Group 1 - The core viewpoint emphasizes the importance of promoting cultural exports, particularly in the areas of online literature, web series, and online games, referred to as the "new three samples" of culture [1][2] - The market size for online literature exports is projected to exceed 5 billion RMB in 2024, with an overseas user base of over 350 million [2] - The actual sales revenue of independently developed Chinese games in overseas markets is expected to reach $18.557 billion in 2024, reflecting a year-on-year growth of 13.39% [2] Group 2 - Zhejiang province is actively supporting the internationalization of its gaming industry, with a new policy document aimed at fostering the growth of 3A game projects and creating a gaming export industry cluster [3] - The gaming industry is recognized as a new engine for cultural output and economic growth, with national policies encouraging the development of the entire industry chain from IP creation to overseas operations [3] - Other provinces, such as Guangdong, are also implementing policies to enhance the innovation capacity and international competitiveness of their gaming industries, indicating a broader trend of cultural exports [3]

Group 1: Media Industry Outlook - The media industry is expected to face revenue and net profit pressure in 2024, with a rebound anticipated in Q1 2025, showing cyclical changes [1] - The IP economy is projected to grow through the incubation of proprietary IP and collaboration with popular IPs, exploring mature business forms like "谷子" (Guzi), blind boxes, and trading cards [1] - AI is recognized as a transformative technology, becoming a focal point in global tech competition and a key driver for future industries, with significant potential and application prospects across various media sub-industries [1] Group 2: IP Economy Insights - "谷子" (Guzi) products are evolving into key emotional carriers within the IP ecosystem, driven by the Z generation's shift towards emotional investment and community expression, leading to rapid market growth [1] - Blind boxes leverage the element of surprise to stimulate retail, focusing on product design and original IP commercialization, with strong social engagement and market maturity [1] - Trading cards, particularly collectible cards, create interactive consumer experiences through collection and trading, showcasing strong social attributes and user engagement advantages [1] Group 3: AI Applications and Developments - The AI industry has diversified into multiple tracks and scenarios, covering over 20 applications, enhancing user experience and meeting personalized needs [2] - AI is widely applied in various media sectors such as film, advertising, and gaming, improving content production efficiency and reducing costs [2] - AI smart glasses are emerging as a breakthrough in the AI terminal market, with significant growth expected in sales by 2025, as various manufacturers actively enter this field [2]

由互联网 1994-2024 历史回溯，判断 AI 与互联网的异、 同 20250703 摘要 AI 基础设施建设是当前重点，类似于互联网早期阶段，但由本土力量和 国资主导，与当年海外资本助力互联网不同。牌照发放方式（大模型或 算力牌照）仍待明确，可能影响相关企业发展。 AI 有望重塑影视行业，通过短视频内容制作和剧情化短视频发展，降低 成本并优化分发环节。预计到 2026 年春节前后，短剧市场将在二级市 场有所体现，传媒板块持仓占比或将提高。 未来几年可能出现新一轮创业潮，前提是 2025-2026 年迎来牛市。早 期互联网创业潮的关键要素（海归、海外资本等）是否到位，将决定新 创业潮的规模和质量。 AI 时代软件业可能出现类似自动驾驶 FSD 的重要领域，但用户需求和商 业意识的把握至关重要。互联网时代对用户需求的重视经验表明，产品 经理的角色转变是关键。 资本运作与业务成功是两码事，乐视事件可能重演。AI 产业发展需警惕 过度资本运作，避免重蹈覆辙，应更注重业务本身的健康发展。 AI 时代的软件业将如何发展？自动驾驶是否会成为重要领域？ 在 1998 年极氪黑客对应软件业，如今在 AI 时代的软件业中， ...

天眼查App显示，近日，江苏星汐引力文化传播有限公司成立，法定代表人为黄爱军，注册资本1000万 人民币，江苏虎嗅文化传播有限公司、上海徽祥文化传播有限公司持股。 企业名称江苏星汐引力文化传播有限公司法定代表人黄爱军注册资本1000万人民币国标行业文化、体育 和娱乐业>广播、电视、电影和录音制作业>影视节目制作地址江苏省南通市如皋市如城街道惠隆南路 528号A区505-1室企业类型有限责任公司(自然人投资或控股)营业期限2025-7-2至无固定期限登记机关如 皋市行政审批局 序号股东名称持股比例1江苏虎嗅文化传播有限公司60%2苟元强10%3上海徽祥文化传播有限公司10%4 黎宏乾10%5朱海燕10% 来源：金融界 经营范围含许可项目：演出经纪；广播电视节目制作经营；互联网信息服务；互联网直播技术服务；电 视剧制作（依法须经批准的项目，经相关部门批准后方可开展经营活动，具体经营项目以审批结果为 准）组织文化艺术交流活动；其他文化艺术经纪代理；文化娱乐经纪人服务；电影摄制服务；文艺创 作；会议及展览服务；咨询策划服务；网络技术服务；技术服务、技术开发、技术咨询、技术交流、技 术转让、技术推广；信息技术咨询服务； ...

Group 1: Digital Cultural and Creative Industry Policies - Chengdu has launched a series of "policy packages" to accelerate the development of a nationally influential digital cultural and creative hub, focusing on startups, sci-fi content, gaming esports, and the film industry [1] - For digital cultural and creative startups, a one-time subsidy of 20,000 yuan will be provided for small enterprises established for 6 months to 3 years, along with access to 100,000 square meters of low-rent entrepreneurial space [1] - A funding pool of 100 million yuan will support financial products like "Cultural Creative Pass," providing early, small, and long-term financial support for projects [1] Group 2: Sci-Fi Content Creation and Transformation - Policies for promoting high-quality sci-fi content creation include support for sci-fi themed parks, with annual operational rewards of up to 2 million yuan [3] - National and provincial level demonstration parks can receive rewards of 1 million yuan and 500,000 yuan respectively [3] - Support for international expansion of films, games, and derivative products includes subsidies of up to 100,000 yuan for single projects [3] Group 3: Gaming and Esports Support - Esports events based in Chengdu can receive subsidies of up to 8 million yuan, while local events can receive up to 5 million yuan [3] - New or renovated professional esports venues can receive support of 30% of their investment, capped at 10 million yuan [3] - Active venues hosting high-level events can receive annual operational subsidies of up to 1 million yuan [3] Group 4: Film Industry Development - Policies for promoting the film industry focus on key areas such as project creation, platform development, and talent cultivation [4] - Film enterprises creating high-quality projects can receive funding support of up to 21 million yuan, with an additional 10 million yuan for outstanding post-broadcast performance [4] - Incentives for establishing high-tech digital studios and real scene venues can reach up to 10 million yuan [4]

Core Viewpoint - The recent trade agreement between the U.S. and Vietnam is perceived as an unequal treaty, where Vietnam opens its domestic market in exchange for a 20% base tariff reduction on its exports to the U.S., potentially leading to severe consequences for its local industries [1][3]. Group 1: Trade Agreement Implications - The agreement includes a 40% punitive tariff on "third-country transshipment goods," specifically targeting the Chinese supply chain, which could severely impact Vietnam's electronics and textile sectors [3]. - Vietnam's early disclosure of negotiation positions, particularly in agricultural market access, lacks transitional protection, risking the collapse of its agricultural system under U.S. subsidized products [3][4]. - The influx of U.S. goods at zero tariffs may provide short-term consumer benefits but will likely lead to long-term damage to Vietnam's manufacturing sector, particularly in the automotive industry where local brands hold less than 5% market share [3][5]. Group 2: Cultural and Economic Sovereignty - The U.S. demands for Vietnam to fully open its entertainment market could lead to a monopoly by American platforms like Netflix and Disney, undermining local cultural industries and altering the value perceptions of the younger generation [4]. - The agreement's "90-day grace period" serves as a political leverage tool, indicating the U.S. view of Vietnam as a battleground in the trade war with China, which may undermine Vietnam's geopolitical standing [4]. Group 3: Historical Context and Future Risks - Historical precedents show that developing countries often suffer severe consequences from unequal trade agreements, as seen in Mexico's corn industry post-NAFTA and China's WTO accession without sufficient protection [5]. - The agreement's stringent intellectual property protections and prohibition on technology transfer could permanently confine Vietnam to a low-end position in the global value chain, risking its long-term economic development [5]. - The current global shift from globalization to regionalization highlights the need for economic sovereignty, which Vietnam appears to be compromising, potentially leading to a loss of market share and development opportunities [5].

"传统的戏剧演出往往是观众坐在台下，以旁观者的视角观看舞台上的表演。而在我们沉浸式话剧 中，观众自踏入演出场地的那一刻起，就仿佛穿越时空，以话剧《燎原》为例，古老的电线杆、斑驳的 墙壁，每一个细节都散发着那个战争年代的浓郁的气息，让观众在不知不觉中融入剧情。"沉浸式剧场 的运营方，同时也是《燎原》等一系列沉浸式话剧的开发方杭州有耳文化创始人郁敏介绍。 不过，线下演出的触达率毕竟有限，郁敏想着如何让优秀的作品传递给更多人。于是，"七一"来临 之际，沉浸式微短剧《燎原之重回1938》也正式上线了。该剧突破红色题材传统宏大叙事，以现代青年 视角走进抗战年代，主角是一位怀着疑问和期待的剧场观众，创新采用"梦回+无限流"叙事结构，通过 艺术化展现抗日战争隐蔽战线上的相关故事，传扬英雄精神，营造了一场从2025年回溯到1938年的跨时 空对话。 "市场反响好的作品，我们做了进一步改编，这种沉浸式表达不仅保留了话剧《燎原》原有的推理 结构，也适配了微短剧所需的节奏感与中心性。每一集都是一个情节单元、一个线索推进，同时也强化 了对观众情绪的控制节奏。"郁敏说。 近日，大运河边的小河公园三号仓库里，一场场红色主题的"沉浸式"话 ...

截至4月29日晚19时，共有近5300家A股公司披露2024年年报，占A股公司总数的98%。2024年，近六成 A股公司收入保持增长，申万一级行业中，电子、汽车、计算机等行业整体收入增长可观。 与此同时，已有逾5100家A股公司披露了2025年一季报，其中超六成企业一季度营收实现增长，贵金 属、风电设备、影视院线、游戏、休闲食品等板块一季度保持较高景气度。 多家创新药企业收入爆发式增长。在收入增幅前20名的企业中，有智翔金泰-U、亚虹医药-U、百利天 恒、迪哲医药-U等多家创新药企业。百利天恒2024年收入达到58.2亿元，同比增长936.3%；归母净利润 达到37亿元，同比扭亏。 近年来，A股公司营收"千亿俱乐部"、"百亿俱乐部"持续扩容。 据统计，2024年共有117家A股公司营收迈过千亿元，数量创下新高。赛力斯、浪潮信息、桐昆股份、 华勤技术、四川长虹等多家企业因收入明显增长，新晋"千亿俱乐部"，新华保险、歌尔股份重回"千亿 俱乐部"。圣泉集团、赛维时代、胜宏科技等迈过百亿门槛。 从利润端来看，2024年A股盈利企业约4000家，占比接近八成；净利润超过千亿元的企业增至10家。A 股龙头企业盈利表现尤为 ...

AinimateLab的总监周士诚今年有两部AI短片斩获佳绩——《缸中之脑》获得今年北京国际电影节AIGC单元最佳动画；《我的外星女友》则入围了今年上 海国际电影节AIGC短片单元六强。 △ 《缸中之脑》海报 △ 《缸中之脑》获北影节AIGC单元最佳动画奖 日前，极客电影特别对话周士诚，邀请他谈谈AI影像创作的经验与心得。 周士诚 区别于其他AI影像创作者的开放与善谈，周士诚更加严谨内敛，他对技术既不盲目崇拜，也没有刻意抗拒，而是始终将技术与内容紧密结合，稳步推 进。 同时，将激情与对世界的好奇放在了作品里，使之情感色彩更具浓度与深度。 △ 《我的外星女友》海报 两部作品的风格截然不同，《缸中之脑》为情感向科幻叙事的深度探索，《我的外星女友》为像素动画呈现的男女情感流动，而它们正是如今AI影视创 作的两面：一是宏大瑰丽的严肃科幻叙事，二是充满大胆想象的"小而美"创作。 《缸中之脑》：用AI破解叙事难题的实验场 《缸中之脑》作为AinimateLab"未来症"系列的首部作品，从诞生之初就带着强烈的实验属性。 他还直言，本片的核心目标是探索AI在实际制作中的应用逻辑，而非追求商业回报。 ▼科幻短片《缸中之脑》▼ ...

Group 1 - The 30th Shanghai Television Festival's Magnolia Awards highlighted the importance of creativity and genuine performances in the industry, with winners expressing their beliefs in faith, confidence, and the significance of impactful storytelling [1][2] - The award-winning drama "Northwest Years" showcased a comprehensive portrayal of the Northwest revolutionary history, featuring over 400 characters and 11 screenwriters, emphasizing the extensive effort and time invested in creating quality content [1] - The success of "My Alatai," which won three awards including "Best Chinese TV Drama," demonstrates that innovative storytelling, even with a shorter format, can resonate with audiences despite not being economically advantageous compared to longer adaptations [2] Group 2 - The commentary from viewers reflects a growing appreciation for authentic performances and well-crafted narratives, indicating a shift in audience expectations towards quality over quantity in television productions [2] - The awards serve as a reminder that true artistic expression and dedication to the craft can lead to recognition and success, reinforcing the idea that hard work and a sincere approach to storytelling will ultimately prevail in the competitive landscape of the industry [2]