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九年打假屡禁不止 “名人伪作”乱象亟待多方共治_我的网站

A |           　　近日，知名作家余华一个月内两次公开“打假”引发全网热议。从辟谣市面流通的假冒亲笔签名图书，到再度澄清散文《家徽》并非自己作品，特别是后者长达九年的持续辟谣，却始终挡不住虚假信息的肆意传播，让余华无奈坦言，这已然变成一道“无解的题”。     　　文学乌龙如何愈演愈烈      　　据了解，散文《家徽》是湖北作家胡成中1995年发表的原创作品，早年因音频栏目错误署名，被误归为余华所作。

B | 从2017年起，余华多次公开对这个错误予以澄清。

C |      　　辟谣之下，错误信息非但没有消亡，反而持续扩散蔓延。    

    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."
。不仅各大社交平台长期留存错误署名文稿，这篇作品还流入中小学语文试卷、教辅资料，成为固化的“伪常识”。

D |      　　余华的遭遇并非个例。

E | 近年来，莫言曾专门发文集中辟谣各类冒名作品与伪金句，鲁迅、杨绛、张爱玲等已故文学大家，更是长期沦为网络伪语录的“重灾区”，各类杜撰名言、嫁接文章泛滥成灾，名人被冒名侵权已成网络文化常态乱象。     　　AI放大传播恶性循环      　　名人伪作、虚假署名乱象屡禁不绝，核心根源是网络流量逻辑催生的低成本、高收益灰色产业链。对于部分自媒体和流量从业者而言，只需将普通作品篡改署名、嫁接知名作家名号，或是凭空拼凑杜撰名人金句，就能借助名人IP的影响力，大幅提升点击量、转发量与传播度，进而收割流量、实现商业变现。     　　与轻松牟利的造假方形成鲜明对比的是，被侵权的创作者维权成本极高。无论是余华九年反复辟谣耗费的时间精力，还是北京鲁迅博物馆专门搭建名言检索系统甄别虚假语录的投入，个体及小众机构的纠错速度，始终追不上网络信息裂变式传播的速度。     　　人工智能的普及，进一步加剧了这一乱象的危害。当前多数AI大模型抓取网络公开语料时，无法自主甄别内容真伪。

F | 经过AI二次加工、重构生成后，原本的谬误被进一步固化、扩散，让虚假内容变得更逼真、更具迷惑性，彻底模糊了原创与造假的边界。     　　乱象侵蚀文化生态      　　肆意泛滥的名人伪作，是对原创知识产权的严重侵害，更是对整个网络文化生态的持续侵蚀。对于原作者而言，辛苦创作的劳动成果被随意挪用、署名权被无端侵占，合法权益长期得不到保障;对于被冒名的名家来说，杜撰的文字曲解其思想观点，扭曲其公众形象，让无辜的他们承受不必要的误读与争议。     　　普通网民更是直接受害者。网络用户难以甄别内容真伪;而流入试卷、教辅、出版物的虚假文章，会持续误导青少年的文学认知与价值判断，误导其建立错误的文学常识。     　　当造假成本低廉、维权辟谣举步维艰，当流量可以凌驾于真相与原创之上，不仅会打击创作者的创作热情，更会让网络文化陷入浮躁、失真的困境，破坏健康的内容创作与传播秩序。

G |      　　需要多方协同共治      　　守护原创真实、整治网络造假乱象，需要平台、AI企业、传播机构多方发力，构建源头治理、全程管控的长效机制。     　　内容平台需切实扛起主体责任，针对知名作家、公众人物的相关内容，加大筛查审核力度，对查实的冒名伪作及时下架清理，阻断二次传播。电商平台需严格核查名人文创产品资质，严厉打击假冒签名图书等牟利行为。     　　AI内容服务商需补齐技术短板，通过提高权威信源权重等方式，杜绝虚假内容被二次生成。     　　此外，教辅编纂、媒体传播、大众转发等各个传播环节，都需树立溯源求真意识，摒弃拿来即用的惰性思维，主动核实内容来源与作者信息。唯有多方共同努力，才能真正肃清网络伪作乱象，守护原创价值，筑牢真实、健康的网络文化根基。

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