赵雅芝、辛晓琪、叶世荣、阿牛、郑绪岚——这几个名字连在一起，几乎就是我们这代人的青春BGM。 2026年1月31日，他们将一同站在成都金融城演艺中心的舞台上。 但这并非一场简单的"经典重现"。 国家级交响乐团的加入，让这场演出有了不同的重量。当熟悉的旋律遇上宏大的交响编配，那些刻进生命里的电影金曲，被重 新赋予筋骨与温度。 当《上海滩》的弦乐铺开，江湖不再只是画面； 当《味道》在交响伴奏下缓缓流淌，思念有了回声； 当叶世荣唱起《海阔天空》，全场灯光暗下，那一刻，仿佛只有歌声与回忆在对话—— 这一次，我们为你留了一条特别的通道 有些旋律响起时，时光会突然倒流。 作为长期关注21财经的读者，你可能习惯了我们在经济、产业、政策上的专业输出。但今天，我们想做一件更感性的事——用 一种更实在的方式，回应这份长久的陪伴。 经过与主办方沟通，我们争取到了一个仅对21财经客户端用户开放的专属通道。它不是公开销售链接，更像是我们与读者之间 一次安静的约定。 在这个通道里： 为什么我们觉得这场演出值得？ 或许是因为，在这个被碎片信息填满的时代，一场能让人完全沉浸、并与内心深层记忆对话的现场，已经是一种难得的体验。 这90分钟提供 ...

Core Viewpoint - The article discusses the evolution of online literature in China, highlighting its reflection of societal changes and the impact of different historical periods on literary themes and genres [5][6]. Group 1: Evolution of Online Literature - Online literature has undergone significant transformations, paralleling the industrial and technological revolutions from the 1980s to the present [6][7]. - The article categorizes online literature into four main genres: Wuxia (martial arts), time travel, cultivation (Xianxia), and female-oriented narratives [8]. Group 2: Wuxia Literature - Wuxia literature represents the agricultural society, emphasizing collective values and the traditional master-apprentice relationship [10][12]. - The genre reflects a high moral standard and a strong sense of justice, rooted in the historical context of small artisan communities [12]. Group 3: Time Travel Literature - Time travel narratives resonate with the industrial era, often portraying protagonists who seek to improve the past using modern knowledge [13][18]. - The genre is experiencing a decline due to the rapid industrialization and the saturation of historical periods available for exploration [19][20]. Group 4: Cultivation Literature - Cultivation literature mirrors contemporary society, characterized by individualism and a hierarchical structure similar to modern corporate environments [21][23]. - The genre emphasizes personal growth and the importance of resources, reflecting a realistic approach to success and achievement [31]. Group 5: Female-Oriented Narratives - Female-oriented literature encompasses various genres but primarily focuses on themes of love and human nature, appealing to both male and female readers [33][34]. - This genre has proven commercially viable, with many popular adaptations originating from female-oriented narratives [33][36]. Group 6: Future of Online Literature - The article suggests that the future of online literature may align with China's advancements in science and technology, potentially leading to a resurgence of science fiction [38][39]. - The evolution of online literature serves as a mirror to societal changes, emphasizing the need to understand the underlying production forces shaping narratives [41][42].

Core Viewpoint - The article highlights the life and achievements of Shao Yifu, a legendary figure in the Hong Kong entertainment industry, emphasizing his role in shaping the film and television landscape in Asia and his philanthropic contributions to education in China [5][43]. Group 1: Early Life and Career - Shao Yifu was born in 1907 in Ningbo, Zhejiang, and later moved to Shanghai for education. His family was well-off, but after his father's death, he ventured into the film industry with his brothers [7][8]. - In 1925, Shao's elder brother founded Tianyi Film Company, which quickly rose to prominence by producing historical films, but faced competition from established companies [10][11]. Group 2: Challenges and Expansion - The Tianyi Film Company faced a significant challenge known as the "六合围剿" (Six Unions Siege), which forced the Shao brothers to expand into the Nanyang market, where they established over 100 cinemas and amusement parks [11][13]. - After relocating to Hong Kong, the foundation laid in Nanyang proved crucial for the Shao brothers' success in the film industry [13]. Group 3: Establishing Shaw Brothers Studio - At the age of 51, Shao Yifu founded Shaw Brothers Studio in Hong Kong, focusing on creating a full entertainment industry chain, including production, distribution, and cinema operations [18][20]. - The studio produced numerous successful films, including "The Love Eterne," which became a cultural phenomenon, and established Shaw Brothers as a dominant force in the film industry [20][22]. Group 4: Impact on Film Industry - Shaw Brothers Studio produced over 40 films annually at its peak, with more than 2 million viewers weekly, significantly influencing the global film industry [23][25]. - The studio pioneered the martial arts genre with films like "One-Armed Swordsman," which shifted the focus of Hong Kong cinema from art films to commercial blockbusters [25][26]. Group 5: Transition to Television - In 1967, Shao Yifu co-founded TVB, which became a major player in Hong Kong television, producing numerous iconic series and launching the careers of many stars [35][39]. - TVB's success in the 1980s and 1990s made it a household name, with its dramas becoming immensely popular in mainland China [39][41]. Group 6: Philanthropy and Legacy - Shao Yifu established the Shaw Foundation in 1975, donating extensively to education and healthcare, with over 47.5 billion HKD contributed by 2012 [43][46]. - His philanthropic efforts led to the establishment of thousands of "Yifu Buildings" across China, symbolizing his commitment to education and community welfare [43][47].

Core Insights - Shao Yifu, known as the "King of Asian Entertainment," had a profound impact on the film industry, producing over a thousand films and establishing a vast entertainment empire in Hong Kong [1][22][24] - His life spanned significant historical events in China, and he is recognized for his contributions to both cinema and philanthropy, particularly in education [1][50][44] Group 1: Early Life and Career - Shao Yifu was born in 1907 in Ningbo, Zhejiang, and later moved to Shanghai for education [2] - His family was prominent in the paint business, but after his father's death, he and his brothers ventured into the nascent film industry, founding Tianyi Film Company in 1925 [3][4] Group 2: Business Challenges and Strategies - The Tianyi Film Company faced significant competition from established firms, leading to the "Liuhe Encirclement," a notable business conflict in Chinese film history [5][6] - Shao Yifu successfully expanded into the Southeast Asian market, establishing over 100 cinemas and a complete entertainment chain [6][8] Group 3: Establishment of Shaw Brothers Studio - After relocating to Hong Kong, Shao Yifu founded Shaw Brothers Studio in 1958, aiming to create a full industry chain encompassing production, distribution, and exhibition [16][19] - He invested heavily in building a film studio, purchasing land in Clearwater Bay, and implemented a strategy of attracting talent with better pay than competitors [20][22] Group 4: Impact on Film Industry - Shaw Brothers Studio produced over 40 films annually at its peak, with a significant audience reach, including over 2 million viewers weekly [22][24] - The studio's success shifted the focus of Hong Kong cinema from art films to commercial productions, particularly in the martial arts genre, influencing global cinema [24][26] Group 5: Transition to Television - In 1967, Shao Yifu co-founded Hong Kong Television Broadcasts Limited (TVB) to adapt to the changing entertainment landscape, eventually closing Shaw Brothers to focus on television [37][39] - TVB became a major player in the Hong Kong entertainment industry, producing numerous stars and popular series that resonated with audiences [39][41] Group 6: Philanthropy and Legacy - Shao Yifu established the Shaw Foundation in 1975, donating significantly to education and healthcare, with a focus on building schools across China [44][50] - His philanthropic efforts led to the establishment of over 6,000 "Yifu Buildings" in educational institutions, reflecting his commitment to social causes [44][47]

以下文章来源于凤凰WEEKLY ，作者卢伊 凤凰WEEKLY . 有温度、有情感、有趣味的新媒体。 一个时代。 记者丨卢伊 编辑丨段文 新媒体编辑｜闫如意 来源 | 凤凰WEEKLY （ID：phoenixweekly） 80后的中年危机，来得格外的迅猛。 青山资本在年度消费报告《35岁，中国式中年》中指出，尽管全球范围内的中年危机往往在四五十岁才逐渐显现。 但在中国，随着产业结构、劳动者教育水平的高速变化，35岁以上的劳动力正在被市场出清。 无数政策优惠、就业求职、婚育观念等，也将35岁作为一道门槛，过之即弃。 "好像35岁有一道无形的门，走进去了便'隐入尘烟'。" 在这份报告推出的2024年，35岁有了更为具体的指代——他们出生于1989年，是80后中的最后一批。 尽管他们距离通常意义上的"中年"仍有一定距离，但当35岁成为迈入中年的新标准，这意味着： 整个80后群体已集体步入中年，提前直面来自职场、家庭和社会的中年危机。 80后，这是一个拥有2.2亿人口的庞大群体，他们是中国第一代独生子女，也是教育改革的试验品、东西方思想碰撞的产物。 中国社会科学院研究员沈杰曾指出，这代人出生在改革开放开启的80年代， ...