian audiences to understand Chinese culture, particularly due to the character's familiarity within the Chinese mythological context [1] - The success of these films is attributed to their effective cross-cultural narratives, addressing universal themes such as justice, bravery, and love, which resonate with Malaysian audiences [1] Group 2 - Recent years have seen innovations and breakthroughs in Chinese cinema, enhancing cultural expression through technology, exemplified by the advanced computer graphics in "Ne Zha," which offers an unprecedented sensory experience [2] - The collaboration between China and Malaysia in film has intensified, with notable projects such as the co-produced documentary "Our Story" and the Malaysia Chinese Film Festival, showcasing various Chinese films to local audiences [2] - There is a natural cultural connection between Malaysia and China, with hopes for increased cooperation in film co-production, distribution, and market expansion to create internationally competitive Chinese-language films [2]

Core Viewpoint - China has significantly improved its international discourse power and influence through innovative international communication strategies, as highlighted by its rise in the global soft power index [12][13]. Group 1: Soft Power and International Communication - According to the Brand Finance 2025 Global Soft Power Index, China ranks second globally, having improved its position by three places over the past year [12][13]. - China has achieved growth in six out of eight soft power pillars and two-thirds of specific indicators, indicating positive outcomes in international communication [13]. - Despite these achievements, there remains a need for improvement in global perceptions of China's lifestyle and tourism appeal [13]. Group 2: Diverse Participation in International Communication - The current international communication system in China does not match its comprehensive national strength and international status, necessitating a collaborative effort from various stakeholders, including government, media, and individuals [14]. - The role of overseas Chinese as cultural ambassadors is crucial in enhancing international communication and showcasing a credible and appealing image of China [15]. Group 3: Content and Channel Diversification - The high score in the "Business and Trade" indicator suggests that as international recognition of China grows, there is an increasing demand for understanding the underlying values and culture of Chinese enterprises [14]. - There is a call for a richer narrative in international communication, focusing on economic, technological, and cultural stories to enhance the effectiveness and impact of China's international messaging [14]. Group 4: Cross-Cultural Narratives - Cross-cultural narratives play a vital role in fostering mutual understanding and trust among nations, with an emphasis on China's unique cultural values and practices [17][18]. - China's narrative should include its achievements in poverty alleviation and technological advancements, showcasing its global responsibilities and contributions [18]. Group 5: Enhancing Persuasiveness of Chinese Discourse - Different types of discourse, including civilizational, national, governance, and innovative narratives, are essential for effectively communicating China's policies and values to the world [19][20]. - The connection between policy and storytelling is crucial for enhancing the empathy and resonance of China's narrative [20]. Group 6: Embracing Technological Change - The international communication landscape is undergoing significant changes due to technological advancements, necessitating a strategic approach to leverage new tools and platforms for effective storytelling [21][22]. - Examples of successful initiatives include collaborations between media and cultural institutions to enhance the global reach of Chinese narratives [23]. Group 7: Corporate Responsibility and Global Engagement - Chinese enterprises are increasingly "going global," and they should actively integrate into local economies while promoting China's image and stories [24][25]. - Companies are encouraged to innovate in international communication by addressing themes such as green development and cultural exchange, thereby fostering connections with global audiences [25].

Core Perspective - The article highlights the journey of Li Shuyi, a visual animation designer, who has made significant contributions to the development of Asian-related programs in the U.S., enhancing cultural exchange between China and the U.S. and increasing the influence of Chinese female designers on the international stage [2][4]. Group 1: Education and Early Career - Li Shuyi developed a passion for art and animation from a young age, leading her to study animation at Jinan University, where she gained theoretical knowledge and practical experience [3][4]. - After graduation, she entered the animation advertising field, which deepened her understanding of animation applications and opened new career opportunities [4][5]. Group 2: Professional Achievements - In 2013, Li Shuyi pursued further studies at Pratt Institute in New York, where her animated short film "Good Service" received recognition at several film festivals, reflecting her ability to convey universal themes of perseverance [4][5]. - She played a key role in the development of the popular food channel "Spring Festival Menu" on the Discovery Channel, showcasing Chinese culinary culture and facilitating cultural exchange through food [5][6]. Group 3: Cultural Integration - The visual design of "Spring Festival Menu" utilized warm colors and traditional elements to create a festive atmosphere, effectively engaging American audiences while preserving the uniqueness of Chinese culture [6][7]. - Li Shuyi emphasized the importance of visual storytelling in cultural dialogue, allowing for a subtle yet impactful exchange of cultural values [6][7]. Group 4: Recent Projects and Future Aspirations - In 2023, she contributed to the promotional design for the influential film "Barbie," which aimed to inspire audiences with its empowering themes [7][8]. - Currently, she is involved in visual guidance for brand upgrades at X Company, owned by Elon Musk, and aspires to continue exploring new artistic realms while promoting Sino-American cultural exchange [8][9].