这是当地的知名打卡点，开放了很多年。 现在常常有游客特意跑来这里，给鲁迅先生点烟，美其名曰是一种致敬。 就是这幅图，最近被举报了。 绍兴鲁迅纪念馆的外墙上有一幅很大的鲁迅画像，是那张经典的抽烟图。 举报人给了她自己的理由。 鲁迅本来是在书房抽烟，属于私人空间，现在却被挂到外墙这类应该禁止抽烟的公共空间，还导致这么多人点烟聚集，危害他人健康。 而且，公众人物抽烟的形象会误导青少年，产生负面影响。这样，很不好。 1 综上所述，她建议把这幅画像换掉，最好是换成右手握拳伏案图，更正能量。 仔细想想就知道，这段话经不起推敲。 第一，鲁迅确实抽烟。 并不是景区虚构了一个鲁迅抽烟的场景来博人眼球，而是鲁迅真的抽烟，还戒不掉。 天塌下来，他也抽烟。这就是他生活的一部分，为什么非要改变这个事实呢？ 第二，人群聚集抽烟，不必怪画。 现在我们知道，景区是公共空间，也是禁烟场合，同样也禁止明火。有人在这里公然点烟，哪怕只是为了拍照，都是不合规定的。 | 鲁迅故里参观办法(端午小长假版) - .. × www.shaoxingtour.cn | | --- | | 文明参观须知 | | 1、自觉遵守景区规定、请勿挪动展品、爱护公共设施 ...

Core Viewpoint - The article discusses the success of the animated film "浪浪山小妖怪" (Wang Wang Mountain Little Monsters), which has surpassed 600 million in box office revenue, becoming the highest-grossing domestic 2D animated film, with projections of total earnings reaching 1.77 billion [2][3]. Group 1: Film Overview - "浪浪山小妖怪" is based on the short film "中国奇谭之小妖怪的夏天" and features a unique perspective by focusing on minor characters, the little monsters, instead of the traditional hero, Sun Wukong [2][3][5]. - The film's narrative aims to humanize the monsters, portraying them as characters with emotions and struggles, contrasting the typical villainous roles they play in "Journey to the West" [4][10][12]. Group 2: Production Insights - The film's production faced challenges, particularly in developing a watercolor style that lacked industrial precedents, requiring the creation of a new teaching model for the animation team [8][9]. - The production team, consisting of nearly 600 members, utilized video tutorials and remote feedback to maintain progress and ensure a cohesive artistic style [8][9]. Group 3: Character Development - The film features four unnamed little monsters who impersonate the main characters from "Journey to the West," each undergoing personal growth and self-discovery throughout their journey [11][12]. - The choice of lesser-known animals for the characters was intentional, aiming to create relatable figures that resonate with the audience's everyday experiences [11][12]. Group 4: Market Context - The success of "浪浪山小妖怪" reflects a broader trend in the Chinese animation industry, which has seen a shift towards narratives focusing on ordinary people's lives, moving away from traditional heroic tales [13][14]. - The film represents a new direction in the adaptation of Chinese mythology, seeking to find a unique niche within the established paths of animation [17][18].

Core Insights - The Chinese animation film industry has experienced fluctuating box office performance in recent years, with domestic films achieving breakthroughs in genre diversification and brand operation, successfully activating family viewing demand and enhancing market pricing power [1][8] - From 2022 to 2024, the box office share of domestic animation films has remained in the 60% range, indicating a reliance on blockbuster hits while exposing issues such as insufficient production capacity for mid-tier films and lagging derivative product development [1][10] - In 2024, the total box office for Chinese animation films reached 6.863 billion yuan, with domestic animation accounting for 41.89% of this total [1][10] Animation Film Industry Overview - Animation films are defined as films produced using animation techniques, including theatrical releases and OVA (Original Video Animation) [2] - The industry is characterized by a shift from traditional filmmaking, which relies on real scenes and actors, to digital technology-driven animation that allows for creative freedom and a broader audience reach [2][3] Industry Policy Background - The Chinese government supports the animation film industry through tax incentives, funding support, and awards to encourage content creation that explores traditional culture and modern expression [4] - Policies aim to enhance the industry chain, nurture leading companies, support small teams, and promote cross-media IP development to strengthen international communication [4] Industry Chain Structure - The animation film industry chain includes upstream traditional production hardware and digital technology, midstream content creation and industrial production, and downstream distribution and marketing [6] - The integration of various technical paths, including 2D hand-drawn, 3D digital, and stop-motion animation, is essential for a comprehensive content production system [6] Current Industry Status - The box office share of domestic animation films declined from 2015 to 2017 due to content innovation and industrialization challenges, but saw a rapid recovery from 2018 onwards, with a significant increase in market share [8][10] - The number of domestic films breaking the 100 million yuan mark has fluctuated, with a notable increase in 2019 due to the success of films like "Ne Zha" [10] Competitive Landscape - Leading companies in the animation film industry, such as Light Chaser Animation and Bilibili, leverage technology and IP development to maintain market dominance [12][13] - Emerging players are exploring adult-oriented markets and cross-media development, indicating a competitive landscape focused on enhancing original content and global IP operations [12][14] Future Development Trends - The industry is moving towards deeper integration of technology and industrialization, utilizing AI and virtual production to enhance efficiency and visual expression [14] - Content creation is expected to draw from traditional cultural resources while innovating modern expressions, aiming to resonate emotionally with audiences and adapt to fragmented viewing habits [14]