新华社北京9月25日电 广播电视和网络视听是文化强国建设的重要内容。国务院新闻办公室25日举 行"高质量完成'十四五'规划"系列主题新闻发布会，介绍"十四五"时期广播电视和网络视听高质量发展 成就。 内容创作持续繁荣 有线电视、IPTV、互联网电视、直播卫星等电视大屏用户合计超过10亿，网络视听用户达到10.9 亿；"十四五"以来制作发行电视剧（网络剧）超1500部、动画片超3500部，纪录片超35万小时，微短剧 约15万部；2024年全国广电视听服务业总收入达到1.49万亿元…… 中央宣传部副部长、国家广播电视总局局长曹淑敏介绍，我国在用户、内容、产业等规模上已成为广播 电视大国、网络视听大国。 "十四五"期间，文艺工作者扎根人民，推出了一大批叫得响、传得开的视听作品。 ——巩固壮大主流思想舆论。今年以来，推出《我们的河山》《归队》等剧集，用生动影像彰显伟大抗 战精神。《觉醒年代》《问苍茫》等剧集赓续红色血脉，实现"破圈"传播。 ——传承文化根脉，展现时代风采。《山花烂漫时》《人世间》等剧集打动人心，引发观众共鸣；《何 以中国》《中国官箴》等纪录片传承传统文化，反映时代风貌；《典籍里的中国》、"中国节日"系 ...

Core Viewpoint - The "Broadcasting 21 Measures" introduced by the National Radio and Television Administration aims to revitalize the long drama market by lifting restrictions and fostering competition, addressing the significant decline in television drama production from 429 in 2014 to 115 in 2024 [2][8]. Policy Changes and Market Impact - The cancellation of the 40-episode limit is a significant change, allowing creators to maintain narrative integrity and explore complex storylines, as evidenced by the higher user retention rates of seasonal dramas compared to traditional series [3][4]. - The new policy allows for flexible adjustments in the airing of historical dramas based on audience demographics, reducing investment risks for producers and promoting high-quality historical content [3][4]. - The introduction of a "simultaneous review" mechanism is expected to shorten the average review cycle by over 40%, enabling quicker adaptations to audience feedback and reducing costs associated with post-production modifications [4]. Commercialization and Advertising - The reintroduction of mid-episode advertisements is reshaping the profitability of dramas, allowing for creative integration of ads and helping broadcasters offset rising acquisition costs [5]. - The "one drama, multiple stars" policy facilitates collaborative purchasing among broadcasters, reducing costs and increasing the reach of quality dramas to wider audiences [5]. Competitive Landscape and Challenges - The allowance for micro-short dramas to air on television introduces new competition, compelling long drama creators to enhance content quality and engagement to retain viewer interest [6]. - The relaxation of restrictions on importing foreign programs pushes domestic productions to elevate their standards, with leading companies adjusting their production quality to compete globally [7]. Content Creation Philosophy - The "Broadcasting 21 Measures" signifies a shift in the relationship between government and market forces in content production, emphasizing the importance of artistic integrity and audience engagement in the face of technological advancements [8].

Core Viewpoint - The article discusses the return of socialist realism in contemporary Chinese art, exemplified by the TV series "Mountain Flowers Blooming," which reinterprets this tradition with modern characteristics [9][10]. Group 1: Artistic Characteristics - "Mountain Flowers Blooming" represents a revival of socialist realism, which had diminished after the Soviet Union's collapse and the rise of American cultural dominance [10][11]. - The series emphasizes the complexity of social relationships and the collective responsibility of individuals within a community, contrasting with the individualism prevalent in many contemporary narratives [8][11]. Group 2: Narrative and Character Development - The character Zhang Guimei is portrayed as a dynamic figure who mobilizes community support to establish a girls' high school, showcasing the collective effort required to address social issues [5][6]. - The narrative structure of the series allows for a rich portrayal of various characters, each contributing to the overarching goal of education and social improvement, rather than merely serving the plot [6][7]. Group 3: Societal Reflection - The series reflects the harsh realities faced by families in rural China, highlighting issues such as poverty and gender inequality, while also presenting a message of hope and resilience [3][4]. - It illustrates how individuals can inspire collective action and change, moving beyond personal struggles to foster a sense of community responsibility [11][12].

Core Viewpoint - The emergence of "famous scenes" in artistic creation reflects an increasing media awareness and user consciousness, but it also leads to a disconnection in overall artistic expression and the creation of "famous scenes" for the sake of it [1][3]. Group 1: Characteristics of "Famous Scenes" - "Famous scenes" are defined as classic segments in films and dramas that possess strong dissemination power and memorability, contributing significantly to the success of characters and works [1][2]. - The phenomenon of "famous scenes" is prevalent across various media, including stage performances and short videos, where creators attempt to replicate the success of classic scenes [1][2]. Group 2: Impact of Media Trends - The rise of "famous scenes" is a response to new trends in media technology and changes in cultural consumption, driven by the fast pace of life and fragmented leisure time, making attention a scarce resource [2][3]. - The efficiency of dissemination has become a key indicator of a work's influence, with "famous scenes" serving as critical points for engagement and virality [2]. Group 3: Narrative Innovation - "Famous scenes" reflect narrative innovation in popular art, catering to audiences' decreasing patience for traditional storytelling and the growing trend of "speed-watching" and "speed-reading" [2][3]. - The creation of "famous scenes" often involves breaking down narratives into visually intense, emotionally charged segments to meet audience expectations [2]. Group 4: Challenges and Misconceptions - The focus on "famous scenes" can lead to a disconnect where segments gain popularity independently, while the overall work may lack substance, resulting in a phenomenon described as "having lines without a story" [3]. - Some creators may design "famous scenes" based on data analysis, detaching them from the narrative, which can lead to a sense of artificiality and formulaic content [3]. Group 5: Artistic Integrity - Ultimately, "famous scenes" serve as a crucial interface between artistic works and audiences, necessitating a balance between market responsiveness and artistic integrity [4]. - The aspiration is to create substantial works that support memorable "famous scenes," contributing to a vibrant cultural landscape that reflects contemporary artistic expectations [4].

Core Viewpoint - The 2025 China Network Civilization Conference aims to promote the integration of internet culture with local cultural elements, particularly in Anhui province, showcasing its rich cultural heritage and innovative approaches to network civilization [1][2]. Group 1: Anhui's Cultural Integration - Anhui has a long history and rich cultural resources, having produced over 10,000 creative works such as micro-dramas, short videos, online literature, and music in the past year, significantly enhancing the recognition and influence of Anhui culture [2][6]. - The province emphasizes the innovative transformation of traditional culture, leveraging its historical significance and regional cultural characteristics, including Huizhou culture and Huangmei opera [6][8]. Group 2: Promotion of Revolutionary History - Anhui has organized significant creative works centered on revolutionary history, with the popular TV series "Awakening Era" becoming a hit, and has produced over 4,000 online stories related to red history [6][7]. - The province has hosted the China Red Microfilm Festival for seven consecutive years, promoting patriotic education through various media initiatives [6][7]. Group 3: Good Citizen Initiatives - Anhui leads the nation with 1,759 individuals recognized on the "China Good Person List," and has implemented initiatives to cultivate a positive online environment through various campaigns targeting different demographics [7]. Group 4: Central Internet Administration's Efforts - The Central Internet Administration has focused on promoting traditional Chinese culture through innovative online strategies, including the "What is China" brand, which has organized nine events to showcase regional cultures [8][9]. - The administration targets youth by utilizing popular online platforms and engaging them with short videos and interactive content to promote mainstream values [9]. - Future plans include expanding the "What is China" brand through nationwide online promotional activities, emphasizing regional characteristics and comprehensive media dissemination [9].

Core Points - The 2025 Shanghai Jing'an Drama Festival will take place from April 25 to June 2, featuring 20 productions and 84 performances, with over 85% being Shanghai premieres and more than half being international works, including nearly 90% as China premieres [1][3] - The festival aims to elevate from a regional cultural brand to an internationally influential cultural event, showcasing a variety of performances and engaging the community [3] - Notable productions include the UK’s Olivier Award-winning director Rebecca Frecknall's "Julie," which will be performed exclusively in Shanghai, and the French director Philippe Caubère's "Paradise on Earth," which explores the relationship between nature and civilization [5][7] Festival Structure - The festival consists of three main sections: classic performances, city-wide events, and the "One Drama Award" [3] - The classic performances section includes six series focusing on Shanghai exclusives and premieres, while the international vision section features four productions, including "Paradise on Earth" and works by influential artists like Pip Delbono [3][7] Notable Productions - "Julie," based on August Strindberg's 1888 play, will be presented in a modern context with a unique stage design [5] - "The Dark Side of the Moon," directed by Robert Lepage, will explore the space race between the US and the Soviet Union, marking its first performance in China after 25 years of international touring [5][7] - The festival will also feature adaptations of classic works, including Jules Verne's "Twenty Thousand Leagues Under the Sea," showcasing innovative stagecraft [8] Community Engagement - The festival will utilize various venues across Shanghai, including mobile container theaters and community events, to enhance public participation [10] - Initiatives such as the "Drama Passport" will offer discounts and promotional activities to encourage attendance and integrate cultural experiences with local commerce [10]