龙门镖局
网络短视频平台管理规范发布：初审、二播_我的网站
A | 1月9日，中国网络视听节目服务协会今天发布了《互联网短视频平台管理规范》（以下简称《标准》）。
B |
There was no narration explaining the mythology behind palaces rising above an ocean of clouds in the video, nor subtitles identifying the heavenly gates, cranes or tiny figures moving beneath them.
Yet viewers outside China quickly began naming the world for themselves.
Some called it "paradise." Others saw a "Celestial Palace" or an "Immortal Realm" familiar from Chinese fantasy games and television dramas. One user wrote, "Waiting on Wukong to show up," invoking the Monkey King from the Chinese literary classic "Journey to the West," or the hit game "Black Myth: Wukong."
The interpretations differed, but viewers did not seem to need the same cultural knowledge to enter the conversation.
Earlier this month, Chinese foreign ministry spokesperson Mao Ning shared the 33-second AI-generated video on social media with a question: "What does the Chinese heaven look like?"
It opened up a hermeneutic discussion, with responses overseas suggesting a cultural image does not necessarily need to elicit exactly the same interpretation for everyone in order for it to be viewed meaningfully.
"The right to interpret ultimately lies with the audience," said Zhang Zheng, deputy dean of Tsinghua University's School of Journalism and Communication.
People encountering unfamiliar cultures inevitably draw on what they already know, Zhang said. Rather than fully grasping every cultural reference, what matters is whether audiences can encounter the work, understand it and respond to it emotionally.
Before strangers abroad could interpret this particular world, however, it first had to get out of one man's head.
Chen Aijun, 34, is an optometrist in Chengdu, capital of southwest China's Sichuan Province.
By day, Chen leads a quiet, down-to-earth life in a neighborhood optical shop. Inside, he worked among eyeglass frames and optometry equipment. On his computer was another landscape entirely: cloud seas, immense palaces, flying cranes and figures in ancient robes.
Chen's heaven did not come from any single ancient text.
Growing up in the 1990s, he watched "Journey to the West" and later encountered "The Investiture of the Gods," xianxia (immortal heroes) novels and fantasy games. Those stories mixed over time with images of Chinese architecture and landscapes he saw online.
He has never visited nearby Mount Emei, and most of what he knows of Mount Huangshan's famous sea of clouds comes from videos.
What appeared on his screen was therefore not a reconstruction of one fixed mythological scene, but a world shaped by traditional stories already filtered through television, novels, games, the internet and his own memory.
For years, Chen had no way to make that world visible.
He never studied painting, design, photography or 3D modeling. After high school, he joined his parents' optical business and eventually took over the shop.
Generative AI changed the gap between imagining an image and possessing the technical skills to show it to someone else.
More than a year ago, Chen began teaching himself through free online tutorials. In September 2025, he started regularly posting AI videos, and a month later began experimenting with palaces floating above clouds. He has since published more than 200 videos.
The process, however, involves far more than entering a few prompts. The technology lowered the technical threshold, but it did not make the choices for him.
When creating Nantianmen, the mythical heavenly gate, Chen first defines the spatial rhythm and tonal hierarchy, pairing towering architecture and cloud seas with deliberately miniature figures to amplify the celestial realm's grand scale.
If the result does not match the picture in his mind, he tries again. He often generates over 1,000 images a day, revising a single scene repeatedly before moving on to animation, editing, color grading and music.
The machine can generate a thousand possible heavens. Chen still has to decide which one is his.
"AI-produced images can be soulless, and it takes human inspiration and aesthetic sensibility to endow works with warmth and vitality," he said.
Zhang believes Chen's experience reflects a broader shift brought about by generative AI. He said AI is giving people without conventional artistic training access to forms of expression that once required specialized skills. But what they create still depends on what they bring to the tool.
"A person's existing knowledge inevitably shapes how they use AI," Zhang said.
Chen brought his memories to the machine. Viewers abroad, in turn, brought theirs to the image.
"Everyone brings their own associations to these scenes," he said.
If his imagined world had to be reduced to three elements, he would keep clouds, architecture and people. The first two should feel immense, he said, while the last should remain small.
The details are culturally specific, but the visual effect is more immediate: tiny human figures dwarfed by vast clouds and monumental architecture. The responses suggest that viewers did not need to understand every cultural reference to find a way into the image.
Chen has no overseas social media accounts and learned that the video was attracting attention abroad only when friends sent him screenshots.
His life at the optical shop has changed little. He still checks eyesight and fits glasses when customers come in, then returns to his computer when the shop grows quiet.
He now hopes to make longer AI videos with fuller stories. He also wants to visit Mount Emei and, one day, Mount Huangshan.
For years, images of distant mountains and clouds reached Chen through screens. His imagined landscapes later traveled through screens to people he had never met.
Now he wants to see the real mountains and clouds for himself.
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C | 根据该标准，互联网上的短视频平台实现了内容先审核后播出的系统。规范规定，网络短视频平台还应建立总编辑的内容管理责任制，网络短视频平台应根据业务规模建立审核员队伍。网络短视频平台实现了节目内容先审核后播出的系统。所有在平台上播放的短视频在播放前都要经过审核，包括片名、引言、弹幕、评论等。《条例》还规定，网络短视频平台应当履行著作权保护职责，不得擅自剪切、改编、改编电影、电视剧、网络电影、网络剧等各类广播电视视听作品；不得传播各类广播电视视听作品。UGC上传的电影、电视剧、网络电影、网络剧等个人作品，不得取得PGC机构提供的著作权证书。
D | 在此情况下，也禁止转发PGC组织上传的电影、电视剧、网络电影、网络剧等各类音像作品。
E | 以下为《短视频平台管理规范》全文：短视频服务网络平台应符合本规范。通用规范1。短视频业务的网络平台应具备AVSP等法律法规规定的相关资质，并严格在许可证规定的业务范围内开展业务。网络短视频平台应积极引进党政军等主流新闻媒体和组织开设账户，提高短视频内容供给的正向质量。网络短视频平台应建立总编辑的内容管理责任制。网络短视频平台实现了内容先审核后广播的系统。
F | 所有在平台上播放的短视频在播放前都要经过审核，包括片名、引言、弹幕、评论等。为了在网络平台上开发短视频业务，应根据业务规模同步建立政治素质高、业务能力强的审计机构。审核员由省级以上广播电视行政部门培训，审核员人数与上传、播放的短视频数量相匹配。原则上，审核员的数量应该是每天在这个平台上播放的新短片数量的千分之一以上。不符合本准则的，实行责任追究制度。
G | 上传（合作）账户管理标准1。网络短视频平台对在本平台注册账户上传节目的受试者实施实名认证管理系统。对于从组织注册帐户（以下简称PGC）上传的节目，应验证组织代码卡等信息；对于从个人注册帐户（以下简称UGC）上传的节目，应验证身份卡等个人身份信息。网络短视频平台在开通上传功能前，应与本平台注册的组织账户和个人账户签订合作协议，以反映本代码的要求。
H | 对于持有“信息网络通信视听节目许可证”的PC机构，平台应监督其上传的节目是否在许可证规定的业务范围内。超出许可范围上传的，停止与该程序的合作。
I | 未取得“信息网络通信视听节目许可证”的PC组织上传的节目只能作为短视频平台的节目素材，供平台审核和授权。网络短视频平台应建立“非法上传账号列表数据库”。每周三次以上上传包含非法内容程序的UGC账户和主要非法内容程序的UGC账户。
J | 平台应将其身份信息、虚拟人物、账户名称等信息纳入“非法和非法上传账户列表数据库”。各网络短视频平台实现了“非法和非法上传账号列表数据库”的信息共享机制。对于列入“非法和非法上传账号名单”的，各网络短视频平台不得在规定时间内为其开通上传账号。根据非法上传行为的严重性，“非法上传账户名单”中所列人员的禁播日期分别为一年、三年和永久。内容管理标准1.在短视频网络平台的内容布局中，要以弘扬社会主义核心价值观为重点，加强正面话题的设置，加强正面能量内容的建设和储备。网络短视频平台应当履行著作权保护职责。不得擅自剪切、改编电影、电视剧、网络电影、网络剧等广播电视视听作品；不得转发教资会上传的电影、电视剧、网络电影、网络剧等广播电视视听作品；未经著作权，不得擅自剪切、改编。PGC机构提供的证书。禁止转发PGC组织上传的电影、电视剧、网络电影、网络剧等各类音像作品。网络短视频平台应当遵守国家有关新闻节目管理的规定，不得转发教资委上传的当前政治、社会新闻短视频节目；不得传输未经验证的PGC组织上传的当前政治、社会新闻短视频节目。是否具备开办视听新闻节目的资格。
K | 网络短视频平台不得传输未经国家批准的电影、电视剧、网络电影、电视剧片段以及国家明令禁止的广播电视节目、网络节目片段。网络短视频平台对节目内容的审核，按照国家广播电视总局和中国网络视听节目服务协会制定的内容标准执行。技术管理标准1。网络短视频平台应合理设计智能推送程序，优先推荐正能量含量。网络短视频平台应采用新的技术手段，如用户肖像、人脸识别、指纹识别等，确保实名账户管理系统的实施。
L | 网络短视频平台应建立小保护机制，采用技术手段限制未成年人在线时间，建立未成年人家长监控系统，有效防止未成年人沉迷于短视频。
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