"这是一部为过年而生的电影。"谈及正在上映中的春节档动画电影《熊出没·年年有熊》，影片总制片 人尚琳琳说。截至昨天15时，该片已收获8.65亿元票房，在2026年春节档电影中排名第四。随着影片票 房持续上升，"熊出没"系列动画电影累计票房已超93亿元。多个平台预测，该片最终票房有望超过10亿 元，并带动《熊出没》系列电影票房逼近百亿元。 今年，距离"熊出没"系列第一部院线电影《熊出没之夺宝熊兵》刚好过去12年，12年银幕相伴，这一系 列已成为很多家庭一年一度的春节光影之约。 首次尝试中式奇幻 作为"熊出没"系列首部中式奇幻作品，影片参考重庆洪崖洞、李子坝等场景，搭建了一座融合中国东方 古典美学和现代科技的"年关城"，这里的居民可以觉醒"属性之力"，它不仅可以用来战斗，也能用于日 常生活。 500多个角色出现在《熊出没·年年有熊》里，创下系列新高。为了在有限的时间内完成如此庞大的角色 设计，制作团队启用了自主研发的角色生成系统，可快速生成角色的建模和绑定。 本报记者 袁云儿 由于制作体量过大，除了内部团队加班加点，国内一些顶尖动画团队也参与进来，共同托举。"这是中 国动画界的传统。因为整个行业并不大，一部大体量 ...

文 | 《 BUG 》栏目 闫妍 春节档临近尾声，当舆论聚焦于《飞驰人生 3 》《惊蛰无声》与《镖人：风起大漠》的票房鏖战时，一个熟悉的 身影再次"闷声发财"——国产动画 IP 常青树"熊出没"携《熊出没·年年有熊》再度冲进春节档票房前五。 据猫眼专业版 2 月 22 日发布数据， 2026 年春节档档期总票房（含预售）破 46 亿，《飞驰人生 3 》《惊蛰无 声》《镖人：风起大漠》分列前三位。其中，《熊出没·年年有熊》居第四位，且票房突破 5.7 亿元。据统计，该 系列影片累计票房已超 90 亿元。 然而，与"熊出没" IP 的票房号召力形成鲜明对比的，是其母公司华强方特持续承压的业绩表现，这家曾经的"中 国文旅第一股"日子其实并不好过。 春节档"钉子户"的吸金密码 2026 年大年初一，《熊出没·年年有熊》全国公映。据灯塔专业版数据，截至 2 月 21 日 11 时 22 分，该片票 房已突破 5 亿元，猫眼专业版对其最终票房预测落在 11.15 亿元左右。这意味着，这部动画电影的票房成绩，将 超越许多真人商业大片。 | 母 短眼专业版 | | | | | | | --- | --- | --- | -- ...

春节档临近尾声，当舆论聚焦于《飞驰人生3》《惊蛰无声》与《镖人：风起大漠》的票房鏖战时，一 个熟悉的身影再次"闷声发财"——国产动画IP常青树"熊出没"携《熊出没·年年有熊》再度冲进春节档票 房前五。 据猫眼专业版2月22日发布数据，2026年春节档档期总票房（含预售）破46亿，《飞驰人生3》《惊蛰无 声》《镖人：风起大漠》分列前三位。其中，《熊出没·年年有熊》居第四位，且票房突破5.7亿元。据 统计，该系列影片累计票房已超90亿元。 然而，与"熊出没"IP的票房号召力形成鲜明对比的，是其母公司华强方特持续承压的业绩表现，这家曾 经的"中国文旅第一股"日子其实并不好过。 春节档"钉子户"的吸金密码 文|《BUG》栏目 闫妍 2026年大年初一，《熊出没·年年有熊》全国公映。据灯塔专业版数据，截至2月21日11时22分，该片票 房已突破5亿元，猫眼专业版对其最终票房预测落在11.15亿元左右。这意味着，这部动画电影的票房成 绩，将超越许多真人商业大片。 c 2026年春节档票房榜 全国总票房 2026年 春节档/02.15-02.23 數据截至2026-02-22 09:39:53 | 总出 9505.5万张 ...

以下文章来源于21世纪商业评论 ，作者雷子桐 鄢子为 21世纪商业评论 . 两头熊，征战春节档12年。 熊出没，是华强方特的原创动漫IP，自2014年至今，每年推出一部电影于大年初一上映。首 部《夺宝熊兵》拿到2.47亿元票房，2025年的《重启未来》斩获8.21亿元。 此前11部电影，累计获得85.4亿元票房，算上《年年有熊》，《熊出没》系列在春节吸金总 量将逼近100亿元。 截至2月18日0时，该系列电影总票房已经超过超流浪地球系列电影成 绩，进入中国影史系列电影票房榜前五 。 "春节档，动画片具有稀缺性，主打亲子合家欢、兼具喜剧属性的《熊出没》，市场空间不言 而喻。" 《21世纪商业评论》敏感于一切商业新知、商业产品、商业模式和商业英雄，敏感于新公司的新玩意、 老公司的新改造、旧话题的新表达、老商业的新颠覆，为您提供最新鲜实用的商业养分。 记者丨雷子桐 鄢子为 编辑丨鄢子为 2月19日，据猫眼专业版数据，2026年春节档档期总票房（含预售）破25亿元，《飞驰人生 3》 《惊蛰无声》《熊出 没·年年有熊》分列前三位。 截至2月19日12点50分，《熊出没·年年有熊》已收获3.2亿元票房， 据灯塔专业版预测 ...

Group 1 - The core point of the article highlights the success of the "Boonie Bears" franchise, which has generated significant box office revenue over the years, with the latest installment expected to surpass 12 billion yuan in total box office earnings [2][5] - The "Boonie Bears" series has consistently performed well during the Spring Festival, accumulating a total of 85.4 billion yuan in box office revenue from 11 films, and is projected to approach 100 billion yuan with the latest release [2][5] - The franchise's appeal lies in its family-friendly content, which has a high audience engagement rate, with over 20% of viewers attending in groups, significantly higher than the average [5][10] Group 2 - The controlling entity, Huasheng Fantawild, is led by Liang Guangwei, who has transformed the company and is recognized in the Hurun Global Rich List with a net worth of 19.5 billion yuan [6][10] - The new film "Boonie Bears: Year of the Bear" features a storyline that resonates with audiences, emphasizing themes of acceptance and personal growth, which has garnered positive viewer feedback [6][8] - The film's high screening rate of 11.1% on its release day indicates strong market support, ranking fourth among competing films [9] Group 3 - The "Boonie Bears" series serves as a crucial tool for maintaining the IP's popularity and driving traffic to the theme parks operated by Huasheng Fantawild, which has over 40 parks across China [13][14] - The company has seen a significant drop in revenue and net profit in the first half of 2025, with a 60.1% decrease in cultural content revenue and a 79.5% decline in net profit, attributed to underperformance in the previous film [12][18] - Despite challenges in developing new IPs, Huasheng Fantawild has a strong technological foundation with over 2,000 proprietary intellectual properties, enhancing its animation production capabilities [21][23] Group 4 - The company is exploring new investment models for theme park development, including partnerships that do not require direct financial investment, which could expand its operational footprint [20] - The theme parks have consistently ranked second globally in visitor numbers, only behind Disney, indicating a robust business model and potential for future IP development [25]

Core Viewpoint - The upcoming release of "Boonie Bears: Year of the Bear" during the Spring Festival is the 12th installment of the "Boonie Bears" series, recognized as one of the longest-running animation IPs in China [1] Group 1: Series Development - The first "Boonie Bears" movie was released in 2014, showcasing a different essence compared to the TV version [2] - The series has produced films with ratings above 8 on Douban, alongside those rated between 6 and 7, maintaining a good average score amidst the rise of domestic animation [2] - The success of the "Boonie Bears" films lies in their ability to evolve significantly, moving beyond simple improvements to achieve breakthroughs in storytelling and thematic depth [2] Group 2: Audience Engagement - The films have expanded their audience base by transforming the core character settings while introducing diverse storylines that resonate with themes of friendship, family, and growth [2] - The series has established a strong cultural foundation based on values of loyalty, honesty, bravery, and unity, contributing to its enduring popularity [3] - The consistent presence of "Boonie Bears" during the Spring Festival has created an unspoken agreement with audiences, enhancing the film's appeal and potentially boosting box office performance [3]

Core Insights - The article highlights the significant growth of China's cultural exports, particularly in the gaming industry, with overseas gaming revenue reaching $18.557 billion in 2024, a year-on-year increase of 13.39% [1] - A high-profile forum on "Digital Intelligence Empowering Cultural Trade" gathered government officials, scholars, and business leaders to discuss how China can leverage technology to enhance its cultural influence globally [1][4] Industry Growth - The Chinese cultural trade total reached 1.4 trillion yuan in 2024, with digital cultural trade, including online games and audiovisual content, exceeding 370 billion yuan, accounting for 25.8% of the total cultural trade [4] - The government has emphasized the importance of cultural trade as a strategic component of building a cultural power, with policies aimed at enhancing digital capabilities and international competitiveness [4][5] Technological Advancements - AI technology is transforming cultural exports by overcoming language barriers, enabling rapid multi-language adaptation of cultural works, and significantly reducing costs [6][7] - Innovations in video production, such as the domestic video model "Vidu," are leading to lower production costs and higher quality outputs, facilitating the export of cultural content [6][9] Systematic Approach - Companies are shifting from single product exports to a more integrated "system output" strategy, exemplified by Pop Mart's overseas revenue surpassing 5 billion yuan in 2024, driven by an IP ecosystem and digital infrastructure [8] - The gaming industry is adopting a "research and operation integration" model, customizing game content for different markets, which has led to significant overseas revenue growth for companies like 37 Interactive Entertainment [9] Cultural Heritage Digitization - The digital transformation of cultural heritage is being prioritized, with over 52% of the Palace Museum's collection digitized by 2024, allowing for global access and the creation of derivative cultural products [10] - Innovative projects like the VR film "Tang Palace Night Banquet" are successfully combining traditional culture with modern technology to enhance international appeal [10] Challenges and Future Directions - Despite successes, challenges remain, including a lack of high-quality cultural data for AI training and the need for effective cross-cultural communication strategies [11][12] - Companies are exploring localized strategies to better resonate with international audiences, emphasizing the importance of cultural context in content delivery [12]

Core Viewpoint - The film market is facing increasing risks, with significant declines in box office revenue and audience attendance during the May Day holiday period in 2025 compared to previous years [1][3][5]. Box Office Performance - The box office for the May Day holiday in 2025 was 747 million yuan, a year-on-year decline of 51.1% [1]. - Daily average box office during this period was 150 million yuan, marking the lowest in nearly a decade (excluding 2020 and 2022) [1]. - The number of moviegoers reached 18.9 million, down 50% year-on-year, with a total of 2.33 million screenings, a slight decrease of 2% [1]. Cinema Operations - The average ticket price dropped to 39.54 yuan, the first time below 40 yuan in three years [3]. - Average revenue per cinema per day fell to 12,000 yuan, a decrease of 52.0% year-on-year [3]. - The number of cinemas in operation during the May Day holiday was 12,500, an increase of 2.0% year-on-year, with 75,500 screens, up 2.2% [2]. Film Supply and Quality - The May Day holiday featured a high supply of films but lacked any blockbuster hits, with the top films grossing below 200 million yuan [4]. - The films "Water Dumpling Queen," "Hunting Game," and "Princess Mononoke" led the box office with 192 million yuan, 135 million yuan, and 69.59 million yuan, respectively [4]. Market Trends - The film industry is experiencing a pronounced polarization, with significant profits concentrated among top films while others struggle [6][9]. - The success of "Nezha: The Devil's Child" has led to substantial revenue growth for its production company, Light Media, with Q1 2025 revenue up 177.87% to 2.975 billion yuan [8]. Cost Management and Production Strategies - Film companies are facing pressure to reduce costs while increasing investment in projects, as indicated by the comments from industry executives [11][17]. - The production cycle is lengthening, with more emphasis on script refinement and cost control [17][18]. - The need for precise project cost management is becoming critical for attracting investment and addressing the film shortage issue [16]. Conclusion - The film industry must undergo a more rigorous industrial transformation to survive in the current market environment [19][20].

Core Viewpoint - The film market is facing increasing risks, with significant declines in box office revenue and audience attendance during the May Day holiday period in 2025 compared to previous years [1][4][9]. Group 1: Box Office Performance - The box office for the May Day holiday in 2025 reached 747 million yuan, a year-on-year decline of 51.1% [1]. - Daily average box office during this period was 150 million yuan, marking the lowest in nearly a decade, excluding 2020 and 2022 [1]. - The number of moviegoers was 18.9 million, down 50% year-on-year, with a total of 2.33 million screenings, a slight decrease of 2% [1]. Group 2: Cinema Operations - The number of cinemas during the May Day holiday reached a historical high of 12,500, an increase of 2.0% year-on-year, while the number of screens was 75,500, up 2.2% [3]. - The average ticket price dropped to 39.54 yuan, falling below 40 yuan for the first time in three years [4]. - Average revenue per cinema per day was 12,000 yuan, a decline of 52.0% year-on-year, indicating a challenging survival environment for cinemas [4]. Group 3: Film Supply and Quality - The May Day holiday featured a sufficient supply of films, but no major hits emerged, with the top films grossing below 200 million yuan [8]. - The films "Water Dumpling Queen," "Hunting Game," and "Princess Mononoke" led the box office with 192 million yuan, 135 million yuan, and 69.59 million yuan, respectively [8]. - The overall content supply was deemed lackluster, leading to a significant drop in cinema revenues [9]. Group 4: Market Trends and Challenges - The film industry is experiencing a pronounced polarization, with only a few films generating substantial profits [10][11]. - The success of "Nezha: Birth of the Demon Child" has led to a significant increase in revenue for its production company, with a 177.87% year-on-year growth in Q1 2025 [11]. - The rise of short video platforms is impacting traditional cinema attendance, with short video users reaching 1.04 billion by the end of 2024 [12]. Group 5: Cost Management and Production Strategies - Film companies are focusing on cost control and project management to attract investment and address the issue of film shortages [19][20]. - The production cycle is lengthening, with more emphasis on script refinement and cost compression [20]. - The increasing project risks are leading to tighter control over productions, limiting directors' creative freedoms [20]. Group 6: Industry Transformation - The film industry must undergo a more rigorous industrial transformation to survive in the changing market landscape [21]. - This transformation is seen as a necessary cost for survival in the current environment [22].

Core Viewpoint - The company, Huasheng Fantawild, is navigating a challenging film market characterized by polarization, while leveraging the success of its "Boonie Bears" franchise and exploring new IP development opportunities [2][3][4]. Group 1: Company Performance - The "Boonie Bears" series has released eleven films with a total box office exceeding 8.5 billion yuan, and the twelfth installment is in progress [3]. - Despite the success of "Boonie Bears," the overall film market is experiencing a significant decline, with a 55.1% drop in box office during the Qingming Festival compared to the previous year [3]. - Huasheng Fantawild's theme park revenue is projected to decrease by 3.06% to 5.653 billion yuan in 2024, while overall revenue is expected to grow by 3.62% to 6.91 billion yuan, supported by the success of "Boonie Bears: Time Reversal" [3][19]. Group 2: Market Challenges - The entry of major entertainment companies like iQIYI and Light Media into the theme park market may pose competitive pressure on Huasheng Fantawild [4]. - The company acknowledges the increasing difficulty in creating new content that meets the evolving expectations of both child and adult audiences [6][9]. Group 3: Audience Engagement - The audience for "Boonie Bears" is shifting, with a growing proportion of adult viewers, leading to higher expectations for future films [6][8]. - The company aims to maintain a family-friendly approach, catering to both children and adults, with over 75% of viewers considering "Boonie Bears" suitable for all ages [8]. Group 4: Investment and Innovation - Increased investment in visual effects and storytelling is planned to meet rising audience demands and improve film quality [9][10]. - The company is exploring new content formats, such as VR experiences, to enhance audience engagement and expand its IP portfolio [15]. Group 5: IP Development and Global Reach - Huasheng Fantawild has developed a comprehensive system for IP management, with over 3,000 products across various categories, and has successfully exported projects to over 130 countries [16]. - The company is actively developing new IPs, including a 3D animated film "Yingge" and series like "Zhao Lin's Adventure Diary" [17][18]. Group 6: Operational Strategy - The company plans to continue expanding its theme park operations while optimizing existing parks, focusing on smaller-scale projects in response to market conditions [24]. - Huasheng Fantawild emphasizes its technological foundation, with all amusement park equipment developed in-house, ensuring a strong competitive edge [25].