Recently, the "Smart Future · Art Mirror Era: 2025 China Television Art Review Week" event, guided by the China Television Association and hosted by the China Television Association Theory Review Professional Committee, was held at Zhejiang University City College. At the event, experts, scholars, and industry elites from the domestic audio-visual industry gathered together to focus on the academic system construction of audio-visual literary criticism, the experience summary and development plan of Zhejiang produced dramas, the high-quality creation path of TV dramas, and the talent cultivation of the audio-visual industry. Together, they opened a dialogue on the theoretical criticism of television and online audio-visual art. At the opening forum, Yan Shaofei, Secretary of the Party Group and Vice Chairman of the China Television Artists Association, stated in his speech: "In today's era of deep media integration and technological fission, television and online audio-visual art are facing unprecedented opportunities, as well as challenges such as the reconstruction of the creative ecology and value leadership. Therefore, building a television art criticism system with Chinese style and global vision, and using the power of criticism to promote creative prosperity and lead aesthetic trends, is a question of the times that we must answer." To achieve a win-win interaction between the film and television industry and the cultural tourism economy, Teng Yong, Vice President of the Radio and Television Planning Institute of the State Administration of Radio and Television, released the "Multidimensional Empowerment of Literary Criticism and Zhejiang Drama Development" seminar held at this year's Art Criticism Week. China Audio Visual Big Data CVB - Analysis Report on the Broadcasting Situation of Zhejiang produced Dramas from 2024 to the First Half of 2025. Based on the content of the report, Teng Yong further analyzed the success code of Zhejiang produced dramas: at the content level, these dramas not only deeply rooted in the texture of the times and conveyed delicate observations of the times, but also integrated the essence of Chinese aesthetics and demonstrated unique cultural connotations; At the production level, the crew presents high-quality audio-visual effects with excellent production standards. In addition to shooting in mature film and television bases such as Hengdian and Xiangshan, some works also enter Zhejiang scenic spots such as Lishui, Jinyun, and Xiandu for filming, making the Eastern scenery of mountains, rivers, and bamboo forests, and the gentleness of Jiangnan water towns deeply rooted in people's hearts, becoming outstanding "phenomenal" representatives in local drama creation. Nowadays, TV dramas, with their unique background settings and framing, have gradually become an important link between the film and television industry and the cultural tourism economy, presenting popular local landscapes. Among them, the creative achievements of realistic themed dramas are particularly outstanding. In 2024, the main filming location of "Small Alley Homes" in Ningbo recreated the lively atmosphere of the 1980s Jiangnan market through the heartwarming daily lives of neighbors. Although the story background of "Small Alley People" is set in Suzhou, more than 90% of the shots were filmed in Ningbo. After its broadcast, it directly popularized scenes such as Haishu Xiushui Street and Jiangbei Porcelain City, attracting a large number of tourists to come and "check in". The Hengdian Film and Television Base has embarked on a path of integration of "film and television+tourism". As a filming location, it is also a national 5A level tourist attraction, attracting tourists from all over the country through the "film and television exploration tour" model, vividly interpreting the win-win interaction between the film and television industry and the cultural tourism economy. The deep integration of film and television creation with cultural and tourism resources is not only a vivid manifestation of content creation rooted in the earth, but also an inevitable trend for the coordinated development of industries. Nowadays, more and more TV series have become the "mobile business card" of local culture, and filming locations have become the "check-in landmarks" that audiences yearn for. The film and television industry and cultural tourism economy have formed a virtuous cycle of mutual empowerment - the former injects traffic and heat into the latter, while the latter provides creative inspiration and development soil for the former, ultimately achieving sustainable win-win interaction in symbiosis and prosperity, opening up broader space for industry development and local economic growth. In recent years, literary criticism has not only become a bridge between works and audiences in the dissemination process of mainstream film and television works, but also helps mainstream works gain both reputation and traffic with powerful and penetrating perspectives. At this year's TV Commentary Week, the topic of "How Literary Criticism Can Help Break the Circle of Mainstream Drama" was discussed. Creators, experts, and scholars shared the influence and guidance of literary criticism on mainstream film and television works. The seminar was hosted by Li Dongdong, Director of the China Yangtze River Delta Documentary Creation Center at Zhejiang University City College. Liu Chun, Associate Researcher at the Institute of Literature at the Shanghai Academy of Social Sciences, stated, "Literary criticism should not be isolated from the industry. Commentators should integrate industry awareness and interdisciplinary perspectives into their texts to achieve effective participation and support for creation." Starting from platform practice, Zhang Heng, Chief Editor of Tencent Video, explored how literary criticism can accurately extract the connotation of works and help audiences understand the value connotation of works. The main melody works are often labeled as' dogmatic 'and' clich é d 'due to their special themes and strong ideological content, which requires literary criticism to break down prejudices. In his opinion, criticism not only interprets the works, but also guides the audience's aesthetics. Screenwriter Rao Jun calls for experts and scholars to establish more professional literary criticism platforms in the online space. "Nowadays, professional literary criticism is imbalanced in the discourse field, especially during the broadcast period of TV dramas. Some works are always drowned out in online insults. We hope that professional literary criticism can objectively and rationally analyze, guide creation, and lead aesthetics." Mainstream film and television works should not be dominated by fragmented and emotional words. Literary criticism should provide rational and in-depth analysis, and lead the audience to establish connections with the works, history, and culture. Excellent reviews not only serve the audience, but also inspire creativity. Through sincere and careful reflection, they promote the continuous improvement of the content and expression of the main melody works. The attending experts believe that only by continuously leveraging the role of literary criticism in guiding aesthetics, deepening understanding, and linking industries can mainstream film and television works be well received and popular. (New Society)