人民网曼谷11月24日电（记者章念生）科伦坡消息：2025年中国电影节23日在斯里兰卡科伦坡的斯 里兰卡国家电影公司影院举行开幕仪式。中国驻斯里兰卡大使戚振宏、斯里兰卡宗教和文化部副部长穆 尼尔·穆拉费尔、中国电影资料馆副馆长林思玮以及斯政要、驻斯使团、商界人士、在斯华侨华人及媒 体代表等200余人出席开幕式。 开幕式后，嘉宾与观众共同观看开幕影片《流浪地球》。该片凭借震撼的视听语言和跨越文化的情 感共鸣，引发热烈反响，众多观众在放映结束后驻足交流，并在留言本上写下热情洋溢的观影感言。 本届电影节由中国驻斯里兰卡使馆、中国国家电影局共同主办，中国电影资料馆、斯国家电影公司 及斯科普影院联合承办，分为预热和正式展映两个阶段。其中预热阶段在斯唯一的IMAX影院举办，是 中国电影首次在该影院放映，在斯民众中引起热烈反响。电影节展映期间，斯人民解放阵线总书记席尔 瓦、劳工部长兼经济发展副部长费尔南多、贸易部部长萨马拉辛哈、西部省常秘维杰瓦德纳、科伦坡市 长巴尔塔扎尔等政要，斯电影从业人员，中小学生，电影爱好者等3000余人参与观影活动。 穆拉费尔表示，文化是连接斯中两国人民的重要纽带，斯方珍视两国源远流长的人文交流， ...

斯里兰卡宗教和文化事务部副部长穆尼尔·穆拉费尔表示，文化是连接中国和斯里兰卡的一道重要 桥梁，非常欢迎中国在斯里兰卡举办中国电影节等文化交流活动。期待两国将文化交流作为友谊的基 石，在未来开展更加深入的合作。 开幕式上放映了中国科幻影片《流浪地球》，获得热烈反响。观众希马茜·席尔瓦表示，影片中出 现的先进科技和地球逼近木星的震撼场景给她留下深刻印象。 新华社科伦坡11月24日电（记者吴子钰 陈冬书）2025年中国电影节23日晚在斯里兰卡科伦坡的斯 里兰卡国家电影公司影院举行开幕仪式，200余名中斯各界人士出席。 此次电影节由中国驻斯里兰卡大使馆与中国国家电影局共同主办。中国驻斯里兰卡大使戚振宏在开 幕式致辞中表示，本次电影节不仅展现了中国当代电影的魅力，还进一步深化了中斯两国人民之间的文 化交流与友好往来。期待广大斯里兰卡朋友能够以本次电影节为契机，进一步认识真实多彩、蓬勃发展 的当代中国。 本次电影节将持续到25日，预热展映活动已于17日至19日举办。电影节期间将上映《流浪地球》 《封神第一部：朝歌风云》等7部中国影片。斯里兰卡中国电影节自2016年举办以来，已成为中斯两国 间重要的文化交流活动之一。 ...

昆山小读者王一诺以刘慈欣科幻小说为灵感制作的AIGC视频截图。 王晋康在体验AR眼镜。 本报记者 徐嘉伟摄 詹依睿供图 昆山市融媒体中心 周 舟摄 "叔叔，您可以带一本杂志回家自己看，也可以给家里的孩子看！""宝贝，给你一本《扬子江诗刊》， 回去让妈妈读给你听，把生活过成诗。"在观影场地旁边，志愿者徐莺正在向市民朋友推介文学期刊。 "赠书活动的热度远超预期，大家对《钟山》《雨花》《扬子江诗刊》很感兴趣，大约1小时，我们准备 的文学期刊就已分发完毕。"徐莺说，生活中，每个人都需要阅读，"当市民朋友，尤其是小朋友，从我 手中接过文学书籍，我觉得非常有成就感。" 当晚，《流浪地球》原著作者刘慈欣还"闪现"昆山文联文艺会客厅，将那里的观影讨论活动气氛推向高 潮。对于科幻小说和科幻电影给受众带来哪些影响这个问题，现场观众纷纷表示，能够在享受阅读乐趣 的同时，提升想象力。 本次"著名作家抵达文学'县'场"活动为期3天。除了与市民读者的互动，刘慈欣、王晋康等科幻作家还 走进昆山杜克大学、昆山市瑾晖实验小学等地，与学生、科幻文学爱好者和科技工作者等展开深入交 流。 刘慈欣（前排左）与昆山中学"北海科幻"社团成员互动。 江苏昆 ...

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 Viewpoint - Cultural export serves as a strategic link between economic prosperity and cultural confidence, transforming cultural advantages into industrial competitiveness and supporting high-level openness and economic restructuring [1] Group 1: Cultural Confidence - Cultural confidence is fundamental, providing the foundation for cultural export and allowing unique Chinese aesthetics, philosophy, and values to resonate globally [1] - The more robust the cultural confidence, the more successful the cultural export, creating a virtuous cycle of success and confidence [1] Group 2: Market Scale Advantage - China's vast market, with a population of 1.4 billion, acts as an "immersive experience chamber," validating narratives and emotional resonance through high subscription rates for novels and successful games [2] - The domestic market's success provides funding, technology, and confidence for cultural export, while international success enhances brand value and encourages further investment in R&D [2] Group 3: Purpose of Cultural Export - The core purpose of cultural export is to present a modern, diverse, and creative image of China, as evidenced by the global popularity of works like "The Wandering Earth" and "The Three-Body Problem" [2] - Chinese elements have become popular in global creative content, attracting the curiosity of young audiences worldwide [2] Group 4: Technological Empowerment - Traditional cultural export relied on conventional channels, but now digital platforms like TikTok and mobile gaming have created a "cultural digital expressway" for instant global delivery of cultural products [3] - Digital technology enhances the efficiency of cultural export, allowing for a systematic and industrialized approach to sharing Chinese culture globally [3] - The transition from "Made in China" to "Created in China" signifies a successful implementation of the dual circulation strategy in the cultural sector [3]

Core Viewpoint - The article outlines the evolution of popular culture in China over the past 50 years, highlighting three distinct eras and two significant turning points, ultimately suggesting that a new form of popular culture is emerging that is more autonomous and rooted in grassroots movements [2][4][10]. Group 1: Evolution of Popular Culture - Popular culture in China has transitioned through three main eras: the traditional media-dominated era of the 1980s, the commercialized media era of the 1990s, and the internet-driven self-media era of the 21st century [4][6][8]. - The 1980s saw a reliance on traditional media such as newspapers and radio, with limited commercialization and a focus on educational and enlightening content [6][7]. - The 1990s marked the rise of television as the dominant medium, leading to the commercialization of popular culture, where the new middle class began to control cultural production, often suppressing genuine cultural demands from the broader public [7][12]. Group 2: Cultural Shifts and Resistance - The early 2000s witnessed a decline in traditional media's influence, with the rise of self-media and short video platforms allowing the public to actively participate in cultural production, thus challenging the previous cultural monopolies [8][10][23]. - The article argues that the cultural identity of the masses has evolved significantly, moving from passive consumers to active participants in cultural expression, driven by technological advancements and shifts in political and economic landscapes [9][20][22]. - Despite the commercialization of popular culture, there has always been an undercurrent of resistance from the masses against the middle-class cultural hegemony, which has shaped the cultural landscape [15][19]. Group 3: New Trends in Popular Culture - The emergence of a new popular culture is characterized by a blend of local and global influences, showcasing a newfound cultural confidence and a willingness to creatively adapt foreign cultural elements [28][32]. - Recent years have seen a rise in grassroots cultural expressions, with independent creators gaining recognition and challenging the established cultural production systems dominated by capital and elite interests [24][25][26]. - The article emphasizes that the new popular culture is not without its flaws, but it represents a significant shift towards a more vibrant and diverse cultural landscape that reflects the genuine experiences and aspirations of the masses [27][38].

Group 1 - The "South Sky Gate Plan" has gained significant attention among aviation technology enthusiasts, as it aims to construct a futuristic air combat system based on China's current aviation technology [1] - The plan is not merely a conceptual idea but is seen as a tangible future technology driver, reflecting the historical connection between scientific achievements and science fiction [1] - The essence of science fiction lies in its ability to boldly speculate on technological advancements and their impacts on humanity, providing inspiration and direction for technological innovation [1] Group 2 - China's technological innovation is increasingly reliant on the imaginative power of science fiction, especially as the country transitions from following to leading in key technology sectors [2] - The rapid development of China's science fiction industry has produced high-quality works, with the industry expected to generate over 100 billion yuan in revenue in 2023 and 2024 [2] - There is a belief that the integration of science fiction into the technological innovation process will foster mutual promotion between China's technological advancements and its science fiction industry [2]

Core Viewpoint - The article discusses the declining audience attendance in Chinese cinemas despite the expansion of cinema infrastructure, highlighting a disconnect between the number of theaters and the willingness of audiences to watch films in theaters [3][10][21]. Group 1: Audience Trends - In 2024, the national cinema attendance rate dropped to a historical low of 5.7%, indicating that in a 100-seat theater, only five to six people might be watching a film [7]. - The overall box office revenue in 2024 was only 425 billion yuan, a decrease of one-third compared to the 641.49 billion yuan peak in 2019, despite having more than double the number of theaters and screens [4][10]. - The average age of cinema-goers has increased from 27.7 years in 2021 to 32.5 years in 2025, suggesting that younger audiences are not replacing older viewers [27]. Group 2: Cinema Experience - Many viewers are deterred by poor cinema experiences, including uncomfortable seating, distractions from other audience members, and low-quality film presentations [21][25]. - The average ticket price in first-tier cities reached 49.6 yuan by August 2025, a 16% increase from 2014, making cinema visits less appealing compared to other entertainment options [21][27]. Group 3: Box Office Dynamics - The box office revenue is increasingly concentrated among a few blockbuster films, with the top 20 films accounting for 60-80% of total box office revenue, compared to 80-90% for the top 50 films in 2014 [18][20]. - The Spring Festival box office has become a dominant force, with the 2025 Spring Festival box office expected to be heavily reliant on a few high-investment films, creating a competitive environment where only a few films succeed [14][18].

Group 1 - The 2025 Galaxy Science Fiction Conference, themed "Enjoying the Future Before It Arrives," is taking place from September 19 to 21, marking the first international science fiction event in Sichuan after the 2023 Chengdu World Science Fiction Conference [1][3] - The conference aims to establish a science fiction industry ecosystem in Sichuan, promoting the integration of cultural and technological innovation, and enhancing the province's status as a stronghold for the science fiction industry [3][5] - The event features nearly 300 guests from ten countries and regions, including prominent figures in the science fiction community, showcasing the growth of Chinese science fiction from a "plateau" to a "peak" [1][8] Group 2 - The conference launched the "Galaxy Plan," aimed at supporting young science fiction creators, and established the "Chinese Science Fiction Going Global Promotion Alliance" to facilitate international outreach for Chinese science fiction [5][6] - A total of nine significant contracts were signed during the event, with a total investment exceeding 1 billion yuan, focusing on various aspects of the science fiction industry, including digital publishing and cultural tourism [6][11] - The conference introduced a "permanent guest" system, enhancing its international profile by inviting notable authors and industry representatives from around the world to discuss cross-cultural communication and the development of science fiction IP [8][10] Group 3 - The conference features immersive experiences, including author signing events, exhibitions, and film screenings, designed to engage audiences in the science fiction narrative [10][11] - The event aims to leverage Chengdu's innovative resources and technology industry to create rich application scenarios and imaginative spaces for future industrial development [13]

Group 1 - The cinema industry is expanding, but audience attendance is sharply declining, with a significant drop in box office revenue compared to pre-pandemic levels [5][9][10] - In 2024, the total box office revenue was only 425 billion yuan, a decrease of one-third from 2019, despite having 1.3 million cinemas and 81,000 screens [9][10] - The annual attendance rate for cinemas fell to a historical low of 5.7% in 2024, indicating that a typical screening may have only five to six viewers in a hundred-seat theater [12] Group 2 - The film industry has relied heavily on major holiday periods and blockbuster films for revenue, with holiday box office accounting for over 70% of total revenue since 2022 [20][21] - The Spring Festival box office has become the dominant force, with the 2018 Spring Festival achieving a record of 5.771 billion yuan in just seven days [22] - However, the success of blockbuster films is not guaranteed, as evidenced by recent films that failed to perform despite strong marketing and star power [37] Group 3 - The average ticket price in first-tier cities reached 49.6 yuan by August 2025, a 16% increase since 2014, while prices in lower-tier cities have also risen significantly [47] - The average age of moviegoers has increased from 27.7 years in 2021 to 32.5 years in 2025, indicating a shift in the demographic of cinema audiences [50] - For many young people, going to the cinema is no longer a social necessity or a standard date option, but rather one of many entertainment choices [51]