央视网消息：今年以来电影市场热闹场景背后，电影产业投资风向有何变化？ 除了投资类型上"多点开花"，影视资本也在同时涌向内容和体验两大维度。沉浸式体验作为电影产业的新兴发展方向，正在掀起一股新的投资浪潮。 今年，电影《哪吒之魔童闹海》创下票房神话，《浪浪山小妖怪》的爆火也让人记忆犹新。一系列动画电影的成功，也让头部电影上市公司加大对动画 电影的资源投入。光线传媒公告称，公司内部组建了具有业内领先的动画制作能力的团队，已成为公司人数最多的业务单元；万达电影称，目前动画电影是 其布局的重点，公司连续多年参投《熊出没》系列，获得了较好的票房收益。从多家相关上市公司的储备片单来看，动画电影占据重要一席。 不仅是动画电影受到资本青睐，今年以来，随着电影市场向好，电影投资也日趋多元化。业内人士指出，总体而言，剧情、历史、合家欢等都是受欢迎 的题材，而与社会热点结合的现实主义题材以及强喜剧属性作品也受到资本关注。 ...

来源：央视财经 据网络平台数据，截至目前，2025年国庆档总票房破18亿元。其中，《志愿军：浴血和平》《731》 《刺杀小说家2》《浪浪人生》《震耳欲聋》暂列票房前五名，且各片档期票房均突破1亿元。 国庆假期的最后一天，电影市场持续火热。记者采访发现，今年国庆档呈现出"无绝对龙头"的新特征， 并且头部影片票房差距并不悬殊。业内人士表示，这预示着中国电影市场正在走向成熟。观众不再盲目 追捧大制作和流量明星，而是更加注重内容质量和情感共鸣。 不仅是动画电影受到资本青睐，今年以来，随着电影市场向好，电影投资也日趋多元化。业内人士指 出，总体而言，剧情、历史、合家欢等都是受欢迎的题材，而与社会热点结合的现实主义题材以及强喜 灯塔专业版数据分析师 陈晋：在国庆档的有力助推下，2025年中国电影全年总票房已经超过了去年全 年，这标志着电影市场进一步的复苏。 记者注意到，今年国庆档电影的背后几乎集齐了国内主要影视上市公司。假期期间A股休市，但在节 前，影视板块已出现明显升温迹象。在节前最后一个交易日，横店影视收盘涨停，华策影视上涨 5.57%，光线传媒、北京文化等小幅跟涨。 | | 元年会得德 300251 Put 200 ...

据网络平台数据，截至10月8日22时，2025年国庆档电影总票房（含预售）已突破18.33亿元。 国庆假期的最后一天，电影市场持续火热。记者采访发现，今年国庆档呈现出"无绝对龙头"的新特征，并且头部影片票房差距并不悬殊。业内人士表示， 这预示着中国电影市场正在走向成熟。观众不再盲目追捧大制作和流量明星，而是更加注重内容质量和情感共鸣。 今年以来电影市场热闹场景背后，电影产业投资风向有何变化？ 今年，电影《哪吒之魔童闹海》创下票房神话，《浪浪山小妖怪》的爆火也让人记忆犹新。一系列动画电影的成功，也让头部电影上市公司加大对动画电 影的资源投入。 灯塔专业版数据分析师 陈晋：在国庆档的有力助推下，2025年中国电影全年总票房已经超过了去年全年，这标志着电影市场进一步复苏。 记者注意到，今年国庆档电影的背后几乎集齐了国内主要影视上市公司。假期A股休市，但在节前，影视板块已出现明显升温迹象。在节前最后一个交易 日，横店影视收盘涨停，华策影视上涨5.57%，光线传媒、北京文化等小幅跟涨。 梳理今年A股电影概念股发现，幸福蓝海、光线传媒、欢瑞世纪的股价年内行情表现亮眼，分别累计上涨149.4253%、107.48%和101 ...

来源：@央视财经微博 【#多家公司布局动画电影制作##动画电影成投资新风口#】 据网络平台最新数据，截至目前，2025年 国庆档总票房破18亿元。其中，《志愿军：浴血和平》《731》《刺杀小说家2》《浪浪人生》《震耳欲 聋》暂列票房前五名，且各片档期票房均突破1亿元。电影市场热闹场景背后，电影产业投资风向有何 变化？今年，电影《哪吒之魔童闹海》创下票房神话，《浪浪山小妖怪》的爆火也让人记忆犹新。一系 列动画电影的成功，也让头部电影上市公司加大对动画电影的资源投入。光线传媒公告称，公司内部组 建了具有业内领先的动画制作能力的团队，已成为公司人数最多的业务单元。万达电影称，目前动画电 影是其布局的重点，公司连续多年参投《熊出没》系列，获得了较好的票房收益。从多家相关上市公司 的储备片单来看，动画电影占据重要一席。#国庆档电影总票房破18亿元# ...

Core Viewpoint - The article discusses the controversy surrounding a mural of Lu Xun smoking in a public space, highlighting the clash between cultural representation and public health concerns. Group 1: Public Health Concerns - The mural of Lu Xun smoking has led to gatherings of people lighting cigarettes, which poses health risks to others in a public space where smoking is prohibited [6][13]. - The image of a public figure smoking may mislead youth and have negative influences, prompting calls for its removal [7][9]. Group 2: Cultural Representation - Lu Xun is historically known to smoke, and the mural is not a fictional representation but an acknowledgment of his real-life habits [11][12]. - The discussion raises questions about how to appropriately present Lu Xun's image in a way that is respectful and comfortable for all visitors [21]. Group 3: Misplaced Blame and Responsibility - The article argues that blaming the mural for smoking behavior is an error in attribution, suggesting that the focus should be on managing public smoking rather than altering cultural depictions [15][17]. - It emphasizes that educating youth about smoking should involve discussing Lu Xun's life and struggles with smoking rather than censoring his image [23][25]. Group 4: Broader Context of Complaints - The article critiques a trend where parents and individuals excessively complain about media representations, suggesting it reflects a lack of personal responsibility in guiding children [41][44]. - It highlights the absurdity of expecting all societal content to cater exclusively to children’s sensitivities, arguing for a balanced approach to education and exposure [49][50]. Group 5: Smoking Alternatives and Controversies - The article mentions a complainant who supports nicotine pouches, raising questions about the motives behind the complaint against the mural [52][54]. - It discusses the health risks associated with nicotine, suggesting that alternatives marketed as safer may still pose significant health threats [55][61].

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]