Cultural programs should not only be carriers of knowledge, but also be interesting and aesthetic. China culture and China spirit are integrated into the theme selection, scene setting, rule making and other links of the program, and audio-visual means such as dance, animation and music are fully mobilized to poetically show the unique spiritual beauty, realm beauty and formal beauty of China people and meet the aesthetic requirements of the audience. For example, the stage design of "Chinese Poetry Conference", combined with the scroll effect, makes poetry vivid in the picture presentation. In the first season, the competition system was designed with the concept of "grass boat borrowing arrows", and "warship" and "archery" were full of fun. The second season "Flying Flowers Order" is full of suspense for poetry.
We should look for rules in the means of communication, make full use of new media technology to realize multi-screen linkage, further promote the interaction of the whole people, and form a media communication matrix with information exchange and resource sharing. For example, in the second quarter of the Chinese Poetry Conference, the mobile terminal was opened, attracting 400,000 to 500,000 viewers to answer questions and write poems synchronously with the live contestants, thus achieving the communication effect of driving the small screen with the big screen and deepening the big screen with the small screen. "Seeing Words as Face" first put the single letter reading on the Internet to trigger a fission effect, forming a hot topic, and then simultaneously launched a collection version on TV and the Internet, triggering a new round of viewing craze. In order to adapt to the new communication pattern, TV cultural programs should take the initiative and put the elements in the first place, so as to spread and extend diversified program information in the online community, and obtain wider dissemination and stronger audience stickiness.