2025年暑期，文旅消费持续升温。人工智能、元宇宙等新技术的赋能，让文化新业态、产业新模式不断 涌现，也让公众有了更加多元的新鲜体验。 这个暑期，在浙江杭州，南宋德寿宫遗址博物馆吸引众多游客。作为国内首个系统展示南宋历史文化的 场馆，这里将遗址原址与数字技术有机融合，搭建起"古今对话"的舞台。在中厅保护棚，3块巨型幕布 将遗址的3面围住，以裸眼3D技术复原宫廷生活影像，让观众身临其境，俯瞰临安繁华，感受南宋皇家 礼仪。 除裸眼3D外，德寿宫遗址博物馆还巧用AR、动态长卷、数字投影等技术，让文物"活起来"。在多地， 元宇宙图书馆、沉浸式剧场、XR无人机体验等文旅融合新模式不断涌现。 数字文化产业升级 呼唤人才培养破题 随着科技的不断发展，文化产业正迎来前所未有的技术创新浪潮，兼具科技素养和创意能力的复合型人 才成为产业升级的核心支撑。面对新业态的井喷需求，高校正通过学科重构、产教融合等方式探索人才 培养新路径。 为回应数字文化产业升级需求，2025年，教育部新增设的29个普通本科专业中，有近四分之一瞄准了数 字文化产业新赛道。如数字戏剧、数字演艺设计、智能影像艺术、虚拟空间艺术等。其中，上海戏剧学 院新设的数字 ...

Core Insights - The 2025 World Artificial Intelligence Conference in Shanghai highlighted the integration of technology and culture, showcasing the potential of AI in various cultural sectors such as art, tourism, and gaming [1] - China's digital cultural industry is experiencing significant growth, with projected revenues exceeding 6.67 trillion yuan in 2024, accounting for nearly 5% of GDP and a growth rate of 12.4% [1] - The transformation of China's digital cultural industry is shifting from participation to leadership in the global value chain, contributing to the reconstruction of international cultural discourse [1] Industry Overview - The digital cultural industry in China is becoming a crucial engine for cultural prosperity and economic growth, driven by the deep integration of technology and content innovation [1] - The emergence of platforms like TikTok and games like "Black Myth: Wukong" illustrates China's active role in the global cultural landscape [1] Challenges and Opportunities - Challenges include content innovation homogenization and superficial application of digital technologies, with a concentration of resources in economically developed regions [2] - There is a need for collaborative efforts to transition the digital cultural industry from quantitative accumulation to qualitative leaps, supported by policy frameworks and technological advancements [2] Policy Recommendations - Recommendations include enhancing the national cultural big data system, establishing standards for technology interfaces, content quality, and copyright protection, and supporting disruptive technologies like AIGC and XR in cultural applications [2] - Optimizing regional collaboration mechanisms and establishing digital cultural computing centers in underdeveloped areas are also suggested [2] Corporate Practices - Companies are encouraged to strengthen technological innovation and focus on high-quality IP that embodies Chinese aesthetics, such as the game "Honor of Kings" [3] - There is a call for increased investment in proprietary algorithms and smart creation tools to reduce reliance on foreign technologies [3] Consumer Engagement - Enhancing digital cultural consumption experiences and promoting accessible products for all demographics are essential for activating consumer potential [3] - Encouraging a healthy consumption ecosystem and fostering active participation in cultural production among consumers are also highlighted [3]

Core Viewpoint - The article highlights the transformation of the Xiaolanshan Digital Cultural Industry Ecological Village in Guizhou, which aims to integrate ecological preservation with digital industry development, contributing to rural revitalization and economic growth [8][15]. Group 1: Project Overview - Xiaolanshan is the first digital cultural industry ecological village in China, initiated by the Guizhou government in collaboration with Duocai New Media, starting in 2024 [8]. - The project focuses on revitalizing traditional villages without altering their appearance or relocating residents, utilizing abandoned facilities and idle houses for digital creative workshops and shared office spaces [15]. Group 2: Economic Impact - Over 20 digital enterprises have settled in Xiaolanshan, leading to the establishment of local businesses such as small shops and restaurants, which have increased the village's collective income and residents' earnings [15]. - The project is expected to create over 1,000 jobs upon completion of its first phase and aims to achieve an annual output value exceeding 10 billion yuan by 2025, contributing over 5 million yuan to the village's collective income [15].

Core Viewpoint - The company, Zhejiang Digital Culture Group, has announced its 2025 mid-term profit distribution plan, proposing a cash dividend of 0.08 yuan per share, which is approximately 26.88% of the net profit attributable to shareholders for the first half of 2025 [4][10][19]. Group 1: Company Overview - Zhejiang Digital Culture Group aims to become a leading digital cultural industry group in China, focusing on the integration of culture and technology [15][20]. - The company has implemented a "1335" strategic action plan to enhance its competitive edge and explore new business avenues [5][15]. Group 2: Financial Performance - For the first half of 2025, the company reported a revenue of 1.414 billion yuan, a slight increase of 0.09% year-on-year, and a net profit attributable to shareholders of 377 million yuan, representing a significant increase of 156.26% [15][19]. - The total assets of the company reached 12.534 billion yuan, with net assets attributable to shareholders at 10.145 billion yuan as of June 30, 2025 [15]. Group 3: Profit Distribution Plan - The proposed cash dividend totals approximately 101.45 million yuan, based on a total share capital of 1,268,074,472 shares [4][10]. - The profit distribution plan is subject to approval at the company's upcoming shareholder meeting [9][31]. Group 4: Corporate Governance and Investor Relations - The company has maintained a high standard of corporate governance, receiving an "A" rating for information disclosure for nine consecutive years [23]. - In the first half of 2025, the company held two shareholder meetings and seven board meetings to ensure effective governance [23]. Group 5: Strategic Initiatives - The company is actively pursuing opportunities in artificial intelligence and digital media, with several AI applications developed and registered [20][21]. - It has also engaged in strategic partnerships to enhance its technological capabilities and expand its market presence [17][20].

Group 1: Digital Culture Innovations in Shandong - The Qilu Cultural Model has been selected as a major technological innovation project in Shandong Province, marking it as the only cultural project in the province's key research and development plan [1] - The project aims to address significant technological needs for economic and social development, focusing on breakthroughs in key technologies, innovative product development, and demonstration of innovative achievements [1] Group 2: Upgrades in Cultural Institutions - The online Shandong Anti-Japanese War Memorial Hall has undergone a comprehensive upgrade, set to open on July 7, featuring six core highlights including immersive experiences and interactive education [2] - The new museum integrates cutting-edge technologies such as the metaverse and AI to enhance historical narratives and visitor engagement [2] Group 3: Cultural Heritage and Digital Technology - The dance drama "The Great Dazhu" promotes the digital film set of the Dazu Rock Carvings at the Shanghai Cooperation Organization Film Festival, showcasing the realistic restoration of cultural heritage through virtual technology [2] - The "Buddhist Realm Dual Radiance" exhibition at the Wuxi Lingshan Museum utilizes 3D printing and virtual restoration technologies to recreate over 70 representative artifacts from the Longmen Grottoes, enhancing museum economics through digital innovation [2][3] Group 4: Museum Engagement and Visitor Experience - The Hunan Museum's "Digital Han Life" project employs AI to restore Han Dynasty clothing and 3D animations for immersive experiences, extending opening hours to accommodate increased visitor demand [3] - The "Future Cinema" unit at the Shanghai International Film Festival features immersive films, allowing audience interaction with characters through AR/VR technology [4] Group 5: International Collaborations in Cultural Heritage - Shiyou Technology has secured global development rights for Angkor Wat, planning to revitalize Angkor culture through virtual performances and cultural derivative products [6] - The first AI Art Exhibition in Nantes, France, explored the intersection of technology and culture, emphasizing AI as a creative tool rather than a replacement for human artistry [7] - China Silk Road Group launched a one-stop global cultural asset service platform during the Cyber Defense and Security Exhibition in Malaysia, integrating Web3.0 technologies to address digital protection and cross-border circulation of cultural heritage [7]

Group 1 - The "Star Plan" internal entrepreneurship project roadshow by Shandong Digital Culture Group successfully showcased 20 teams with innovative project proposals, emphasizing the integration of technology, culture, ecology, and AI [1][2] - Projects presented included AIGC video production, smart parenting guidance, and a digital platform for the elderly, reflecting a blend of traditional culture and modern industry needs [2][3] - The roadshow served as a platform for evaluating project feasibility, innovation, and market potential, with judges providing valuable feedback to enhance project development [2] Group 2 - Shandong Digital Culture Group aims to lead in the digital culture industry by integrating media and cultural sectors, supported by key laboratories focused on digital innovation and data applications [3] - The "Star Plan" initiative is designed to stimulate employee entrepreneurship, fostering growth-oriented teams and projects within the digital culture sector [3] - The event highlighted the group's commitment to advancing the digital culture industry in Shandong, positioning itself as a leader in the national digital media landscape [3]

Core Viewpoint - The article highlights the challenges faced by Chinese companies in the digital cultural industry, emphasizing the need for improved internationalization, innovation, and consumer engagement to enhance competitiveness in global markets [1] Group 1: Challenges - Some enterprises lack international operational experience, leading to insufficient capabilities in promotion, operation, and localization in overseas markets [1] - There is a scarcity of composite talents with cultural literacy, technical skills, and international vision [1] - The innovation of digital cultural products is lacking, with some products failing to deeply explore the connotations of Chinese culture, resulting in a superficial appeal [1] - Chinese cultural brands have low premium capabilities, and the extension of the value chain is hindered due to the early and mature development of digital cultural industries in regions like Europe, America, Japan, and South Korea [1] Group 2: Recommendations - It is suggested to launch high-quality digital cultural products by increasing R&D investment and enhancing innovation and technological content [1] - The integration of traditional cultural elements with modern digital technology is encouraged to create culturally distinctive and internationally influential products, exemplified by the game "Black Myth: Wukong" [1] - There is a call to actively introduce and cultivate international talents, conduct thorough market research, and develop precise market strategies to improve localization [1] - The article advocates for the upgrading of cultural trade, supporting the overseas expansion of games, and empowering the construction of strong digital trade provinces [1] Group 3: Consumer Engagement - The cultivation of consumer groups is emphasized through various cultural activities and promotional efforts to enhance awareness and recognition of the digital cultural industry [1] - Encouragement for universities to offer courses on international dissemination of digital culture is suggested, along with support for social media influencers and international students to act as cultural ambassadors [1] - The article proposes the establishment of cultural product communities for overseas users to incorporate audience feedback into the creative cycle, fostering a mutually beneficial relationship [1]

Core Insights - The collaboration between Chinese and Italian companies aims to enhance cultural heritage through digital technology, marking a significant step in the field of digital heritage [2][5][7] Group 1: Collaboration Details - A signing ceremony took place between Beijing Qingcheng Ruixian Digital Technology Research Institute and Italy's Civitavecchia Exhibition and Museum Company to deepen cooperation in digital heritage [2] - The partnership will focus on projects such as the digital recreation of the Old Summer Palace and the display of Italian cultural messages at Shougang Park [2][3] - The initiative includes creating a "VR cinema" to provide an immersive experience of Sino-Italian cultural heritage online [3] Group 2: Technological Integration - Digital technology is reshaping the preservation and transmission of cultural heritage, with new technologies like virtual reality, big data, and artificial intelligence playing a crucial role [5][7] - The Qingcheng Ruixian Institute has developed new application scenarios that combine traditional culture with digital creativity, exemplified by the "Digital Old Summer Palace" project [5] Group 3: Cultural Significance - The collaboration represents a new breakthrough in cultural cooperation between China and Italy, moving beyond traditional exchanges to drive industrial development [5][7] - Digital technology is seen as a means to sustainably disseminate and preserve cultural heritage, enhancing its international reach and public engagement [7] - The partnership is expected to provide valuable opportunities for both countries in cultural heritage protection and the development of new methods and technologies [7]

Group 1: Cultural Heritage and Technology Integration - The integration of AR technology in the Liangzhu Ancient City allows for a dynamic presentation of cultural heritage, enabling visitors to experience historical sites in a virtual format [2][4] - The Liangzhu Ancient City features two distinct representations: the underground ancient city built 5,000 years ago and the modern "digital city" that utilizes technology to recreate historical events and structures [1][2] - The use of digital technology aims to make cultural relics more accessible and engaging, bridging the gap between preservation and tourism development [2][4] Group 2: Preservation Challenges and Solutions - The Liangzhu archaeological site faces significant preservation challenges due to environmental factors, with soil erosion occurring at a rate of 0.5 millimeters per year [5][6] - A specialized laboratory for the preservation of earthen relics has been established in Liangzhu, collaborating with universities to address technical challenges in preservation [5][6] - The "Liangzhu Heritage 5000+" digital application enhances monitoring and protection efforts, utilizing over 600 cameras and various sensors to safeguard the site [6][8] Group 3: Digital Cultural Industry Development - The Liangzhu New City is rapidly developing a digital cultural industry, focusing on sectors such as film, gaming, animation, and digital technology [9][10] - The introduction of AI tools for creative processes has attracted a large number of creators, indicating a vibrant digital culture ecosystem [9][10] - The establishment of a cultural corridor aims to integrate various cultural elements, enhancing the significance of Liangzhu's heritage in the modern context [10]

Core Insights - The launch of the "National Voice Asset Full Property Rights Ecological Chain Construction" project marks a significant advancement in the development of voice assets in China, integrating sound data assets and fostering innovation in the digital cultural industry [1][5][6] Group 1: Project Overview - The National Voice Landscape Port Demonstration Project is a core strategic initiative aimed at systematically developing voice assets, which will enhance the digital cultural industry and promote the transformation of voice asset values [1][2] - The project aims to create a collaborative ecosystem that integrates sound data collection, AI analysis, and innovative applications, thereby supporting the upgrade of the digital cultural industry [1][4] Group 2: Institutional Developments - The establishment of the Regional National Voice Asset Research Institute signifies a new era in the research and development of voice assets, focusing on systematic development and value reconstruction to overcome traditional cultural industry limitations [2][5] - The institute will drive the multidimensional value transformation of voice assets, facilitating the creative inheritance and global dissemination of sound cultural resources in the digital age [2][5] Group 3: Demonstration Bases and Collaboration - The signing of agreements with the first ten demonstration bases for the Voice Landscape Port construction marks the official start of the project, focusing on a closed-loop path from digital collection to creative transformation and transaction implementation [3][4] - These bases will create a cross-domain collaborative network, aiming to redefine traditional cultural transaction boundaries and promote an innovative model of "transaction scenes replacing product production" [3][4] Group 4: Technological Integration - The launch of the National Cultural Big Data Trading Center's international voice asset trading platform is a key highlight, designed to establish a global trading system for voice assets using big data, blockchain, and cloud services [4] - This platform aims to enhance the value of voice assets from data to digital and then to intelligent economy, promoting the innovative application of sound resources in various fields [4][5] Group 5: Academic Contributions - The signing of the latest academic work "Theory of Voice Assets" by Professor Sang Haibo provides a theoretical framework for understanding voice assets, including their valuation and trading models, which will guide the development of the full property rights ecological chain [5] - The successful launch of the project is seen as a milestone in the protection, development, and trading of voice assets, injecting new vitality into the high-quality development of the cultural industry [5][6]