红墙黄瓦上，圆润的雨滴如珠似玉般滚滚落下，将沉寂的紫禁城映衬得更为寂寥，也使得景仁宫外那声声哀鸣更为震耳。 一位身着粗布褐衣但面容姣好的女子冒雨在景仁宫外奔走求救，她将双手狠狠拍在景仁宫布满金色门钉的宫门上，嘴里不停喊着："皇后娘娘，皇后娘 娘，臣妾瓜尔佳氏求见皇后娘娘！"可不知是雨声太大还是宫门太深，景仁宫内始终无人回应，奔跑的女子最终死在了暴雨中。 年轻人在故宫演绎《甄嬛传》中瓜尔佳氏宫门跪求皇后名场面。（图/社交媒体截图） 这是电视剧《甄嬛传》中的经典场景之一，也是当下不少游客游览故宫时必选的"情景打卡"项目。在网上，随手搜索"甄嬛传""故宫"这两个关联词条，就 能看到无数网友倾情演绎的《甄嬛传》剧情片段——不仅有瓜尔佳氏雨中求救，还有甄嬛长街受辱、皇后被罚螽斯门前思过等经典场景。 当影视剧中的情景走入现实，原本庄严肃穆的故宫俨然成为剧迷的"主题影城"，因而有人如是形容："中国人有自己的'嬛球影城'。"以《甄嬛传》为主题 的故宫之旅，也成了游客打开故宫的另一种方式。 每一处，都有了更为真实的故事感 如果你在游览故宫时突然看到有人神情怆然地跪在宫门外，在她左右各站立一人，其中一人大声呵斥"翠果，给我打烂她 ...

Core Viewpoint - The rapid development of artificial intelligence (AI) technology has led to a surge in AI-generated content (AIGC), which raises concerns about the boundaries of "fair use" and copyright infringement, particularly in the context of classic films and television shows [1][2]. Group 1: AI Technology and Content Creation - AI technology has enabled diverse forms of artistic reconstruction, including film remakes, AI singer covers, and style imitation in painting, expanding creative boundaries [1]. - The use of AI for modifying classic works can lead to a distortion of the original creators' intentions and the essence of the original works, potentially disrespecting cultural heritage [1][2]. Group 2: Copyright and Legal Implications - Classic works are still under copyright, and unauthorized modifications using AI may infringe on the original creators' rights [2]. - The creation of parody or altered videos using original characters and actors' likenesses can violate portrait rights, leading to legal repercussions [2]. Group 3: Responsibilities of Creators and Platforms - Creators and platforms must respect the rights of original creators and seek proper authorization for any AI-based adaptations to ensure compliance with copyright laws [2][3]. - There is a need for creators to maintain the integrity of the original works and avoid excessive reinterpretation that could harm the original's reputation and the portrayal of its characters [2][3]. Group 4: Accountability for Infringement - If copyright infringement occurs, video publishers may face liability, and platforms that fail to fulfill their review obligations could also be held accountable for the consequences of such infringements [3].

Core Viewpoint - The article discusses the recent surge in interest and investment in the film and television sector in China, driven by successful releases and supportive government policies, while highlighting the ongoing challenges related to content quality and market dynamics. Group 1: Market Dynamics - The film and television sector has gained unprecedented attention this year, particularly following the success of "Nezha 2" and the release of "Nanjing Photo Studio" during the summer season [2][3][4] - The introduction of the "21 Policies" by the National Radio and Television Administration has lifted previous restrictions on drama production, leading to significant stock price increases for major production companies [12] - Despite the heightened interest, the film sector remains cyclical, with blockbuster hits being rare [5] Group 2: Company Performance - In 2024, only four stocks in the A-share film sector have seen price increases, indicating a lack of consistent performance across the industry [8] - Companies like Ningmeng Media and Chiwen Media have seen stock price increases of over 70% and 58.8% respectively, despite minimal or negative earnings [9] - Even companies like Daocaoxiong Entertainment, which reported a 118.42% decline in net profit, have experienced a 20% increase in stock price this year [11] Group 3: Content Quality and Supply - The growth of cinema chains is heavily reliant on a continuous supply of quality content, which remains a significant challenge for the industry [15] - The article emphasizes that content is the core competitive advantage for film companies, with Netflix's success attributed to its extensive and diverse content library [31][21] - Domestic platforms often lack depth in their content libraries, leading to reliance on daily updates to retain users, which is a symptom of insufficient quality content [32][33] Group 4: Comparison with Global Players - Netflix has become a dominant player in the streaming market, with a valuation significantly higher than that of domestic companies, driven by its ability to consistently produce quality content [16][21] - The article notes that Netflix's stock has increased by over 40% since the beginning of the year, reflecting investor confidence in its content strategy [16][28] - The disparity in user engagement and revenue generation between Netflix and domestic platforms highlights the need for a shift in focus towards quality content production [18][30] Group 5: Future Outlook - The article suggests that the domestic film industry must establish an industrialized production system to enhance content quality and drive market growth [38][44] - The shift in investment logic from "betting on blockbusters" to focusing on performance certainty and technological empowerment indicates a potential transformation in the industry [46] - The increasing competition from short videos and series underscores the importance of long-form content in maintaining audience engagement and emotional investment [45]

Core Viewpoint - Recent mainland Chinese dramas have gained popularity in Taiwan, showcasing various elements of Chinese culture that resonate well with local audiences [1][2]. Group 1: Popularity of Mainland Dramas - Several mainland dramas, such as "Longan's Lychee" and "Jin Yue Ru Ge," have become hits in Taiwan, with viewers praising the depiction of Chinese cultural elements [1][2]. - The rise of these dramas has led to significant engagement on social media platforms, with dedicated groups for discussing mainland dramas amassing tens of thousands of members [2]. Group 2: Cultural Elements and Audience Engagement - The intricate portrayal of traditional Chinese culture, including costumes, food, and rituals, has captivated Taiwanese viewers, leading to a deeper appreciation of cultural heritage [2]. - Taiwanese audiences are increasingly seeking recommendations for mainland dramas and engaging in discussions about plot developments and character stories on social media [2]. Group 3: Broader Cultural Impact - The success of mainland dramas is part of a larger trend, with Chinese-themed games and films also gaining traction in Taiwan, indicating a growing interest in Chinese culture [3]. - Cultural exchanges, such as the rise of "Guochao" culture in Taiwan, are seen as a bridge for deeper understanding between the two sides, countering political narratives that promote "de-Sinicization" [5].

Core Viewpoint - The article discusses the evolution of online literature in China, highlighting its reflection of societal changes and the impact of different historical periods on literary themes and genres [5][6]. Group 1: Evolution of Online Literature - Online literature has undergone significant transformations, paralleling the industrial and technological revolutions from the 1980s to the present [6][7]. - The article categorizes online literature into four main genres: Wuxia (martial arts), time travel, cultivation (Xianxia), and female-oriented narratives [8]. Group 2: Wuxia Literature - Wuxia literature represents the agricultural society, emphasizing collective values and the traditional master-apprentice relationship [10][12]. - The genre reflects a high moral standard and a strong sense of justice, rooted in the historical context of small artisan communities [12]. Group 3: Time Travel Literature - Time travel narratives resonate with the industrial era, often portraying protagonists who seek to improve the past using modern knowledge [13][18]. - The genre is experiencing a decline due to the rapid industrialization and the saturation of historical periods available for exploration [19][20]. Group 4: Cultivation Literature - Cultivation literature mirrors contemporary society, characterized by individualism and a hierarchical structure similar to modern corporate environments [21][23]. - The genre emphasizes personal growth and the importance of resources, reflecting a realistic approach to success and achievement [31]. Group 5: Female-Oriented Narratives - Female-oriented literature encompasses various genres but primarily focuses on themes of love and human nature, appealing to both male and female readers [33][34]. - This genre has proven commercially viable, with many popular adaptations originating from female-oriented narratives [33][36]. Group 6: Future of Online Literature - The article suggests that the future of online literature may align with China's advancements in science and technology, potentially leading to a resurgence of science fiction [38][39]. - The evolution of online literature serves as a mirror to societal changes, emphasizing the need to understand the underlying production forces shaping narratives [41][42].

Core Insights - The increasing popularity of Chinese audiovisual works, such as films and TV dramas, among international audiences highlights the cultural allure of contemporary China [4][5][9] - Foreign influencers and students express their admiration for Chinese culture through engagement with various media, leading to deeper cultural connections [5][9][14] Group 1: Cultural Engagement - International audiences, including foreign bloggers and students, are drawn to Chinese dramas like "Empresses in the Palace," which serve as gateways to understanding traditional Chinese culture [5][8] - The exploration of Chinese history and language through media has become a significant aspect of cultural exchange, with individuals sharing their experiences and insights on social platforms [8][9] Group 2: Impact of Chinese Variety Shows - Chinese variety shows have gained traction among foreign viewers, providing a window into contemporary Chinese pop culture and societal issues [9][10] - The diverse formats and themes of these shows resonate with audiences, fostering discussions and connections across cultural boundaries [10][12] Group 3: Film Appreciation - The rise of Chinese cinema, including notable films and the emergence of female directors, showcases the industry's growth and diversity [14][15] - Understanding the subtleties of Chinese films, such as cultural references and narrative techniques, enhances the viewing experience for international audiences [15][16]

Group 1 - The article discusses the evolution of online romance literature, particularly focusing on female-centric narratives and their significance in expressing women's desires and experiences [2][11][19] - It highlights the academic efforts to legitimize online literature as a serious field of study, bridging the gap between academia and popular culture [10][11] - The work of Xue Jing, particularly her book "The Powder Empire: Online Romance Novels and Women's Discourse Politics," is emphasized as a critical analysis of the genre's transformation and its underlying themes [2][10][11] Group 2 - The article notes that early online romance novels often mirrored traditional narratives, but contemporary works have shifted to explore complex themes of power dynamics and personal desires [15][17][19] - It points out that the portrayal of male characters has evolved from idealized figures to more flawed representations, reflecting a deeper understanding of women's aspirations and societal roles [17][18][24] - The concept of "love as a tool" is introduced, suggesting that romantic relationships in these narratives often serve as a means for women to explore their own identities and desires [21][25][26] Group 3 - The article discusses the emergence of "love for women" literature, which emphasizes female values and experiences, and the dynamics between readers and authors in this context [48][49] - It addresses the societal implications of female empowerment through literature, highlighting the importance of creating a supportive community among women [56][57] - The narrative also touches on the broader themes of power and identity, suggesting that the exploration of female experiences in literature reflects ongoing societal changes and challenges [40][41][42]

Core Viewpoint - The recent implementation of the "21 Regulations" by the National Radio and Television Administration (NRTA) is expected to significantly benefit the Chinese film and television industry, particularly in the production of historical dramas, which have been a major source of revenue and popularity [2][10][12]. Group 1: Impact of "21 Regulations" - The NRTA has relaxed restrictions on the number of historical dramas, signaling support for market-oriented creation in the industry [2][10]. - The regulations allow for an increase in the maximum number of episodes for dramas, which could lead to the production of higher-quality long dramas [11]. - The introduction of policies such as "border examination and broadcasting" for series and seasonal dramas is expected to shorten content production cycles and align broadcasts with current social sentiments, enhancing capital efficiency for companies like iQIYI [11][12]. Group 2: Industry Response - Following the announcement of the "21 Regulations," many film and television stocks experienced significant gains, indicating a positive market reaction [3]. - Major companies in the industry, such as the Yuewen Group, anticipate launching more film and television projects due to the new regulations [12]. - The regulations are seen as a potential attractor for more investment in the film and television sector, which is currently facing financial challenges [13][14]. Group 3: Current Challenges - The film and television industry is experiencing financial difficulties, with iQIYI reporting an 11% year-on-year revenue decline to 6.628 billion yuan and a net loss of 133.7 million yuan [14]. - Tencent Video also reported a decrease in paid subscribers, losing 3 million to a total of 114 million [15]. - The reduction in content budgets due to financial constraints may lead to fewer high-quality productions, creating a vicious cycle that could further diminish audience engagement [16][17]. Group 4: Future Outlook - While the "21 Regulations" may increase the likelihood of producing popular dramas like "Empresses in the Palace," the actual success will depend on the ability to create high-quality content that meets evolving audience tastes [19]. - The rise of short videos poses additional risks to traditional film and television investments, making the landscape more competitive and uncertain [19].

Core Viewpoint - The "Guan Dian 21" policy from the National Radio and Television Administration is expected to significantly benefit the Chinese film and television industry by relaxing restrictions on historical dramas, potentially leading to an increase in high-quality productions like "Zhen Huan Zhuan" [1][2]. Group 1: Impact on Market and Content Creation - The relaxation of restrictions on historical dramas is a clear signal of support for the Chinese film and television industry, which heavily relies on such genres for viewership and revenue [2]. - The new policy allows for an increase in the number of episodes for dramas, lifting the previous 40-episode cap, which opens up opportunities for more detailed storytelling and longer series [2]. - The introduction of policies such as "border review and broadcast" for seasonal dramas is expected to shorten content production cycles and align broadcasts with current social sentiments, enhancing financial efficiency for companies [2][4]. Group 2: Financial Implications and Industry Challenges - The film and television industry is currently facing financial difficulties, with companies like iQIYI reporting a year-on-year revenue decline of 11% to 6.628 billion yuan and a net loss of 133.7 million yuan, contrasting with previous profitability [4]. - The "Guan Dian 21" policy is anticipated to attract more investment into the industry, which is crucial given the current cash flow challenges faced by major players [4]. - The success of high-quality productions is seen as vital for the recovery of long-video platforms and the overall film and television sector, with historical dramas like "Zhen Huan Zhuan" continuing to generate significant interest even years after their release [4][5].

Core Viewpoint - The recent implementation of the "21 Regulations" by the National Radio and Television Administration (NRTA) is expected to significantly benefit the Chinese film and television industry by relaxing restrictions on historical dramas, potentially leading to an increase in high-quality productions like "Empresses in the Palace" [2][3][10]. Group 1: Impact of "21 Regulations" - The NRTA's new regulations indicate a flexible approach to the control of historical dramas, which is a clear signal of support for the Chinese film and television industry [10]. - The regulations allow for the lifting of the 40-episode limit on dramas, creating opportunities for longer, high-quality series [11]. - The introduction of policies such as "border examination and broadcasting" for series and seasonal dramas is expected to shorten content production cycles and align broadcasts with current social sentiments, enhancing capital efficiency for companies like iQIYI [11][14]. Group 2: Market Reactions and Financial Implications - Following the announcement of the "21 Regulations," many film and television stocks experienced significant gains, indicating a positive market reaction [3]. - iQIYI reported a year-on-year revenue decline of 11% to 6.628 billion yuan, with a net loss of 133.7 million yuan, highlighting the financial struggles within the industry [15]. - Tencent Video also saw a decrease in paid subscribers, losing 3 million to a total of 114 million, reflecting the financial challenges faced by major players [16]. Group 3: Future Prospects - The potential for more popular dramas akin to "Empresses in the Palace" is anticipated, as the relaxed regulations may lead to the creation of more engaging content [12][23]. - Companies like Yuewen Group, which owns popular IPs, expect to see an increase in film and television projects following the new regulations [13]. - Despite the positive outlook, the ability to produce high-quality works remains crucial, as audience preferences continue to evolve [21].