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]

Core Viewpoint - The documentary "The Great Hero Jin Yong" presents a multifaceted portrayal of Jin Yong, highlighting his contributions as a martial arts novelist and a significant figure in Hong Kong's media landscape, intertwining his personal journey with major historical events in China [2][3]. Group 1: Historical Context and Personal Journey - The documentary connects Jin Yong's life story with key historical moments in 20th-century China, from the wartime years to the Cold War and the economic reforms, illustrating how his fate is intertwined with the nation's [2]. - It emphasizes Jin Yong's role in drafting the Basic Law for Hong Kong, showcasing his commitment to national interests and his visionary approach during the handover of Hong Kong [2][3]. Group 2: Narrative Structure and Impact - The documentary is structured chronologically, with the first episode focusing on Jin Yong's childhood, followed by his career in journalism and novel writing in Hong Kong, and concluding with his later years and contributions to cultural exchange [3]. - It effectively decodes the cultural symbols in Jin Yong's works, demonstrating their global appeal and the interest they have generated among Western readers, particularly through the English translation of "The Legend of the Condor Heroes" [3]. Group 3: Cultural Significance - The documentary positions Jin Yong as a bridge between the martial arts world and reality, portraying him as a dream weaver who brings Eastern culture to a global audience [4]. - It highlights the documentary's role in reshaping the understanding of Jin Yong, emphasizing his dual identity as both a creator of martial arts narratives and a cultural ambassador [4].

Group 1 - The article discusses the controversies surrounding the drama "Cang Hai Chuan" and its comparison to "Nirvana in Fire," highlighting a cultural disconnect in the current audience's preferences for ancient costume dramas [1] - The ancient costume drama market has shifted focus towards suspense and power struggles, while traditional martial arts dramas have become niche, indicating a significant change in content consumption [1] Group 2 - The history of martial arts dramas in China is traced back to the 1970s and 1980s, with significant contributions from Hong Kong production companies adapting works from famous authors like Jin Yong and Gu Long [2][4] - The 1983 version of "The Legend of the Condor Heroes" marked a turning point, achieving an average viewership rating of 60% and a peak rating of over 90%, indicating its immense popularity [4] - The 2000s were considered the "golden decade" for mainland martial arts dramas, with over a hundred productions, yet only 14 received ratings above 8 on Douban [11] Group 3 - The rise of fantasy dramas has overshadowed martial arts dramas, with "Xianjian Qixia Zhuan" being a notable example that achieved high ratings and shifted audience interest towards fantasy elements [12][14] - The decline of martial arts dramas is attributed to the oversaturation of adaptations and a lack of original content, leading to a dilution of the genre's appeal [18] - The emergence of female-centric narratives in fantasy dramas has further shifted audience preferences, leading to the development of ancient idol dramas [20] Group 4 - The production quality and audience expectations have evolved, with modern viewers demanding high visual effects and star power, which has made traditional martial arts dramas less viable [25][27] - The cultural significance of martial arts dramas is diminishing, as the ideals of chivalry and justice portrayed in these dramas do not resonate with contemporary societal values [30][31] - New interpretations of martial arts themes are emerging, blending elements of mystery and emotional growth, as seen in recent productions like "Xue Zhong Han Dao Xing" and "Lian Hua Lou" [28]

Core Viewpoint - The article discusses the disconnect between promotional activities for films and their actual content, highlighting the ineffectiveness of current marketing strategies that prioritize entertainment over meaningful engagement with the audience [6][20][39]. Group 1: Promotional Activities - The promotional event for the new drama "In the Name of Beauty" featured actors Yao Chen and Jia Jingwen performing a dance unrelated to the show's theme, raising questions about the effectiveness of such marketing strategies [1][6]. - The awkwardness of the performance contrasted sharply with the characters they portray, leading to mixed reactions from the audience, with some finding it amusing while others felt it was forced [2][6]. - This incident is not isolated, as actors have previously expressed discomfort with being required to engage in similar promotional antics that detract from genuine audience interaction [3][4]. Group 2: Marketing Trends - The article identifies a trend where promotional events have devolved into superficial entertainment rather than substantive discussions about the film's content, resulting in a lack of meaningful audience engagement [9][20]. - Various types of promotional chaos are categorized, including forced performances, influencer interactions, and fan meet-and-greets, which often bear little relevance to the films being promoted [10][15][18]. - The commercialization of promotional events has led to a focus on generating viral content for social media rather than fostering authentic conversations about the films [32][33]. Group 3: Audience Engagement - The decline in valuable exchanges during promotional events has been noted, with audiences increasingly disengaged from the content and more focused on entertainment gimmicks [8][21]. - The article emphasizes the importance of returning to meaningful discussions about film content to rekindle audience interest and drive ticket sales [39][40]. - Successful films in recent years have managed to connect their content with broader social issues, demonstrating that engaging narratives can still attract audiences despite the current marketing chaos [34][38].

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， ...