初恋这件小事

AI-generated films enter China’s mainstream awards through new AIGC unit_我的网站

一 |

The 38th Hundred Flowers Awards ceremony is held in Beijing on August 10, 2026. Photo: VCGWhen the 38th Hundred Flowers Awards, one of China's three major film awards, concluded in Beijing on Tuesday, AI emerged as one of the event's new participants, alongside the stars on the red carpet and filmmakers receiving honors.
For the first time in the 64-year history of the awards, this year's edition introduced an AI-generated content (AIGC) recommendation unit, giving AI-generated films a new pathway into a major film award platform.
The move reflects a broader shift in the relationship between technology and cinema.
Rather than replacing filmmakers, AI is increasingly seen as a creative tool that lowers production barriers, expands visual possibilities and allows more people to turn ideas into films, Zhang Peng, an associate professor at Nanjing Normal University, told the Global Times.
The AIGC recommendation unit, launched on June 30, attracted 2,038 entries from around the world in just over a month. After evaluation, six productions received the "Hundred Flowers AIGC Recommendation Honor," covering categories including animation, visual effects, technology, creativity, directing and short films.
For many young filmmakers, AI has opened a new path into the industry. Multiple award-winning creators said at a seminar on the sidelines of the Hundred Flowers Awards that AI tools such as Jimeng and the Seedance model helped them with visual development, shot design, dubbing and maintaining emotional continuity.
Zhang Bohang, a representative of the team behind Yi Meng (A Dream), which won the award for Best Animated Work, said at the seminar that animation had long been a dream for the team, but high production costs had previously made it difficult to bring that dream to life. "The emergence of AI has given us a way to make our dreams come true," he said.
Lu Qiwei, a representative of the creative team behind Yecha Crossing the River, which won the Best Creative Work award, said at the seminar that Seedance allows creators to input characters, scenes, visual styles and directorial ideas, then select and organize the generated material themselves.
However, filmmakers at the event also emphasized that AI does not replace human creativity. Director Liu Shuheng, whose work Out of Control received recognition, said AI had lowered the threshold for creating visual images while raising the expectations for creators' decisions.
"AI makes it easier to create a picture, but it also makes people think more about why they choose to shoot it this way," Liu said at the seminar.
The shift is not limited to AI-powered filmmaking. The awards are also expanding recognition for emerging forms of storytelling.
The 38th Hundred Flowers Awards also introduced a new short-drama recognition section, marking the first time the awards had recognized short dramas. It marked the first time the awards had included short dramas in their recognition system, organizers said.
AI also featured prominently in the event's audience experience. Global Times reporters observed interactive installations that allowed audiences and celebrities to generate personalized digital keepsake photos, while AI was also used during the red-carpet livestream to provide real-time commentary, answer viewer questions and enhance visual backgrounds.
The Hundred Flowers Awards' embrace of AIGC comes as major Chinese film festivals increasingly explore AI's role in cinema.
Since its launch in 2024, the Beijing International Film Festival's AIGC Film Section has been the first dedicated section at a major film festival worldwide to focus on AI-powered image-making. Meanwhile, the Shanghai International Film Festival this year has launched a new "AI Studio" section, aiming to create the first experimental platform dedicated to exploring AI-assisted collaboration in film production.
From competition entries to audience experiences, these developments suggest that AI is no longer just a behind-the-scenes production tool, said Zhang.
"AI is gradually moving beyond being a filmmaking tool and becoming part of the broader film festival ecosystem," Zhang noted.
"From AI-generated films to short dramas, the move also shows how China's mainstream film platforms are embracing emerging formats and recognizing new forms of storytelling."
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二 |

自菲律宾小马科斯政府挑起南海争端以来，即使有美国在背后撑腰，可在拥有强大实力的中国面前没能讨到任何好处，反而还被中国海警的水炮滋惨了。眼见正面、偷袭都刚不过中国，恼羞成怒的菲律宾只能拿一艘中国造的船只撒气，美其名曰击沉“中国船只”。

对于菲律宾这种笑skr人的做法，中国外交部的回应非常有意思。

三 | 据《环球时报》5月7日消息，中国外交部发言人林剑表示，任何军演都不应针对第三方或损害第三方的利益，不应损害地区国家间互信，破坏地区和平稳定。有关国家应当停止海上的侵权挑衅，停止挑动对抗，多做有利于促进地区和平稳定的事，而不是使用精神胜利法搞自我安慰。

诚如林剑发言人所言，美菲这波骚操作完全是阿Q做派，说明他们拿中国无计可施。

在当前中菲关系紧张的背景下，菲律宾在军演中拿一艘中国造的破船当做靶船，一边说“这不是故意的，也不意味向某国发出信号，军演更不是针对包括中国在内的任何外国”，一边通过西方媒体大肆宣扬和放大“击沉中国船只”这一符号，简直就是在把别人当傻子。

菲律宾之所以用如此低级的招数，就是为了恶心中国。

四 | 其行为就像是一个看着别人办酒席想进去蹭好吃好喝的泼皮无赖，被主人家赶出去后，为了羞辱主人家，远远地站在主人家门外，对着自己脚上穿着的破鞋子吐口水，而这双破鞋子，还是主人家当年处理给他的。

这艘靶船是菲海军的第一艘补给舰，早在2020年就已经退役了，只要不再搞所谓“坐滩”的那一套把戏侵犯中国主权和领土完整，菲律宾想怎么处置都行，那是它的自由。中国不会干涉，也没有兴趣去干涉。

五 | 中国造的船卖到世界何止千千万，想怎么处理那是买主的事。

我们看到，中国方面压根就不想搭理菲律宾这种在中国面前上蹿下跳、故意恶心人的行为，甚至还用了“使用精神胜利法搞自我安慰”来形容菲律宾，让小马科斯政府大晚上躲在电脑前对着屏幕上的美女，露出淫荡笑容的猥琐形象瞬间生动起来了。

六 |

虽然菲律宾的猥琐恶心不到中国，但在美菲联合军演中的另外一个举动还是值得关注。

5月5日，菲军方发言人在facebook上发了一张美菲联合军演图上推演的图，一艘外形酷似中国海军“辽宁”号航母的水面舰艇兵牌摆在了菲律宾“12海里领海基准线”以内，对面的则是一些直升机、水面舰艇和貌似是美国“悍马”反舰导弹发射车的兵牌，并配上文字称“我们的演练已经结束，我们随时准备好执行”。美菲联合军演以谁为作战对象，想干什么，都已经在这张图里了。

中国从来都是世界上最爱和平、最遵守国际规则的国家，同时也是最讲究“以理服人”的国家。若非不是中菲开战，包括“辽宁”号航母在内所有的中方舰船是绝对没可能开进菲律宾12海里领海基线之内的。再说了，美菲在此次联合军演中所能拿出来的军事力量，完全威胁不了“辽宁”号航母战斗群。

把中国海军“辽宁”号航母的水面舰艇兵牌摆在了菲律宾“12海里领海基准线”以内，这种完全没有半点军事常识的做法，主要有两个方面的目的：一是刺激菲律宾对防务安全的焦虑，向菲律宾展示美国同它之间“坚不可摧”的关系，煽动、蛊惑菲律宾更加疯狂地挑衅中国；二是向国际社会传递一种“中国霸凌弱国”的假象，继续炒作“中国威胁论”。

在美国的蛊惑之下，菲律宾下一步挑衅中国的动作必定会更加疯狂。

七 | 在这里要奉劝小马科斯政府，看看那些个曾经为美国卖命的国家，现在哪一个不是在泥坑里挣扎不出来？

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Published on:03:44:17