11月28日晚，在2025年电影市场贺岁档（11月28日至12月31日）开启首日，《疯狂动物城2》总票房突 破（含预售）10亿元，成为3年来首部票房过10亿元的引进片。 一位影院管理公司的人士坦言："我们之前就感觉《疯狂动物城2》的票房一定会过10亿元，但之前以为 会是在下周初，也是12月份刚开始的那一两天，但现实比我们预计的早了两天。" 若《疯狂动物城2》的总票房如灯塔AI预测达到27亿元，这就意味着，该片将成为中国内地电影市场引 进片的影史亚军，仅次于《复仇者联盟4》的42.5亿元。 为何《疯狂动物城2》会成为近年来首部票房破10亿元的引进片？该人士认为，一是该片的前作此前收 获的高口碑打好了基础；二是动画电影在IP建设、衍生开发、传播等方面较真人电影往往具备优势，特 别是对于擅长衍生开发的迪士尼而言，能够在两部影片上映的间隔期，很好地维持甚至提升影片的热 度。 据媒体报道，自2023年12月以来，"疯狂动物城"IP在大中华区的授权业务已实现3倍增长。在上映前， 已有60多个品牌提前押宝联名合作，提前抢占这一IP红利，其中就包括星巴克、优衣库、瑞幸、名创优 品、周大福等。预计到2025年年底将推出超200 ...

11月28日，电影市场正式迈入贺岁档。"中国影史进口动画电影单日票房冠军""3天票房破5亿元""观影 人次突破1000万"……得益于《疯狂动物城2》的火爆开局，年末贺岁档增添了一股蓬勃向上的热气。 根据猫眼电影专业版数据，截至11月28日上午11点30分左右，《疯狂动物城2》已实现票房1.5亿元，含 预售总票房已超8亿元。该影片的排片率已从上映首日(11月26日)的66.5%上升至71.2%。 猫眼娱乐市场分析师赖力表示："《疯狂动物城2》作为整个11月份最受瞩目的影片之一，自预售期间便 保持着较高的热度，预售票房(含零点场)就突破了3亿元，刷新了中国影史动画电影预售总票房的纪 录。" 值得一提的是，截至11月28日记者发稿，中国电影（600977）市场年内票房已达470亿元，距500亿元整 数关口仅差约30亿元。 尽管今年年内总票房已远超去年全年成绩，但单部影片表现分化明显，头部效应突出。具体来看，在 470亿元票房中，仅《哪吒之魔童闹海》一部影片便贡献了超过三成的票房。此外，全年票房破10亿元 的影片仅有6部。其中，票房达到30亿元级别的影片仅有两部，分别是《唐探1900》和《南京照相 馆》；票房在10亿 ...

Core Insights - Domestic animated films have become a vibrant part of the film market, evolving from niche to mainstream since 2015, with notable successes like "The King's Avatar" and "Nezha: Birth of the Demon Child" [1][2] - Animated films serve as a significant medium for transmitting traditional Chinese culture, with a total of 1,294 domestic animated films registered from 2015 to 2024, 168 of which focus on classic mythological themes, representing 13% of the total [1] - The industry has achieved a total box office revenue of 44.3 billion yuan over the past decade, marking a historic shift from imported to domestically produced films, with "Nezha: Birth of the Demon Child" surpassing 5 billion yuan in box office revenue [2] Industry Development - The animated film sector has become a powerful engine driving cultural industry growth, with "Nezha: Birth of the Demon Child" pushing the market share of domestic animated films over 60% [2] - The "Boonie Bears" series has successfully built an IP ecosystem, generating significant revenue from merchandise and theme parks, far exceeding box office earnings [2] - The integration of culture and technology, particularly with the rise of AIGC, is enabling animated films to reach new heights, with the market expected to approach 100 billion yuan [3] Cultural Impact - Animated films are seen as a universal language that transcends cultural barriers, with the "White Snake" series gaining international recognition and "Chang'an 30,000 Li" showcasing Chinese culture to global audiences [2] - The industry is encouraged to explore diverse themes beyond traditional mythology, including science fiction and contemporary topics, to enhance the expressiveness and competitiveness of Chinese animated films [3]

今年九寨沟接待游客已突破700万人次。文化和旅游厅供图 秋景如画的甘孜州稻城亚丁风景区，吸引众多游客拍照。翁光建 摄（C视觉） 回望"十四五" 2025年上半年 ●四川共接待游客6.82亿人次 ●游客总花费9125.05亿元 ●持续位居全国第一方阵 ●全省规上文化企业数量首次突破3100家 ●资产规模首次突破万亿元 ●排名全国第六 11月4日，阿坝州小金县"理小路"大二普景区，漫山彩林和雪山吸引众多游人。黄加荣 摄（C视觉） 展望"十五五" 到2027年 ●文化及相关产业增加值达到3800亿元 ●旅游总花费达到2万亿元左右 ●文旅产业成为战略性支柱产业 这个秋天，四川的雪山与彩林又火了：热门景区一票难求、精品酒店民宿连日满房，"理小路"上车辆排起长 龙。千万级人口的繁华都市另一边，就有巍峨震撼的雪山，两者的距离是车程两小时……这样的反差感，正是独 属于"锦绣天府·安逸四川"的魅力。 习近平总书记对四川文化和旅游发展寄予厚望，要求充分绽放四川独特的自然生态之美、多彩人文之韵，谱 写美丽中国的四川篇章。 "十四五"收官，四川文化旅游业发展稳居全国第一方阵，在推动经济社会发展中作用日益突出，在全省经济 格局中地位不 ...

每经编辑｜段炼 11月22日，奥斯卡主办方学院公布最佳动画长片奖"符合参评资格"大名单，国产电影《罗小黑战记2》及《疯狂动物城2》《坏蛋联盟2》等共35部影片获 资格，但其中并没有刷新影史动画电影票房纪录的《哪吒之魔童闹海》。 图片来源：豆瓣电影 学院官网列出的最佳动画长片参选资格包括片长需超过40分钟；全片内容呈现的动画制作的比例至少达75%；影片必须在美国特定城市（洛杉矶、纽约 （五区）、旧金山湾区、芝加哥、达拉斯-沃斯堡、亚特兰大）的影院进行至少连续七天的商业放映，且每天在同一影院的排片至少三场。 这三条主要规定《哪吒2》都符合，那么剩下的唯一可能性就是片方华人文化和北美发行方A24没有报名参加第98届奥斯卡奖最佳动画长片的竞逐。对于 这一猜测，记者从华人文化方面得到了确证。据华人文化方面确认，他们没有为该片报名奥斯卡角逐。 有业内人士分析，《哪吒》虽在票房上大获成功，但可能在"动画技术占比"环节遭遇争议。例如，部分观众指出影片中部分场景疑似采用实拍+特效融合 技术，若学院认定其"非纯动画制作"，则可能被排除在外。此外，奥斯卡对"原创性"要求极高，《哪吒》作为系列续作，创新性是否超越前作也是评委考 量重 ...

当地时间11月21日，奥斯卡奖的主办方美国电影艺术与科学学院公布了符合资格参与最佳纪录长片、最 佳国际影片以及最佳动画长片三个奖项竞逐的影片大名单。在最佳动画长片领域，今年有35部影片有资 格"冲奥"，意外的是，《哪吒之魔童闹海》并不在其中。 智通财经记者从《哪吒之魔童闹海》出品方"华人文化"方面确认，他们没有为该片报名奥斯卡角逐。 今年有86部电影有资格参选最佳国际影片，包括《南京照相馆》和《破·地狱》。 来源：智通财经 责任编辑：张恒星 ...

Group 1 - The Academy of Motion Picture Arts and Sciences announced the list of films eligible for the Best Documentary Feature, Best International Feature, and Best Animated Feature categories for the Oscars [1] - A total of 35 films are eligible for the Best Animated Feature category, but "Ne Zha" is notably absent from this list [1][3] - The absence of "Ne Zha 2" has surprised Hollywood media, as it was considered a strong contender alongside other films like "Paddington Bear 3" and "The Smurfs: The Magic" [3] Group 2 - The eligibility criteria for Best Animated Feature include a minimum runtime of 40 minutes, at least 75% of the film being animated, and a commercial release in specific U.S. cities for at least seven consecutive days with a minimum of three screenings per day [3] - A total of 86 films are eligible for the Best International Feature category, including "Nanjing Photo Studio" and "Breaking Hell" [4]

央视网消息：截至目前，中国电影全年票房已突破459亿元，其中动画电影表现尤为突出，票房前五名中有两部都是动画电影。今年是中 国电影120周年，作为中国电影的重要组成部分，动画电影的发展受到广泛关注。 作为今年备受关注的动画新作，《浪浪山小妖怪》以"浪浪山"底层小妖怪的成长故事为切入点，用幽默治愈的叙事包裹"平凡与梦想""勇 敢出发"的深刻思考，最终以17.17亿元票房登顶中国影史二维动画冠军，吸引超4700万人次观影，更凭细腻情感表达与独特国风美学收获广泛 好评。 上海大学上海电影学院教授刘海波称："任何人只要走出去，敢于上路，都有可能找到自己的意义和价值，我觉得这是这部电影呼应了当 前年轻人的这种时代感受。主创也没有拘泥于当前主流的三维动画，采用了性价比更高，而且也更具上美影传统的二维动画的形式。" 《浪浪山小妖怪》的成功为中国动画的发展提供了生动范本。近日，由中国电影家协会动画电影工作委员会与上美影联合主办的动画电影 《浪浪山小妖怪》专题研讨会在京举行。专家共识认为，中国动画当下应走"技术适配美学" 路径，要坚守优秀作品的创作根本，植根中华优 秀传统文化，用真实打动人、以情感联结人、借思想影响人。同时要持 ...

Core Insights - The integration of technology and culture is reshaping the "Belt and Road" initiative, moving beyond traditional infrastructure to a more relatable and human-centered approach [1][10] - The emergence of new composite talents who understand both art and technology is driving cultural exchanges and providing new opportunities for the cultural industry [3][9] - Chinese enterprises are leading the way in changing how cultural heritage is transmitted and disseminated through advanced technologies [4] Group 1: Cultural and Technological Integration - The third "Belt and Road" Cultural and Technological Integration Development Conference featured representatives from 15 countries discussing the coexistence of technology and art in the AI era [1] - The conference opened with a thematic drama that showcased the dialogue between science and art, as well as traditional and digital expressions [1] Group 2: Emerging Cultural Products - New industries such as animation, gaming, and esports are becoming frontline platforms for cultural value transmission due to their inherent technology and culture attributes [5] - The animated film "Ne Zha" achieved over 15.4 billion yuan in box office revenue, showcasing the successful integration of traditional Chinese ink painting with 3D animation [6] - The CS Shanghai Major esports event attracted nearly 10,000 overseas viewers, generating approximately 370 million yuan in tourism and consumption [6] Group 3: Global Cultural Exchange - Esports is emerging as a universal language connecting the new generation across countries, with the CS Major event reaching around 2.3 billion global live stream viewers [8] - Successful cultural products create broad communication platforms, allowing diverse audiences to connect through shared interests, aligning with the "Belt and Road" initiative's goal of mutual understanding [8] Group 4: Corporate Strategies - The "Belt and Road" vision presents opportunities and higher demands for cultural and technological enterprises, necessitating actions to create globally resonant cultural products [9] - Perfect World emphasizes three strategies: leveraging technology for continuous evolution, reshaping cultural product value through experience, and infusing cultural essence into global dissemination [9] - The game "Persona 5: Phantom of the Night" received a nomination for TGA 2025 Best Mobile Game and topped the iOS free game charts in 35 countries and regions after its overseas launch [9]

Core Insights - The cinema industry is facing significant challenges as box office revenues per screen have dropped below 500,000 yuan, leading to over 15 cinema closures in just half a month [1][3] - Major cinema chains like Wanda Film and Shanghai Film are adapting their strategies, with Wanda Film shifting focus from franchise models to direct ownership of cinemas [5][6] - The industry is transitioning from a growth phase to a focus on optimizing existing assets, emphasizing the need for differentiation and enhanced consumer experiences [8][11] Industry Trends - The number of cinema screens in China is approaching 100,000, but the average annual box office per screen is declining [1] - Major cinema chains are experiencing structural challenges despite holding significant market shares, indicating a need for transformation [1][3] - Non-box office revenue streams are becoming increasingly important, with competition in this area likely to shape the industry's future [3][9] Company Strategies - Wanda Film has paused its franchise model and is focusing on direct ownership, which currently accounts for about 15% of its total box office revenue [5][6] - The company is implementing standardized management practices across its direct cinemas to ensure brand consistency and operational efficiency [7] - Shanghai Film is also exploring diverse revenue streams and enhancing customer experiences to remain competitive in a saturated market [8][11] Financial Performance - Wanda Film's direct cinemas have increased to 229 locations, reflecting a strategy aimed at improving operational efficiency and profitability [7] - The non-box office revenue is rapidly growing, with significant contributions from IP collaborations and merchandise sales, indicating a shift in revenue generation strategies [10][12] Market Dynamics - The cinema market is entering a phase of optimization, where operational excellence and unique consumer experiences are critical for survival [8][11] - The industry is witnessing a shift in consumer behavior, necessitating cinemas to innovate and adapt to changing preferences [9][12] - The focus is moving towards creating immersive experiences and leveraging technology to attract a broader audience [11][12]