In recent years, digital technology has become a driving force for film and television creation worldwide, providing wings of imagination for both domestic and foreign film and television creation, as well as building colorful bridges for cultural exchange between China and foreign film and television. Recently, the Institute of International Communication of Chinese Culture at Beijing Normal University held an international academic conference on "Cultural China and the Future of the World". Cultural scholars focused on the exchange and dissemination of Chinese and foreign cultures, exploring how to improve the efficiency of film and television cultural exchanges through digital technology, and injecting vitality into future world film and television exchanges and mutual learning. Digital intelligence technology expands the depth and breadth of cultural exchange. The so-called digital intelligence technology, which is the integration and application of digital technology and intelligent technology, is a technological system that achieves efficiency improvement, resource optimization, and innovative development through algorithm driven, data-driven, and intelligent decision-making based on technologies such as big data, artificial intelligence, cloud computing, and the Internet of Things. Among them, artificial intelligence (AI), as the most widely applicable key technology, reshapes the dissemination path of film and television cultural exchange in the interweaving and interaction between AI generated content (AIGC) and the film and television industry. For example, digital technology injects new vitality into the creation of Chinese cultural themes. Empowered by digital technology, Chinese cultural themes are presented in spectacular images to audiences at home and abroad. Through streaming media platforms, social media and other communication channels, traditional culture is popularized overseas, allowing audiences to deeply understand the spiritual connotation of Chinese culture. The movie "Fengshen Part 1: Chaoge Fengyun" has over 2300 shots and more than 1700 visual effects shots, which creatively depict scenes and images that were originally difficult to express in mythological stories. This marks a significant improvement in the level of Chinese film CG special effects creation. The work has been released in more than 40 countries and regions overseas and has received praise from audiences. In addition, VR full sensory interactive entertainment based on film and television IP is emerging worldwide, covering multiple sensory interaction technologies such as touch, smell, and hearing, achieving a transformation of film and television communication and dissemination from "seeing" to "walking in" experience. The VR experience exhibition "The Vanished Pharaoh" jointly launched by teams from France and the United States uses offline large space entertainment experience technology to showcase magnificent scenery such as pyramids and the Nile River, which is widely popular. Professor Zhou Wen from Beijing Normal University introduced the "AIGC Creative Communication Video" she and her team produced, which combines AIGC technology with the aesthetic concept of Chinese characters and the spatial structure of the central axis, showcasing audio-visual images that embody the philosophical ideas of "balance and harmony" in Chinese culture. The film was screened at the Vienna City Hall in Austria, sparking discussions among the audience and showcasing the aesthetic charm of traditional Chinese culture on the world stage. Digital technology also drives the overseas dissemination of mainstream film and television creations. Digital creation enhances the visual impact and infectiousness of works, especially making science fiction themed works more modern. These works rely on the widespread dissemination of global streaming media and social media platforms, becoming a new form of cultural exchange between Chinese and foreign film and television. The movie "The Wandering Earth 2" uses over 2800 visual effects shots and over 1000 individual facial special effects shots to enhance the visual presentation of the work and gain popularity among overseas audiences. On overseas social media platforms, various forms such as online discussions, secondary creations, and imitation videos allow the Chinese culture carried by the film to transcend borders and move audiences from different cultural backgrounds. The science fiction TV series "The Three Body Problem" adopts technologies such as live action capture, CG rendering, VR scenes, 3D digital models, Arnold lighting, etc., to enhance the level of domestic science fiction film and television creation. The work has been distributed to regions such as the Americas, Europe, and Oceania, and foreign netizens have praised it as "unbelievably beautiful." This shows that the widespread application of digital technology has greatly enhanced the influence of film and television culture. In the era of digital intelligence, there is an urgent need to solve the problem of "realism" in the dissemination of film and television culture. For the exchange of film and television culture between China and foreign countries, is it better to use more digital technology? Experts generally believe that digitization is a double-edged sword. On the one hand, cutting-edge technologies such as virtual scenes, digital special effects, motion capture technology, and augmented reality are gradually demonstrating their enormous application capabilities in external communication. However, on the other hand, behind the infinite possibilities of technological intervention, there are multiple risks and challenges hidden. For example, "realism" as the core issue of film and television storytelling has become an increasingly debated focus in this context. The current review of AIGC's dissemination content and the prevention mechanism for its generation of false information are still weak Professor Wang Fu from the Communication University of China bluntly stated. AIGC software continuously lowers the threshold for use in the rapid iteration of versions and performance, but comes with risks such as data abuse, malicious use, and false information. The collage of global cultural elements by AIGC has also triggered the phenomenon of "cultural dislocation", which refers to the arbitrary grafting and cross-cultural mixing of different cultural elements without the original context, resulting in the dilution or even dissolution of historical memory and cultural connotations. In 2023, a video called "Japanese Street Scene Shooting" was widely circulated on social media platforms. This video is generated by AI blending East Asian cultural elements including clothing, architecture, and character features. This cross-cultural image blurs the audience's understanding of a specific culture, leading to ambiguity in cultural identity and dilution of historical information. The cultural exchange driven by digital technology also tends to be dominated by a cold and rigid technological logic. The excessive emphasis on technological attributes has replaced real interaction and emotional resonance with stunning visual and immersive experiences, leading to a subtle "de contextualization" and "shallowization" of cultural exchange. In this regard, the academic community advocates for technology to return to the core value of "human centeredness". As Professor Wang Yiwen from Beijing Normal University said, "We have entered the digital age, where many things can be simulated, but real and authentic emotional experiences are always the most fundamental." In the context of visual cultural exchange, the application of technology must be rooted in real emotional needs and cultural significance, and personalized and authentic technology design must inject more warm emotions into interpersonal communication, so as to achieve true cultural dialogue and emotional resonance. The more we enter the era of digital intelligence, the more we need to pay attention to the exploration and dissemination of traditional culture. Digital technology is changing the pattern of film and television communication. Looking at the current trend of global film and television exchange, works that not only fully utilize technological capabilities but also adhere to local cultural characteristics often have good dissemination effects and great influence. Professor Hu Zhifeng from Beijing Normal University believes that integration, scenarization, and immersion are the three major trends in the development of film and television culture in the digital age. But while we are using digital technology to assist in the dissemination of traditional Chinese culture, we should also be aware that technology is only a means and must be deeply integrated with culture in order to exert its due dissemination effectiveness. The exchange of film and television between China and foreign countries cannot fall into the trap of "technology only". We need both technological support and a call for face-to-face and close communication. A firsthand experience measured by footsteps is better than many fleeting moments on the screen Huang Huilin, a senior professor at Beijing Normal University, sighed during the meeting. She and her team planned and implemented the "Watching China · Foreign Youth Image Program" for 14 years, inviting 1100 foreign youth from 102 countries to complete 1041 documentary short films and winning 198 international awards. This activity not only brings cultural exchange and emotional resonance beyond national borders, but also provides new possibilities for real-time content creation and overseas dissemination. It has become an important bridge and link that closely connects China with the world, Chinese youth with foreign youth. Mutual understanding knows no distance, and there is a bridge for mutual learning. The role of digital technology in cultural exchange is not just a cold technical tool, but a bridge that spans time and space, connects the soul, and is a catalyst for deepening cultural dialogue between people, making every moment of cultural exchange full of emotional warmth. In this way, film and television media can become an important force in shaping social memory and communicating human emotions in the digital age. (New Society)