由三亚市人民政府主办，《财经》杂志、财经网、《财经智库》、三亚中央商务区管理局、三亚经济研究院共同承办的"三亚·财经国际论坛暨第五 届三亚财富管理大会"于12月27日在三亚举行，主题为"海南自贸港未来定位及三亚新机遇"。 中国服务贸易协会副会长、国务院发展研究中心对外经济研究部原部长、海南自由贸易港建设专家咨询委员会委员赵晋平在论坛上表示，2024年 以来，服务贸易已经进入了强劲增长阶段，特别是服务出口对拉动经济增长的作用逐步增强。"这个时候服务贸易恰恰在发挥作用，帮助我们去应对这 种贸易保护主义泛滥的严峻现实，从服务出口当中寻找新的突破口。" 中国服务贸易协会副会长、国务院发展研究中心对外经济研究部原部长、海南自由贸易港建设专家咨询委员会委员赵晋平 在他看来，海南自贸港不是仅仅依靠自身生产的产品出口来扩大国际市场竞争力，更大程度上是借助地缘优势，让很多企业注册在海南，投资在 海南，继而整合资源来扩大国际市场。 以下为部分发言实录： 赵晋平：谢谢主持人，非常荣幸能够出席三亚财经国际论坛，非常感谢三亚市政府和《财经》杂志社的盛情邀请。 正如刚才主持人所讲的，今天主要围绕服务贸易，特别是服务出口和产业发展之间的关 ...

编辑：张娟 ...

《疯狂动物城2》，意料之中地，爆了。 截至12月23日，《疯狂动物城2》累计票房已突破38亿元，成为2025年度国内市场电影榜TOP2。与此同时，这一影视作品迸发出了强烈的IP效力，仅内地 市场与《疯狂动物城》的联名就达到了70+，覆盖了快时尚、餐饮、珠宝、日化等全品类消费。 无独有偶，一场史无前例的IP争夺战也在海的那边进行着。 12月5日，Netflix宣布计划以827亿美元收购华纳兄弟及其旗下电影和电视工作室、HBO和流媒体服务。 联合Netflix的内容野心和线下乐园计划，不难看出这其实是对DC 漫画、《权力的游戏》、《哈利波特》等一众IP争夺。 而就在大众以为收购板上钉钉，感慨流媒为王、制片厂没落之际，美国娱乐和媒体业巨头派拉蒙抛出1084亿美元的收购方案，正式参与这场决定好莱坞未 来格局的"千亿争夺战"。 到了2025年，头部资本在"IP是财富基础"这件事上，达到了高度的统一。 一边，泡泡玛特依旧一骑绝尘，凭借对内容电商趋势的精准把握，即便处于阶段性沉寂期，依旧收获不俗业绩；反观其他多数 IP，虽以东南亚为核心阵 地密集铺设快闪店面，IP 影响力却始终未见显著提升。 另一边，完全放弃IP效力的短剧 ...

Group 1 - The fluctuation in the US stock market is primarily due to significant changes in the Federal Reserve's interest rate cut expectations and rumors regarding Powell's potential resignation [1] - The speculation about Powell's resignation is viewed as a pressure tactic from Trump, aiming to influence the Fed to cut rates again in December [1] - The direct impact of Powell's resignation on the A-share market is considered limited, although it may indirectly affect the US's sovereign credit and subsequently impact the dollar and US bonds [1] Group 2 - The movie "Zootopia 2" has set a new box office record, similar to the strong performance of "Ne Zha" last year, which positively affected the stock price of Light Media [2] - For retail investors, it is advised to set profit-taking points if they have already invested in related film stocks, while new investors are cautioned against chasing prices due to potential profit-taking risks [2] - Intel's stock surged due to its new contracts to supply chips for Apple and Google, indicating a shift in investment focus towards AI, with Google emerging as a new hotspot [2] - The shift in funding preferences suggests that the AI sector is not in a bubble but rather evolving, with a recommendation to pay attention to stocks with high cobalt content during market corrections [2]

Core Insights - The summer box office has seen a significant decline over the past decade, with past hits like "Monster Hunt" and "Wolf Warrior 2" now overshadowed by the current struggles of films like "Nezha" and "Fengshen" [1] - Despite star-studded casts, there is a noticeable lack of audience engagement and ticket sales, raising questions about the current state of movie-watching habits [1] - The article prompts an investigation into who is profiting in the film industry, from major companies to renowned directors, amidst the declining box office performance [1] Industry Trends - Historical box office successes have not translated into current performance, indicating a shift in audience preferences and market dynamics [1] - The decline in ticket sales suggests a potential disconnect between film production and audience demand, highlighting a need for industry adaptation [1] Financial Implications - The article implies that the financial health of the film industry may be at risk due to decreasing box office revenues, necessitating a reevaluation of investment strategies [1] - The profitability of major players in the industry remains uncertain, as the article questions who is truly benefiting from the current market conditions [1]

Core Viewpoint - The article outlines the evolution of popular culture in China over the past 50 years, highlighting three distinct eras and two significant turning points, ultimately suggesting that a new form of popular culture is emerging that is more autonomous and rooted in grassroots movements [2][4][10]. Group 1: Evolution of Popular Culture - Popular culture in China has transitioned through three main eras: the traditional media-dominated era of the 1980s, the commercialized media era of the 1990s, and the internet-driven self-media era of the 21st century [4][6][8]. - The 1980s saw a reliance on traditional media such as newspapers and radio, with limited commercialization and a focus on educational and enlightening content [6][7]. - The 1990s marked the rise of television as the dominant medium, leading to the commercialization of popular culture, where the new middle class began to control cultural production, often suppressing genuine cultural demands from the broader public [7][12]. Group 2: Cultural Shifts and Resistance - The early 2000s witnessed a decline in traditional media's influence, with the rise of self-media and short video platforms allowing the public to actively participate in cultural production, thus challenging the previous cultural monopolies [8][10][23]. - The article argues that the cultural identity of the masses has evolved significantly, moving from passive consumers to active participants in cultural expression, driven by technological advancements and shifts in political and economic landscapes [9][20][22]. - Despite the commercialization of popular culture, there has always been an undercurrent of resistance from the masses against the middle-class cultural hegemony, which has shaped the cultural landscape [15][19]. Group 3: New Trends in Popular Culture - The emergence of a new popular culture is characterized by a blend of local and global influences, showcasing a newfound cultural confidence and a willingness to creatively adapt foreign cultural elements [28][32]. - Recent years have seen a rise in grassroots cultural expressions, with independent creators gaining recognition and challenging the established cultural production systems dominated by capital and elite interests [24][25][26]. - The article emphasizes that the new popular culture is not without its flaws, but it represents a significant shift towards a more vibrant and diverse cultural landscape that reflects the genuine experiences and aspirations of the masses [27][38].

Group 1 - Chengdu's digital cultural and creative industry has been actively engaging in various initiatives since September, including the 2025 Tianfu Cultural and Creative Summit and a cultural exchange event with Japan, aimed at fostering international collaboration and industry partnerships [1][2] - The Chengdu Digital Cultural and Creative Industry Association held its first member meeting, focusing on high-frequency exchanges, resource integration, and promoting local IP development to enhance the industry's quality growth [1] - Chengdu has established itself as one of China's four major gaming and animation bases, with a complete ecosystem comprising core enterprises, supporting chains, and derivative services, driven by supportive policies [2] Group 2 - The digital cultural and creative industry in Chengdu is experiencing rapid growth, particularly in animation and gaming, with notable works like "Nezha" and "The King's Avatar" gaining significant popularity [2][3] - The industry is expected to diversify, integrating with literature, film, and toys, while also increasing international presence and leveraging new technologies like 5G and AI for innovation [3] - Key factors for further development include talent cultivation, policy support, market operations, and international cooperation, which will enhance the industry's growth and global influence [3]

Core Viewpoint - Chengdu's animation industry is attracting significant investment interest from multinational companies, particularly from South Korea, due to its robust ecosystem and technological advancements [1][4][11] Investment and Collaboration - Chengdu has signed multiple cooperation agreements with South Korean companies, focusing on animation, gaming, and IP incubation projects [1][4] - The city aims to foster the development of phenomenon-level works similar to "Nezha" through these collaborations [1][4] - In 2023, Chengdu's foreign direct investment (FDI) reached $1.024 billion, ranking first among central and western cities in China [3][11] Industry Ecosystem - Chengdu's digital cultural and creative industry ecosystem is well-established, making it an attractive destination for foreign enterprises [4][6] - The Tianfu Long Island Digital Cultural and Creative Park has attracted over 20 overseas gaming companies, with projected revenues exceeding $400 million in 2024 [6] Future Prospects - South Korean representatives expressed a strong interest in establishing a Korean cultural theme pavilion in Chengdu to showcase popular cultural products [7][9] - The collaboration aims to leverage Chengdu's advanced AI technology to enhance the animation industry and create new content that resonates with younger audiences [9][11]

Core Insights - The company reported a revenue of 6.335 billion yuan, a year-on-year decrease of 8.09%, while the net profit attributable to shareholders was 1.017 billion yuan, a year-on-year increase of 31.46% [1][2] - The company continues to implement a strategy of multiple dividends per year, with a proposed cash dividend of 1 yuan per 10 shares for the mid-2025 period, totaling nearly 180 million yuan [2] Business Performance - In the publishing sector, the company achieved a market share of 5.25% in the national book retail market, an increase of 0.05 percentage points year-on-year, ranking second; in the new book retail market, the share was 6.07%, ranking first [1] - The company’s educational service market initiatives, including the "Four-Dimensional Reading" series and "Primary and Secondary School Reading Action" series, generated sales of 338 million yuan, a year-on-year increase of 9% [1] Digital Education Sector - The total number of users for the "Beike Network" reached 8.52 million, while the "Xiangjiao Smart Cloud" had 700,000 users, with a total platform access of over 39 million times in the first half of the year [2] - The mobile application "A+ Education" had 6.37 million users, with an increase of 100,000 in the half-year period [2] Future Plans - The company plans to focus on cultivating new productive forces, emphasizing the integration of "culture + technology," and aims to enhance operational efficiency and governance capabilities [2] - The company intends to deepen the development of quality content and improve educational service capabilities to drive high-quality growth [2]

Group 1: Domestic Animation Development - The rise of domestic animation is marked by successful films such as "Ne Zha," "Big Fish & Begonia," and "White Snake: Origin," showcasing improved quality and innovative storytelling [1] - The animated film "Wang Wang Mountain Little Monster" has achieved over 700 million in box office revenue, setting a new record for domestic 2D animation [2] - The film offers a fresh interpretation of "Journey to the West," resonating with audiences through its themes of struggle and growth [2] Group 2: Commercialization of Animation - The commercialization of domestic animation is expanding, with animation elements being integrated into promotional videos, advertisements, and corporate presentations [3] - Yi Pin Wei Ke, a platform for professional animation service providers, is becoming a trusted partner for businesses looking to innovate their promotional strategies [3] Group 3: Professional Animation Services - Chongqing Liti Fantasy Technology Co., Ltd. specializes in 3D content production and has a team with over five years of industry experience [4] - Beijing Haoxuan Yude Digital Technology Co., Ltd. focuses on providing professional animation visual creative services and has completed hundreds of projects [6] - Haoxuan Visual emphasizes a collaborative approach in the animation production process, offering one-stop services from concept to final product [7] Group 4: Digital Innovation in Animation - Shanghai Dianzhen Information Technology Co., Ltd. is a high-tech enterprise that leverages digital technology to empower various industries [9] - Shaanxi Hongtian Visual Culture Media Co., Ltd. offers a wide range of multimedia services, including VR/AR/XR development and custom video services [11] Group 5: Platform Efficiency - Yi Pin Wei Ke connects quality animation service providers with businesses, facilitating efficient project management and communication [12] - The platform has over 25.66 million registered users and has successfully matched numerous employers with creative service providers [14] Group 6: Future of Domestic Animation - The future of domestic animation relies on the passion of young creators who are encouraged to blend advanced techniques with contemporary culture [16] - Yi Pin Wei Ke aims to continue empowering the animation industry by connecting professional talents with market demands, fostering ongoing growth and commercialization [16]