市场的繁荣，从来不是闭门造车的产物。年度榜单上，《疯狂动物城2》等海外佳作与国产精品同台竞技、各美其美，多元供给激发着观众热情。《大鱼海 棠》《白蛇：缘起》等动画电影还相继走向海外，多部网络动画也通过流媒体平台进入国际市场。中国动画出海的路径，正日益丰富、立体，不断延展。在 竞争中学习，在交流中成长，中国动画已成为中外文化交流互鉴的生动载体。 动画电影是传承发展中华优秀传统文化的重要艺术载体。从《大闹天宫》的水墨风骨到《长安三万里》的诗词意境，从《白蛇》系列的东方浪漫到《中国奇 谭》的志怪想象，中国动画在传统与现代的交汇处找到创新坐标。《哪吒之魔童降世》将"我命由我不由天"的呐喊注入千年神话，与当代青年的精神追求形 成深层共鸣；《长安三万里》让李白、高适等形象跃然银幕，流淌在中国人血脉中的诗歌基因被现代光影激活。不是简单的元素拼贴，而是在创造性转化中 让古老故事焕发时代生命力，这正是中国动画电影"破圈"的文化密码。 一部优质动画作品的诞生，离不开产业链的厚积薄发。如今，中国动漫相关企业达数百万家，其中3年内成立的企业占大多数。单是一部《哪吒之魔童闹 海》，便集结了138家动画公司、4000余名创作者，历时5年 ...

洞见 （ DJ00123987 ） —— 不一样的观点，不一样的故事， 3000 万人订阅的微信大号。点击标题下蓝字 " 洞见 " 关注，我们将为您提供有价值、有意思的 延伸阅读。 就这样，即使一个很简单的选题，也会在我脑海里变得复杂化，混乱化。 其结果往往是对着电脑杵半天，只能缓缓打出一个标题。 长此以往，循环往复，甚至让我萌生出自己不适合干这行的感觉。 后来，我强迫自己不再多想，拿到选题立马敲定大纲开始写。 作者：洞见Moon 路虽远行则将至，事虽难做则必成。 ♬ 点上方播放按钮可收听 洞见主播云湾朗读音频 很多文字工作者都会遇到一个问题：想得越久，能写的就越少。 我刚入行时，面对一个选题能构思半天： 风格是走共情还是讲理；形式是三段式还是一以贯之；故事是否贴合主题…… 不管是否文通字顺，不管是否符合逻辑，只是硬着头皮去敲键盘。 一篇写下来后，再去一点点优化，修改。 即便要把文章全部推翻重写，脑海中也有了明确的方向。 其实人生的很多事都是如此，总有可修改的机会和空间。 只有去做了，才会把问题给具象化，细节化，才能找到调整的办法。 不做，问题永远都是抽象的，模糊的，只能停留在想象中。 很多人废掉的最大原因就 ...

（文章来源：第一财经） 据灯塔专业版，截至12月1日，《疯狂动物城2》上映6天累计票房已达19.84亿，超过《熊出没·逆转时 空》进入中国影史动画电影票房前三名，仅次于《哪吒之魔童闹海》《哪吒之魔童降世》。 ...

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]

Core Viewpoint - The article analyzes the evolution of the Chinese film market over the past decade, highlighting the significant changes in the number, box office performance, and audience reception of domestic and imported films, particularly in the context of policy shifts and market dynamics [4][30]. Group 1: Policy Environment - Since 2015, the number of imported films in the Chinese market surged, peaking at 136 films in 2019, accounting for over 20% of films released annually [6][9]. - The increase in imported films was facilitated by a series of policy relaxations, including agreements between China and the US, and later with the UK, promoting co-productions and diversifying sources of imported films [7][9]. - However, after 2019, the number of imported films sharply declined to 62 in 2020, with the proportion of imported films never exceeding 20% again, indicating a significant policy shift [10][12]. Group 2: Box Office Composition - From 2015 to 2024, the ratio of domestic to imported films in the top ten box office rankings shifted from 7:3 to a complete dominance of domestic films, particularly after 2020 [12][30]. - In 2015, imported films accounted for 34.8% of the top ten box office, but by 2020, all top ten films were domestic, with domestic films maintaining over 90% of box office share in subsequent years [15][30]. - The contribution of imported films to box office revenue has steadily decreased, with domestic films now leading both in quantity and revenue [18][30]. Group 3: Audience Reception - The competition between domestic and foreign films in terms of audience ratings has been intense, with domestic films experiencing fluctuations in high ratings over the years [22][30]. - High-rated domestic films peaked in 2022 with eight entries, but subsequently fell back to lower numbers, indicating a competitive landscape where both domestic and foreign films vie for audience approval [25][30]. - Despite the volatility, foreign films have consistently maintained higher average ratings, often exceeding 8 points, while domestic films have struggled to stay above this threshold until recent improvements [28][30]. Group 4: Future Outlook - The article suggests that the Chinese film market will continue to evolve under the dual influences of globalization and localization, with an emphasis on diversifying the types of films being imported and produced domestically [30].

Core Insights - Chengdu High-tech Zone is experiencing significant economic growth, with a GDP of 180.91 billion yuan in the first half of 2025, marking a 6.2% increase and accounting for nearly 15% of the city's total GDP [3] - The electronic information industry is a key pillar, with an added value growth rate of 15.9%, and industrial investment exceeding 90% of the total industrial investment in the area [3] Group 1: Government Initiatives - Chengdu has launched a comprehensive service mechanism for enterprises called "进万企、解难题、优环境、促发展," transitioning from "enterprises seeking government" to "government seeking enterprises" [4] - The mechanism has shown effectiveness in various industrial parks, with the government acting as a partner rather than just a landlord [4][5] - The rapid response from the Chengdu High-tech Zone's Digital Economy Bureau has facilitated quick solutions for companies in need of office space and legal assistance [7] Group 2: Industry Development - The Tianfu Changdao Digital Cultural and Creative Park has become a hub for key enterprises in the film production chain, fostering a collaborative environment with a "10-minute cooperation circle" [1][12] - The park has attracted over 60 companies and approximately 6,000 employees, producing over 20 major intellectual properties (IPs) since its opening [15] - Chengdu High-tech Zone is focusing on high-quality development through the "立园满园" initiative, enhancing industrial attraction and ecosystem [12][16] Group 3: Innovation and Achievements - Chengdu High-tech Zone has seen significant achievements in innovation, including the early launch of BOE's 8.6-generation AMOLED production line, which set a new record for construction efficiency [16] - The successful launch of the first domestically produced 4-channel 12-bit 40GSPS high-precision RF direct sampling ADC chip by Chengdu Huamei Electronics Technology Co., Ltd. marks a significant advancement in the high-end RF direct sampling field [19] - The "梧桐计划" provides a comprehensive service system covering the entire lifecycle of enterprises, facilitating project, talent, platform, and financial services [11]

Group 1 - The 2025 "Belt and Road" Media Cooperation Forum was held on September 16 in Kunming, Yunnan Province, China, with over 200 foreign representatives from 87 countries and international organizations [2] - The event featured cultural experiences, including traditional embroidery and popular Chinese animated films, showcasing the richness of Chinese culture to international attendees [2] - Participants engaged with various forms of Chinese cultural expressions, highlighting the importance of cultural exchange in the context of the Belt and Road Initiative [2]

Core Insights - The article highlights the transformation of the domestic animation and gaming industry in China, showcasing a shift from predominantly foreign content to a growing presence of local original works, reflecting cultural confidence among the youth [1][4]. Group 1: Market Growth and Trends - The market for Chinese game IP derivatives reached 4.06 billion yuan in 2023, with a compound annual growth rate of 17% from 2019 to 2023, indicating accelerated development in this sector [2]. - The broader pan-anime and related market is projected to reach 597.7 billion yuan by 2024, supported by a user base of 526 million spanning various age groups [2]. Group 2: Cultural and Emotional Connection - Local anime and gaming works provide unique emotional support and cultural belonging for young consumers, as familiar cultural elements are integrated into narratives, creating a shared experience that resonates deeply [2][3]. - Works like "Time Agent" and "Ling Cage" reflect contemporary societal issues and young people's feelings, fostering a strong connection with the audience [3]. Group 3: Social Dynamics and Community Building - The localization of anime consumption has created new social capital and community belonging for young people, with online discussion groups and offline themed events emerging around domestic creations [3]. - Shared cultural experiences, such as watching films like "Nezha: Birth of the Demon Child" with family, enhance intergenerational communication and understanding [3]. Group 4: Future Challenges and Opportunities - The domestic animation industry faces challenges such as avoiding homogenization of themes, balancing commercial success with cultural depth, and breaking down audience segmentation [4]. - As cultural confidence and aesthetic diversity among the younger generation grow, local creations are expected to play an increasingly significant role in the cultural consumption market, serving as a means for self-expression and connection [4].

Core Insights - The success of the "Nezha" animated films is attributed to the collaborative efforts of over 138 animation companies and more than 4,000 individuals, highlighting the thriving digital cultural industry ecosystem in Chengdu [1][2] - The Tianfu Changdao Digital Cultural Park has seen a significant increase in digital cultural enterprises, growing from 10 to 64 in five years, with the "Nezha" phenomenon playing a crucial role in attracting new businesses [3][4] - The park's operational strategy includes lowering rental costs to optimize the business environment, with current rates as low as 70 yuan per square meter [3] Industry Development - The digital cultural industry in Chengdu has reached a scale exceeding 100 billion yuan, with a year-on-year growth of 10.3% in the first quarter of this year [5][6] - The park serves as a hub for top-tier animation talent, fostering a collaborative environment akin to an "animation Olympic Village," where companies work closely together on major projects [2][4] - The local government actively supports the industry by establishing a "Digital Cultural Industry Intellectual Property Protection Base" to safeguard intellectual property rights [9][10] Cultural Impact - The "Nezha" series has become a cultural symbol representing the pursuit of self and independence among contemporary youth, integrating local cultural elements into its narrative [3][8] - Chengdu's digital cultural scene is enriched by various innovative projects, such as the "Floating Plan," which combines traditional culture with modern entertainment experiences [5][6] - The collaboration between local enterprises and national teams has increased, with companies now seeking partnerships rather than the other way around, indicating a shift in the industry's dynamics [8]

Core Viewpoint - The article discusses the differences between the Chinese and Korean film industries, emphasizing how Korea has successfully established a strong cultural identity through its film and television productions, while China struggles with the prevalence of low-quality films [5][6]. Group 1: Chinese Film Characteristics - Chinese quality films often embody a "grassroots spirit" and a narrative of "common struggle," focusing on characters who transcend personal desires for greater ideals [5][8]. - The evolution of Chinese protagonists reflects a shift from socialist realism to a more complex portrayal of characters who embody self-overcoming and collective ideals, contrasting with Western narratives that often feature larger-than-life heroes [10][11]. Group 2: Korean Film Industry Insights - The Korean film industry has established a symbiotic relationship with the government, which actively supports and funds small production companies, creating a robust ecosystem for film production [18]. - The success of Korean dramas has led to a cultural phenomenon where learning the Korean language has become popular in Europe, showcasing the strategic value of the film industry in national branding [17][18]. Group 3: Cultural and Economic Implications - The article highlights the need for a "negotiated decoding" relationship between creators and audiences, which is currently lacking in the Chinese film industry, leading to a general skepticism towards new releases [19]. - The discussion includes the role of capital in the film industry, noting that while capital can drive production, it also complicates the relationship between artistic integrity and commercial success [24][23]. Group 4: Future Directions - There is a call for a cultural reconstruction that emphasizes shared values and community, suggesting that the film industry should focus on creating narratives that resonate with the everyday experiences of the audience [27]. - The potential for new forms of storytelling and audience engagement through digital platforms and user-generated content is recognized as a transformative force in the industry [22][27].