⊆ Hot Spots Observation •Online Influencers and Followers: Multi-dimensional Analyses of A Cultural Phenomenon (II)

■ "Internet Celebrities" and "Fans" in Online Culture （PP. 4–10）Zhang Yiwu

Abstract: This article explores the relationship between "internet celebrities" and "fans" in online culture, analyzes the characteristics and forms of this relationship in the current network environment, highlights the influence of the development of online videos, the prosperity of social media, the popularity of smartphones and changes in profit models, and points out the role of the characteristics of "daily life" and "interactivity".

Keywords: internet celebrities, fans, daily life, interactivity

■Decoding Overseas Influencers' Follower: Revenue Double Helix （PP. 11–21）Song Yi

Abstract: In the era of intelligent media, information overload has turned attention into scarce currency. Overseas social platforms and influencers are jointly rewriting the global information-consumption chain through a triadic coupling mechanism of "algorithm-affect-monetization." Drawing on multiple cases, this article dissects how social media influencers engineer high-arousal personas to trigger emotional resonance, while platforms instantaneously capture interaction signals and amplify traffic, forging a self-reinforcing "follower-revenue double helix." Approaching the end of this article, the author proposes a seven-step overseas marketing roadmap: platform matching, persona forging, three-dimensional content, algorithmic friendliness, partnership leverage, data-driven iteration, and a closed commercial loop, offering an actionable pathway for the enhancement of culture-specific international communication efficacy.

Keywords: social media influencer, fandom, influencer economy, China travel, international communication

■The Evolution and Development Logic of the Concept of "Internet Celebrity Economy":An Analysis Based on Economic Theory （PP.22–30）Zhang Yaguang

Abstract: The concept of the "internet celebrity economy" has evolved from individual IP "internet celebrities" to diverse forms of representation. Its connotation and extension have continuously expanded with the advancement of digital technology and changes in economic structure. The "internet celebrity economy" is a new economic form that uses digital technology as its underlying framework and systematically captures and transforms social attention through the production of symbolic, scenario-based, and emotionally engaging content. It is the result of the reorganization of production factors in the digital economy era and a new paradigm of value creation generated by the resonance of social capital and digital technology. The "internet celebrity economy" is of great significance in solving employment problems, boosting consumption, promoting industrial upgrading, and realizing the "two innovations" of China's excellent traditional culture. At the same time, the "internet celebrity economy" also suffers from market failures such as industrial monopolies, vulgar content, and algorithmic "hijacking" of public attention. Therefore, we should adhere to the governance principle of balancing promotion of development with regulatory norms.

Keywords: internet celebrity economy, attention economy, digital economy, development logic, market failure

■A Critical Analysis of the Logic Behind Wanghong Fame and the Mechanisms of "Wanghong–Fan" Culture（PP. 31–41）Cao Shule

Abstract: Starting from the digital-era phenomenon of "wanghong" (internet celebrities), this article examines how social media reconfigures the traditional concept of celebrity, and dissect the generative mechanisms and the logic of fame behind wanghong' grassroot rise, persona construction, online traffic maximization, and emotional labor. It analyzes the symbiotic relationship between wanghong and their fans within the "wanghong–fan" culture and the attendant values and risks. The study argues that this culture promotes knowledge democratization and new economic models, yet also precipitates persona collapses, value deviations, legal breaches, and blind fan followings. The wanghong phenomenon could be regarded as a microcosm of broader digital cultural and social change, requiring risk mitigation to foster a healthier online ecosystem.

Keywords: wanghong (internet celebrities), influencer, symbolic capital, fan culture, emotional labor, spectacle society

■Reconstructing "Artistic Democracy": 20 Years of the Internet Celebrity Phenomenon （PP. 42–54）Lin Wei

Abstract: The internet celebrity phenomenon, conceived as an aesthetic issue, has been around for 20 years, which has gone through four stages: deviation, engagement, empathy, and return, demonstrating the gradual merging of the online and real worlds, culminating in a convergence under the name of new popular literature and art. Taking literary and artistic influencers for example, it can be seen that influencers are a significant manifestation of artistic democracy. At the content level, their democracy is primarily reflected in the allocation of perceptual resources; at the technical level, their democracy is mainly manifested in fragmented production, unpaid labor, and personalized characteristics. The aesthetic orientation of the internet celebrity phenomenon is to appeal to both the elite and the masses within the context of new media. Its purpose is to create an aesthetic space where diverse groups can present their own models and engage in full dialogue. The phenomenon of internet celebrities indicates that artistic democracy has entered an era of representative democracy dominated by the masses rather than being dominated by artists. New popular literature and art will further promote this form towards "direct democracy" in art.

Keywords: internet celebrity/influencer, artistic democracy, media aesthetics, new popular literature and art

⊆ Incisive Commentary on Literature and Arts: A Critique of the Phenomenon of "Flooding of Large-Scale Stage Productions"

■ The Loss of Artistic Essence and the Alienation of the Creative Performance Ecosystem:Reflections on the Phenomenon of Large-Scale Stage Design and Production for Dramas （PP. 55–58）Mu Hailiang

Abstract: The phenomenon of large-scale stage design and production for dramas, which is becoming increasingly prevalent, prioritizes "things" over "people" and puts the cart before the horse. This deviates from the spirit of Chinese aesthetics and squeezes out performance space for actors, leading to a loss of the essence of theatrical production. The large-scale stage design and production causes a waste of artistic resources, serves as a "passport" for mediocre works, and leads to a vulgarization of the relationship between the audience and the performers, which reflects the alienation of the creative and performing ecology of theatrical art. This issue warrants a deep reflection within the theatrical community. While, opposing large-scale stage design and production is not a one-size-fits-all approach, nor does it imply a rejection of stage innovation and technological empowerment. Instead, it requires upholding the essence of art, adhering to artistic principles, and allowing technology to enhance art.

Keywords: large-scale stage design and production, the essence of theatrical production, creative and performing ecology

■ Large-Scale Is Not Wrong, but Blind Large-Scale Is （PP. 59–62）Zhao Jianxin

Abstract: Strictly speaking, there's no "large" or "small" distinction in stage design and production, only "good" and "bad". No matter whether the stage design and production is "large" or "small", as long as the "appropriate" can be. The so-called "appropriate" first refers to aesthetics, judging whether it helps to enrich the stage image and deepen the theme of the play; and the second to the market, judging whether the production cost is balanced with its box office performance. The phenomenon of large-scale stage design and productions should be approached rationally and objectively. We should not simply oppose those stage design and productions that are pleasing to eyes and ears and that enrich the images and deepen the themes. Conversely, we should firmly oppose those stage design and productions that are bluffing and attempt to cover up the weakness of the images and the emptiness of the themes with the accumulation of technologies.

Keywords: large-scale sage design and production, aesthetics, market

■ Stage Design and Production Is to Illuminate, but Not to Undermine the Performance （PP. 63–67）Zhang Zhiwei

Abstract: The history of the evolution of drama is actually also a history of the evolution of theater space. The most significant change in theatrical creation is the rapid development of stage styles with the help of technology. However, the charm of drama lies in the "wonder" triggered by the fermentation of the theater space and people in the audience. If the audiences who walk out of the theater are merely amazed by the complex external appearance without experiencing inner spiritual satisfaction, then all forms will lose their meaning. In recent years, with the development of science and technology, the tendency to excessively pursue visual spectacles and extensively use mechanical devices to create new forms has not only appeared in "immersive drama" that integrates culture and tourism, but also spread to various types of drama creation at present. However, truly excellent stage design and production adheres to the creative principles of different theatrical genres and is designed to better serve the performance.

Keywords: large-scale stage design and production, creative principle, aesthetic spirit of opera, performance

■ The Influence of Different Drama Views on Stage Design （PP. 68–71）Tao Qingmei

Abstract: At present, the expensive production costs and complicated stage settings of stage plays have not only resulted in enormous waste, but also do not appear to have significantly enhanced the artistic expression of stage art works very well. How can we solve the stubborn problem of large-scale stage design and productions? This article argues that, beyond economic issues, we must also recognize that stage art itself is a very complicated issue, involving multiple aspects such as social development and theatrical artistic concepts. This article also emphasizes that the core of stage art is to meet the inherent needs of drama itself through the understanding of stage art in different eras and different artistic concepts of Chinese drama, and the relationship between stage art and performance. On the Chinese theatrical stage and under the influence of different perspectives on drama, how to unify the understanding and application of stage design and production to better serve theatrical creation artistically is a new task facing today’s drama creators.

Keywords: large-scale design and production, stage fine art, perspective on drama

■ Four Reflections on the "Large-scale Stage Design and Production" （PP. 72–75）Liu Xiaozhen

Abstract: This essay analyzes the underlying causes of the phenomenon of "large-scale stage design and production" on four perspectives: creative mechanism, aesthetic perception, creative ability, and artistic conviction, among which it identifies flaw, deviation, imbalance, and repetition. Furthermore, the essay shed light on expectations for artistic creation and stage aesthetics by outstanding works and their creators.

Keywords: large-scale stage design and production, creative mechanism, aesthetic perception, creative ability, artistic conviction

⊆ Diverse and Extensive Art Phenomena

■ “Walking in the Wonderland: LBE VR's Industrial Predicament and Artistic Possibility （PP. 76–88）Qin Lanjun

Abstract: LBE VR is built on the experience of "watching while walking." This "embodied" interaction not only echoes the "body turn" of recent years but also promotes the marriage of LBE VR and tourism, an industry also based on "watching while walking." By riding on "tourism" LBE VR has effectively reduced its threshold in user education, infrastructure, business models, and other aspects, leading to its rapid growth since 2023. However, current LBE VR has shown a trend of homogenization. "Watching while walking" has been captured by the "image thinking" of the image industry and the "tourism gaze" of the tourism industry, thus being reduced to "visual spectacles" lacking physical dimension and "entertainment consumption" devoid of depth. LBE VR needs to break out of its current framework set by "tourism" and unleash more diverse possibilities of "watching while walking." First, it should pay more attention to the physical dimension and body scale of "watching while walking." Second, it should add multiple levels of "journey" metaphor to the experience of "watching while walking." In this way, LBE VR might become more open to diverse content beyond tourism, evolving into a new medium with the capacity for artistic expression and cultural carrying.

Keywords: LBE VR, watching while walking, body, "journey" metaphor

■ The Mechanism of Modern Fashion's Aesthetic and a Preliminary Exploration of Its Sinicization Paradigm Transformation （PP. 89–101）Jin Yingcun

Abstract: With the intensifying global competition in cultural soft power, the contradiction between Western fashion theory's discursive hegemony and the erosion of indigenous cultural subjectivity has become increasingly pronounced. As a core driver of cultural innovation and industrial upgrading, aesthetic practices in fashion urgently require the construction of a theoretical paradigm and practical pathway with Chinese characteristics. This article deconstructs the philosophical foundations of Western fashion aesthetics, revealing threefold dilemmas arising from the subject-object dichotomy, linear temporality, and colonial modernity. Drawing on Chinese philosophical concepts such as the "unity of essence and function" (ti-yong bu-er) and the "dynamic continuum of vitality" (sheng-sheng zhi liu), it proposes a fourfold theoretical framework of "Essence-Time-Body-Function". This framework aims to provide theoretical support for building an autonomous knowledge system of fashion rooted in China's unique cultural and intellectual traditions.

Keywords: fashion aesthetics, Sinicization paradigm, essence-function perspective, spatiotemporal folding, qi-yun sheng-dong (vitality and dynamic rhythm)

⊆ Creation Discussions

■ Wurina: Exploring the Path of Integrity and Innovation in Ewenki Folk Songs （PP. 102–110）Interviewed by Zhao Xingyuan

⊆ Interview with Renowned Experts

■ Portraying Life in Colorful Ink and Brush: An Interview with People's Artist Wang Meng （PP. 111–122）Interviewed by Niu Xueying

Inside Front Cover 

Chinese Literary Critics: Ma Lin

Inside Back Cover

Recommendation of Important Academic Organizations in Literary and Art Theory and Criticism：Chinese Society for Chinese and Foreign Literary and Art Theory

Back Cover 

Recommendation of Woodpecker Series: A Collection of Works by Literary and Art Critics