Core Viewpoint - The article highlights the emotional and cultural significance of the recent opening ceremony of the National Games, emphasizing the shared memories and cultural heritage of the Guangdong-Hong Kong-Macau Greater Bay Area, as well as the unity and pride among the people of these regions [1][4][21]. Group 1: Cultural Significance - The performance of the song "Chinese" by Andy Lau during the opening ceremony evoked strong national sentiments, reminding many of the cultural memories associated with Hong Kong's return to China in 1997 [4][6]. - The event featured various cultural performances, including traditional Cantonese opera and martial arts, showcasing the rich cultural heritage of the Greater Bay Area [10][21]. - The opening ceremony was a collaborative effort involving artists from Guangdong, Hong Kong, and Macau, reflecting the shared cultural roots and the importance of cultural transmission [21][25]. Group 2: Historical Context - The article references significant cultural milestones, such as the release of the film "Shaolin Temple" in 1982, which popularized Chinese martial arts and generated substantial box office revenue [6][7]. - The "Provincial-Hong Kong Cup" football match, initiated before Hong Kong's return to China, has become a cherished tradition that fosters connections between the two regions [15][17]. - The successful bid for the 2008 Beijing Olympics, with events held in Hong Kong, marked a pivotal moment in the relationship between mainland China and Hong Kong, further solidifying their emotional ties [11][15]. Group 3: Sports and Unity - The article discusses the increasing collaboration in sports between mainland China and Hong Kong, with joint training sessions and participation in competitions, enhancing the sense of unity [18][20]. - The opening ceremony included innovative measures such as cross-border events and streamlined customs processes, symbolizing the integration of the Greater Bay Area [25][27]. - The emotional resonance of the event was heightened by the collective entry of the Guangdong-Hong Kong-Macau teams, accompanied by the song "My Motherland and I," reinforcing a shared identity [27][28].

新华社广州11月18日电 题：我们共同的湾区记忆，这一次又添华章！ 新华社记者丁文娴、李丽、王恒志 "五千年的风和雨啊，藏了多少梦，黄色的脸、黑色的眼，不变是笑容……" 全运会开幕式上，《中国人》的旋律一起，手机闪光灯汇成星海，万人合唱声响彻天穹。 这是11月9日拍摄的开幕式现场。新华社记者 薛宇舸 摄 那一刻，满屏弹幕都是"热泪盈眶""DNA动了！" 刘德华身着白色唐装，压轴唱响熟悉的旋律，让多少人梦回1997。那一年，为香港回归创作的《中国人》风靡全国。 时光在相同的掌声和泪光中交错，28年过去，歌声依旧，心中激荡的民族情感依旧。 那些年，我们一起追过的剧 "回忆杀"实在太戳泪点。 现场观看开幕式的广州观众陈晨说："当时我差点就泪奔了。" 山东网友"藏大刀的猕猴桃"说："突然就懂了什么叫刻在骨子里的家国情怀。" 当《海阔天空》的旋律回荡，当粤剧经典《彩云追月》开嗓，当咏春拳与八斩刀在《沧海一声笑》的激昂乐声中亮相…… 侠之大者，为国为民。人们所津津乐道的，是刀光剑影、快意江湖，更是英雄豪迈、民族大义。侠与义的精神气节，是中国人共有的价值底色。 岭南一直有武术传统，黄飞鸿、叶问等都是来自岭南的武术宗师，洪拳 ...

Core Insights - The global influence of Jin Yong's novels is significant, with translations available in over twenty countries and regions, starting from 1958 [1] Translation and Dissemination - Jin Yong's novels began to be translated in Southeast Asia, with Thailand being the first country to publish a translation of "The Legend of the Condor Heroes" in 1958 [15] - Following Thailand, Indonesia and Vietnam also produced multiple translations of Jin Yong's works, indicating a growing popularity in these regions [15] - The translation of Jin Yong's novels in Cambodia and Myanmar is less clear, with no confirmed Cambodian translations and a focus on adaptations in Myanmar through film rather than direct translations [16][17] Academic Research - Academic research on Jin Yong's works in Southeast Asia began relatively late, with Thailand starting serious studies around 2000, while Vietnam has produced a wealth of scholarly work on the subject [21][22] - In East Asia, Japan and South Korea have also developed significant academic interest in Jin Yong's novels, focusing on various aspects such as literary analysis and cultural comparisons [22] Western Reception - Jin Yong's novels began to gain attention in the West in the 1990s, with early English translations appearing but not achieving the same level of popularity as in Asia [18][19] - The first complete English translations emerged in the 1990s, with subsequent translations into multiple European languages, indicating a growing interest in Jin Yong's works outside of Asia [19] Ongoing Influence - The influence of Jin Yong's novels continues to grow, with new translations and academic studies being published, suggesting that his works are on the path to becoming "world literature" [24][25]

Core Viewpoint - The article reports the passing of TVB actor Xu Shaoxiong at the age of 76 due to multiple organ failure caused by cancer, highlighting his significant contributions to the television and film industry in Hong Kong [1]. Biography and Career Highlights - Xu Shaoxiong was born in 1948 in Hong Kong and later moved to Guangzhou with his father for business before returning to Hong Kong in 1958, where his family faced financial challenges [2]. - He joined the TVB artist training class in 1972 and began his acting career, initially working at TVB before moving to another television station and returning to TVB later [3]. - His first film role was in the 1974 movie "Ghostly Twins," and he gained recognition in 1983 for his role in the TVB version of "The Legend of the Condor Heroes" [4][5]. - Xu starred in several popular TV dramas throughout the 1980s and 1990s, including "The Deer and the Cauldron" and "The Heaven Sword and Dragon Saber" [6][8]. - He received a nomination for Best Supporting Actor at the 19th Hong Kong Film Awards for his role in the 1999 film "Dark War" [9]. - His notable roles include "Brother Huanxi" in "Line Walker," which earned him the title of "Most Favorite TV Male Character" at the TVB Anniversary Awards [11][13]. Recent Works and Legacy - In recent years, Xu participated in several dramas such as "The Season of Love" and "The Storm of Drug Enforcement," with upcoming projects including a collaboration with actress Sheren Tang [13].

Core Viewpoint - The "Jin Yong vs Jiang Nan" case, a significant copyright dispute in the publishing and literary creation industry, has reached a comprehensive settlement after nine years of legal proceedings, marking the end of what is known as the "first case of fan works" in China [1][4]. Group 1: Case Background - The case originated from Jiang Nan's early novel "The Youth of This Place," which heavily utilized characters and elements from Jin Yong's classic martial arts novels, leading to allegations of copyright infringement and unfair competition by Jin Yong in July 2016 [2][3]. - The initial ruling by the Guangzhou Intellectual Property Court recognized the infringement and ordered Jiang Nan to cease the infringing activities, issue a public apology, and pay a total of 1.68 million yuan in damages, along with 200,000 yuan for reasonable expenses to stop the infringement [3]. Group 2: Settlement Details - The parties reached a settlement agreement that included several key points: - They agreed not to classify the actions as "plagiarism" - Jiang Nan acknowledged a lack of knowledge regarding copyright law and the resulting damage to Jin Yong [4] - Jiang Nan committed not to reprint "The Youth of This Place" in its original form and will not use original character names or related content from Jin Yong's works in future editions [4] - The subtitle used in the earlier version of the novel constituted unfair competition [4] - Jiang Nan has fulfilled the compensation amount determined in the previous ruling, and all prior judgments will no longer hold legal effect [4]. Group 3: Legal Implications - The case highlights the complexities surrounding "fan works" and copyright infringement, emphasizing that each situation must be analyzed on a case-by-case basis to determine whether a fan work infringes on the original author's rights [6]. - The court's approach focused on resolving disputes through dialogue rather than strict legal interpretation, aiming to clarify the legal boundaries of fan creations and the standards for recognizing copyright infringement [3][6].

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].