1. Media is becoming a key element in literary activities. The mediatization of creation is a driving force for significant changes in literary production, enabling creative activities to circulate across media, industry chains, and time and space. The collaboration between new media and literature has given rise to narrative, writing, and creative modes that are different from print media. It has also made the content, process, and forms of creation more diverse, with multimodal, cross genre, and mixed genres constantly emerging. At the same time, the expression forms and writing modes of creators have become more flexible, constantly radiating new vitality with the updating of media technology, accelerating the "emergence" of literature, and enabling works to better showcase the living scene and emotional atmosphere of the times. In this process, mediatization has led to the continuous evolution of existing text types, narrative styles, and writing modes, and the emergence of new creative methods and writing concepts. Contemporary writers are brave enough to use new media to create new literary and cultural innovations. American scholar Abrams once proposed the four elements of literary activity, namely the work, the world, the writer, and the reader. Today we have to carefully examine the reality of media: is it necessary to upgrade the "four elements" to the "five elements" and include "media"? The media has profoundly influenced literature, and the transformation of media and readers' reading and aesthetic styles will in turn dominate and drive the transformation of literary forms. Readers are no longer just passive recipients, but also active participants in the creative process. Works are open and fluid, like hubs that use their literary qualities to connect with social and contemporary contexts, engaging in effective dialogue with history, reality, and daily life. In the era of new media, literary creation is no longer a one-way process, but a two-way or even multi-directional process. Only through sufficient interaction with history, reality, and the future can literature reactivate its agency, expand its boundaries, and constantly expand its growth space. The comprehensive involvement of media is a new trend in contemporary literary production. This is not only a change in literary graph or emotional structure, but also a new change in literary ecology and literary concepts. For example, in the context of new media, more ordinary people pick up paper and pen and engage in self oriented ethnographic writing. The concept of "writing for everyone" has been widely recognized, and their writing presents characteristics of self transmission, sincerity, and authenticity, providing heterogeneous experiences. The style is simple and fresh, bringing groups such as gatekeepers, couriers, deliverymen, and cleaners into the literary field, bringing literature closer to real life, and injecting new vitality into the overall literary ecology. At the same time, the posture and image of writers are also undergoing new changes. Swiss scholar Vincent Kaufmann, in his book "Landscape Literature: The Influence of Media on Literature," points out that "contemporary literature needs to cater to the landscape effect more than any other historical period. As a writer, if he wants to occupy a place in the literary world, he needs to appear in public, prove himself in front of the media, and acknowledge his true existence..." Literary landscape is the result of continuous cross-border and integration of literary production, which means that the influence of literature goes beyond the literary field itself and enters different cultural value chains, industrial chains, and public cultural life. The TV drama adaptation of the novel "Blooming Flowers" has gained popularity, which is undoubtedly the mutual achievement of writer Jin Yucheng and director Wong Kar wai. However, the dissemination of short videos has also played a great "breaking circle" effect, and the entire production and dissemination logic behind it is changing existing rules. Through landscape design, literary resources can be continuously transformed into shared emotions, creative experiences, and aesthetic participation. 2. In the context of new media, contemporary literature continues to explore deeper and climb higher, becoming more vivid and vibrant. However, writers' creations have not fallen on the surface, nor have they been obsessed with "playing around", nor have they completely lost their direction. Instead, they constantly seek new possibilities, explore deeper and climb higher, adhere to their works, and strive to provide readers with more abundant and rich spiritual nourishment. Observant readers can observe that literary narratives about "what is China" are becoming a continuous writing phenomenon. Works such as' From Dadu to Shangdu - Rediscovering China on the Ancient Road ',' Forty Degrees North Latitude ',' Records of Shanghe ',' Journey to the Western Highlands', 'Journey to the West', and 'The Origin of the Han River' are all profound explorations of history, the present, and oneself independently conducted by the author. They strive to touch history and appreciate reality between distant mountains and nearby waters, striving to connect their lives with a more magnificent existence. Zhuang You is a walking of ideas and culture. Although such actions are individual, the walking of writers, literati, and scholars presents a unique cultural landscape and cultural significance. Contemporary writers touch the texture of Chinese civilization through walking, rediscovering a familiar and unfamiliar China while walking. By seeking new mountain and water spirits and cultural traditions behind them, they reconstruct a meaningful world through dialogue with the present. Contemporary literature is better at focusing on grand historical propositions in terms of content, and its perspective is also broader. Chinese excellent traditional culture refers to the subject matter category that writers favor and pay attention to. Under new historical conditions, excellent traditional culture engages in a full dialogue with the current living reality, thereby unleashing new and powerful vitality. Contemporary writers consciously shoulder their mission, using appropriate methods to introduce "tradition" into the "era", and introducing transformed traditions into contemporary life, making them a living part of our daily lives. Although "virtual reality" has surrounded us, writers naturally return to our collective memory of history and culture to search for its origins, pivot, and courage. For example, it is an important methodology for Chinese people to explore the relationship between themselves and the outside world to distinguish things by taste and to discuss Tao by taste. In his book "Chinese Thought: From Confucius to Paoding", the British scholar Hu Side wrote: "Few cultures place more emphasis on food preparation and consumption than Chinese culture. Such a fascination with food has been consistent from ancient to modern times, reflecting the sensitivity of Chinese people and the general way of life of Chinese people: human culture experiences and explains the world through taste and digestion." Jiang Yun's "Northern Kitchen", Wang Anyi's "A Knife, A Thousand Words", Ge Liang's "Swallow Food" and other works spontaneously present a daily world of "I eat because I am here" with taste, while seeking a way to deepen the Chinese cultural tradition and long history Secret passage. This kind of creation continues endlessly and presents a broad historical and social perspective, forming a neoclassical narrative centered on "taste" in a process of modern and classical, individual and historical cycles. In the novel "Yan Shi Ji", Ge Liang reconstructs the philosophy of cultural tradition and daily life through "taste" in a gentle and subtle way. "Taste" is invisible, but it can connect with the depth of history and the complex social reality. At the same time, "taste" itself has become touchable and perceptible, and finally gets its shape and weight, establishes a caring world, and demonstrates the Chinese outlook on life. The return of "taste" in literature actually reminds us that in the accelerating context of the times, our sensitivity needs to rely on "slow life" to recover, striving to return to daily life without falling into mediocrity, maintaining individual sensitivity between "distance" and "place", between "taste" and "way". Taste "is a pathway for individual memory to enter collective memory. Xie Mian's collection of essays "Foraging for Food" begins with the following statement: "Eating and drinking are pleasures of taste, and emphasis is placed on taste. Taste is a proposition, and good food should have taste, sufficient taste, and sufficient flavor, firmly rejecting boredom. But when an article talks about food and taste, isn't it also about people and the world? The purpose is not just to taste delicious food, nor is it a "way of feasting", but a "sense of timing". Taste is a realm of pursuing life. From the perspective of writing space, both local literature and urban literature are presenting a new atmosphere. The urban-rural issue is the fundamental problem of Chinese rural literature, and the new rural narrative under the integration of urban and rural civilization is committed to constructing a world of daily life and meaning. The current Chinese rural literature is more often understood within the dual structure of urban and rural civilization. In addition to "rushing towards the city" and "looking at the countryside in the city", contemporary local literature focuses on "urban-rural integration". It can be said that writers have observed the promising prospects of rural revitalization in the context of urban-rural integration, thus presenting a new face and posture for local literature. In terms of urban literature, today's writers are investing their energy in writing biographies of cities, in fact, searching for traditional order for cities, sorting out historical context, and making "cities" the protagonists of their works. A city history is not only a modern civilization history, but also a modern spiritual history, and the writing of city biographies is to preserve it. Such biographies, although not lacking in fiction, mostly pursue rationality and self consistency, thus bringing about a new kind of reality. More importantly, through the author's threading, the scattered urban history has gained flesh and blood, and the chaotic urban stories have an inherent spiritual connection. In short, contemporary writers constantly return to the world of common sense and reiterate the importance of using common sense and humanity as the foundation of writing; On the other hand, they are also willing to detach from the familiar daily life world, go into the wilderness, integrate into the world, dialogue with history, and present a writing posture that is oriented towards tradition, the times, and the world. (New Society)