因为在叙事中做到了"求真"，《山海情》在对外传播中拥有了天然的优势。无论在任何时代、何种文化 语境下，人们都面临着生存与发展的命题，西海固人民通过自己的脱贫经历，给出了一个共通的解法 ——心向美好，脚踏实地，用双手就能改变生活。《山海情》展现出朴素的唯物主义智慧，打通了不同 的文化语境，熨帖着每一位观众的心灵。 无论是农耕文明还是游牧文化，不论农业、工业还是第三产业，社会的发展总会与土地产生连接。《山 海情》回溯的就是这样一种与生俱来的、共通的基因。由此，《山海情》创作中的"求真"不仅是追求一 种贴近真实的现实主义美学，更是对真理之"真"的靠近。 作为主旋律作品，《山海情》探讨的宏大命题，也是各国观众喜闻乐见的。人与人、人与社会、人与自 然的关系，《山海情》都给出了有中国特色的、根植于中国式现代化进程的解法。通过集体协作实现共 同富裕，既有人定胜天的主观能动性，又有"天人合一"的传统智慧。《山海情》恰好也为全球观众提供 了解读中国智慧的范本，而不同语境下观众对文本的理解，又可以反哺我们的创作，提升我们的创作自 信，鼓励我们继续讲好中国故事。 《 人民日报 》（ 2025年10月02日 08 版） 前不久，电视 ...

Core Insights - During the "14th Five-Year Plan" period, China has significantly enhanced its international communication capabilities, effectively telling Chinese stories and spreading Chinese voices through engaging audiovisual content [1] - The export scale of audiovisual programs and services has increased by over 40%, with Chinese audiovisual platforms reaching over 200 countries and regions globally, generating annual overseas revenue exceeding $63 billion [1] - More than 300 Chinese micro-dramas have been launched on overseas platforms, while over 30 countries and regions broadcast outstanding audiovisual works in China each year [1] - Recent international broadcasts of anti-fascist themed works reflect a global expectation for peace and justice [1] - The National Radio and Television Administration has signed cooperation agreements or memorandums with 91 countries and 4 international organizations, promoting cultural exchange and mutual learning [1]

Core Points - The event "Silk Road Integration: Arab Experts Entering Chinese Artists' Home" was held in Beijing, focusing on cultural exchange and dialogue between China and Arab countries [1] - Notable scholars from Egypt and Jordan shared insights on the importance of academic exchange and translation in promoting dialogue between civilizations [1][2] - The event highlighted the role of young Chinese artists in fostering cultural dialogue through their creative works, showcasing the potential of contemporary Chinese literature and art on the global stage [2][3] Group 1: Cultural Exchange and Translation - Egyptian scholar Hossain Fahmy discussed his experiences translating Mo Yan's "Red Sorghum Clan" and the positive reception of Chinese literature in the Arab world, emphasizing translation as a bridge between civilizations [1] - Jordanian scholar Mana expressed her aspirations to introduce Chinese literature to Jordanian readers, sharing her experiences in translating works like Ba Jin's "Cold Night" [1] - The comparison of the Egyptian pyramids and the Terracotta Army by Li Habib illustrated the shared pursuit of eternity in both civilizations, highlighting the common spiritual wealth of humanity [1] Group 2: Role of Young Artists - Chinese visual director Lu Beike emphasized the importance of integrating Eastern aesthetics and diverse cultural elements in the adaptation of "The Three-Body Problem," showcasing the potential for cross-cultural resonance [2] - Screenwriter Peng Yining noted that real-life experiences serve as a rich source for storytelling, which can bridge cultural gaps through relatable narratives [2] - Actress Reyiza shared her experience with the series "The Sea and the Mountain," which has been translated into over 20 languages and resonates with international audiences due to its authentic portrayal of China's poverty alleviation efforts [3] Group 3: Future Collaboration - Hussein Ismail from the China Foreign Languages Publishing Administration called for the establishment of long-term cooperation mechanisms, emphasizing the deep-rooted resonance between Chinese and Arab civilizations in values and social ideals [3] - The event was co-hosted by various Chinese cultural organizations, indicating a collaborative effort to enhance cultural exchange and understanding [3]

Core Insights - The 2025 Africa Television Festival held in Cape Town, South Africa, attracted over 100 media companies and more than 1,500 exhibitors, highlighting its significance in the industry [1] - The "China United Exhibition" showcased numerous audiovisual works, enhancing cultural exchange between China and African countries [1] - A memorandum of understanding was signed between Jiangsu Broadcasting and South Africa's IKKI Group to promote Chinese audiovisual programs in South Africa, with a weekly broadcast of approximately 3 hours [2] - Emerging technologies, particularly AI-generated content (AIGC), are reshaping the audiovisual industry, with companies like Hangzhou Guangtong Chen Media demonstrating significant cost savings in production [3] - The cultural collaboration between China and African nations is deepening, with successful Chinese programs gaining popularity in South Africa [4] Group 1 - The Africa Television Festival is a major event for media companies, showcasing the growth and influence of the audiovisual industry in Africa [1] - The "China United Exhibition" served as a platform for cultural exchange, featuring a variety of Chinese audiovisual content [1] - Jiangsu Broadcasting's collaboration with IKKI Group aims to localize Chinese content for South African audiences, enhancing market penetration [2] Group 2 - The use of advanced technologies in film production is a key focus, with companies achieving significant efficiency improvements [3] - The historical context of Chinese resistance during World War II was highlighted through themed exhibitions, receiving positive feedback from international exhibitors [3] - The cultural synergy between China and Africa presents vast opportunities for future collaborations in the audiovisual sector [4]

Core Viewpoint - The "Audio-Visual China Goes to Africa" program promotion event highlights the importance of film and television works as a window for enhancing understanding between China and Africa, showcasing various Chinese productions at the MIP Africa 2025 event in Cape Town [1][3]. Group 1: Event Overview - The MIP Africa 2025 is being held from September 1 to 3 at the Cape Town International Convention Centre, featuring a Chinese joint exhibition and the "Audio-Visual China Goes to Africa" program promotion [1]. - The event is the ninth appearance of the Chinese joint exhibition at the Africa Television Festival, which serves as a significant platform for Chinese broadcasting institutions and film enterprises to enhance international promotion [3]. Group 2: Key Presentations - The Chinese joint exhibition includes seven participating institutions showcasing a variety of works such as "The Justice Trial," "When Socrates Meets Confucius," and "Tibet: Legends Under the Starry Sky," covering genres like drama, documentary, variety shows, and animation [3]. - A special thematic exhibition area was set up to commemorate the 80th anniversary of the victory of the Chinese People's Anti-Japanese War and the World Anti-Fascist War, featuring works that reflect the Chinese people's resistance against invasion and the maintenance of world peace [3]. Group 3: Collaborative Opportunities - The event aims to foster collaboration between Chinese and African filmmakers, encouraging exchanges and partnerships in areas such as technology development, personnel training, and new media dissemination [1][3]. - The Chinese side expresses a desire to bring more "Chinese stories" to the world while also introducing more "African stories" to China [1].

Core Viewpoint - The Africa Television Festival (MIP Africa) opened in Cape Town, showcasing a "China Joint Exhibition" that highlights the importance of audiovisual works in enhancing understanding between China and Africa [1][3]. Group 1: Event Overview - The festival featured the "China Joint Exhibition" with seven participating institutions, presenting various works including dramas, documentaries, variety shows, and animations [1]. - The event included a program promotion titled "Audiovisual China Goes to Africa," which attracted significant attention [1]. Group 2: Key Statements - The Chinese Consul General in Cape Town, You Wenze, emphasized that audiovisual works serve as an important window for enhancing understanding between the Chinese and African peoples [1]. - Martin Hiller, Chairman of the Africa Television Festival, noted that Chinese original content is exciting and resonates with African audiences, providing valuable references for African filmmakers [3]. Group 3: Organizational Support - The "China Joint Exhibition" and related activities were organized under the guidance of the State Council Information Office and the National Radio and Television Administration of China, led by Jiangsu Provincial Radio and Television Station [3]. - The festival focuses on procurement, distribution, production, and collaboration of audiovisual content, serving as a platform for global television stations, streaming platforms, production companies, and distributors [3].

Core Viewpoint - The Shanghai Cooperation Organization (SCO) emphasizes cultural exchange and mutual understanding among member states, fostering a sense of community and shared values among the peoples of the region [1]. Group 1: Tourism and Cultural Exchange - The Xinjiang Jimunai Port sees a significant increase in cross-border travel, with many tourists from Kazakhstan visiting China's Altay region, highlighting the ease of travel between the two countries [2]. - The establishment of direct flights and visa exemptions between Uzbekistan and China has led to a noticeable rise in travel and business exchanges, enhancing people-to-people connections [2]. - Qingdao has been designated as the "2024-2025 SCO Tourism and Cultural Capital," attracting a growing number of foreign tourists, with a reported 37.91% increase in foreign passenger traffic through Qingdao Jiaodong International Airport in the first half of the year [2]. Group 2: Educational and Health Initiatives - The "Health Express International Brightness Action" has successfully performed over 2,000 cataract surgeries for patients from SCO member states, showcasing the collaborative healthcare efforts [4]. - The establishment of "Luban Workshops" in eight SCO countries, including Russia and Kazakhstan, provides quality vocational education opportunities for youth, enhancing their skills and career prospects [5]. - The success stories of students from the Luban Workshop illustrate the positive impact of educational initiatives on youth development and cross-cultural exchange [5]. Group 3: Film and Cultural Cooperation - The 2025 SCO Film Festival showcases advancements in film technology and promotes collaboration among filmmakers from member states, creating opportunities for storytelling and cultural exchange [6]. - Numerous co-produced films, such as the documentary "Here is China," highlight the rich cultural narratives and collaborative efforts between SCO countries [6]. - The Chinese National Radio and Television Administration has supported the translation and broadcasting of over a hundred audiovisual works in multiple languages across SCO countries, enhancing cultural understanding and appreciation [7].

Group 1 - The core viewpoint emphasizes the historical achievements in cultural construction in China since the 18th National Congress, highlighting the progress towards building a socialist cultural power and enriching the spiritual and cultural life of the people [2] - The cultural innovation and creativity have been significantly stimulated, contributing to the great rejuvenation of the Chinese nation [2] Group 2 - The mechanism for guiding, supporting, and incentivizing literary and artistic creation has been improved, leading to the emergence of quality works that reflect people's lives, such as "Great Journey" and "Only This Green" [4] - A six-level public cultural service network has been established, promoting standardized and equal access to cultural services across urban and rural areas [5] Group 3 - In the first half of 2025, the revenue of large-scale cultural and related industry enterprises reached 71,292 billion yuan, a year-on-year increase of 7.4%, driven by the "national trend" stimulating new consumption potential [8] - The cultural new business formats showed explosive growth, with 16 sub-sectors achieving a revenue of 31,564 billion yuan, a 13.6% increase year-on-year, contributing 76.8% to the overall growth of large-scale cultural enterprises [9] Group 4 - As of now, China has 44 projects listed in the UNESCO Intangible Cultural Heritage list, ranking first in the world, showcasing "Chinese stories" on global platforms [12]

Core Viewpoint - The "Broadcasting 21 Measures" introduced by the National Radio and Television Administration aims to revitalize the long drama market by lifting restrictions and fostering competition, addressing the significant decline in television drama production from 429 in 2014 to 115 in 2024 [2][8]. Policy Changes and Market Impact - The cancellation of the 40-episode limit is a significant change, allowing creators to maintain narrative integrity and explore complex storylines, as evidenced by the higher user retention rates of seasonal dramas compared to traditional series [3][4]. - The new policy allows for flexible adjustments in the airing of historical dramas based on audience demographics, reducing investment risks for producers and promoting high-quality historical content [3][4]. - The introduction of a "simultaneous review" mechanism is expected to shorten the average review cycle by over 40%, enabling quicker adaptations to audience feedback and reducing costs associated with post-production modifications [4]. Commercialization and Advertising - The reintroduction of mid-episode advertisements is reshaping the profitability of dramas, allowing for creative integration of ads and helping broadcasters offset rising acquisition costs [5]. - The "one drama, multiple stars" policy facilitates collaborative purchasing among broadcasters, reducing costs and increasing the reach of quality dramas to wider audiences [5]. Competitive Landscape and Challenges - The allowance for micro-short dramas to air on television introduces new competition, compelling long drama creators to enhance content quality and engagement to retain viewer interest [6]. - The relaxation of restrictions on importing foreign programs pushes domestic productions to elevate their standards, with leading companies adjusting their production quality to compete globally [7]. Content Creation Philosophy - The "Broadcasting 21 Measures" signifies a shift in the relationship between government and market forces in content production, emphasizing the importance of artistic integrity and audience engagement in the face of technological advancements [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].