STVFORUM | Storytelling That Captivates, Technology That Empowers: The Art of Breaking Through with Chinese Stories Overseas

In recent years, Chinese productions have accelerated their global expansion, with the reach of Chinese stories rapidly broadening. From TV series to variety shows, the range of genres has grown increasingly diverse; from traditional media to streaming platforms, distribution channels have become more varied; and from ultra-HD to AI, production technology continues to upgrade - all contributing to the rising global influence of Chinese storytelling.

On the afternoon of June 24, the 30th Shanghai TV Festival’s STVFORUM: Local Stories, Global Impact - Strategies for International Distribution - was held in the Central Hall of the Shanghai Exhibition Center. The forum explored topics including: “The Path from Local Production to Global Success”, “Content Demand in International Markets”, and “How Chinese Stories Can Win Global Audiences”. Guests shared insights on narrative innovation, platform development, and technological empowerment. 

The forum was attended by Dong Tingyan, Level II Inspector of the International Cooperation Department, National Radio and Television Administration (NRTA), Luo Yi, Deputy Director and Level I Inspector of the Shanghai Municipal Administration of Culture and Tourism and Shanghai Municipal Administration of Radio and Television, You Haiyang, Director and Level II Inspector of the Radio, Television, and Online Audiovisual Program Management Department, Shanghai Municipal Administration of Culture and Tourism

Dong Tingyan

National Radio and Television Administration (NRTA)

Level II Inspector of the International Cooperation Department

In recent years, the National Radio and Television Administration (NRTA) has thoroughly studied and implemented the guiding principles on cultural development and the important directives on international communication of President Xi Jinping, achieving significant progress in deepening mutual learning and exchanges among civilizations.

First, it has established high-level dialogue platforms. The NRTA has launched multilateral forums such as the Forum on China-Africa Media Cooperation and the Forum on China-Arab Broadcasting Cooperation, as well as bilateral mechanisms with the U.S., the U.K., Russia, and other countries, laying a solid foundation for China’s audiovisual cooperation with the world. Second, it has upheld high-standard cultural exchanges. Guided by the principle of mutual learning among civilizations, the NRTA has actively promoted outstanding Chinese works globally while encouraging the introduction of high-quality foreign audiovisual content. Over the past three years, more than 2,000 foreign works have been imported from neighboring countries, significantly boosting cross-cultural exchanges. Third, it has provided high-quality public productions. The NRTA has signed intergovernmental co-production agreements with countries such as New Zealand and the U.K., and actively promoted revisions to regulations like the Administrative Rules on Sino-Foreign Cooperative Production of TV Dramas, creating a favorable policy environment for international cooperation. Fourth, it has advanced high-standard international collaboration. By supporting cutting-edge technologies such as big data, ultra-high-definition, and AI, and deepening cooperation in emerging audiovisual formats like micro-dramas, the NRTA has facilitated a shift from content-based collaboration to model innovation in international partnerships.

Radio, film, and television play a crucial role in fostering people-to-people exchanges between China and the rest of the world. They bear the significant responsibility of promoting dialogue between Chinese civilization and other global civilizations, contributing to mutual understanding and affinity among peoples while facilitating mutual learning and exchange across cultures. In this regard, the following proposals were put forward. First, break narrative boundaries and tell China’s stories well. Guided by the common values of all humanity, it is essential to explore the contemporary relevance and global significance of China’s outstanding traditional culture. Aligning with international market demands, we must adhere to principles of creative transformation and innovative development, distilling narratives and discourse that embody the spiritual and cultural essence of Chinese civilization. By decoding Chinese culture in a language the world understands, we can produce audiovisual works that resonate deeply with global audiences. Second, strengthen channel development and enhance the communication system. Keeping pace with global media trends, we should conduct in-depth research on the audiovisual industry development and audience consumption habits in different countries. Tailored communication strategies must be explored for diverse regions, nations, and demographic groups. Upholding the principle of mutual benefit, we should strengthen international exchanges, deepen collaborative communication, and expand diversified global dissemination pathways. Third, harness technology to drive innovation and application. Given the technological and industrial nature of radio, film, and television, it is imperative to stay at the forefront of strategic technologies shaping the industry’s transformation. We will promote the application of big data, ultra-high-definition (UHD), artificial intelligence (AI), virtual reality (VR), and other advanced technologies in international communication. By leveraging cutting-edge innovations, we can enhance the effectiveness of global outreach and amplify the impact of international cooperation.

Keynote Speech 1: 

The Path from Local Production to Global Success

Wan Lin 

Member of Mango TV Committee of CPC

General Manager of Mango Art Media Culture International Co., Ltd.

Currently, Hunan Broadcasting System (HBS) has identified promoting the global expansion of Mango TV and enhancing international communication efficacy as one of its key strategic development directions. The approach is “Rooted in the Mango TV APP (international version), built upon IP-driven, diversified, and internationalized content, supported by smart technology, focused on operational expansion, and targeting an enlarged global footprint and user base.” The goal is to carve out a greater international presence. Three key insights from their global expansion efforts were highlighted. First, building a self-controlled international communication platform. As early as 2018, HBS took a forward-looking approach by pioneering a “self-owned, self-operated, and self-controlled” overseas streaming platform - Mango TV APP (international version) - a first among Chinese media. In 2024, to further expand its overseas market share and user base, the platform achieved a “double growth” in both downloads and revenue. It now supports 9 interface languages and 17 subtitle languages, offering over 255,000 hours of content across 1,122 titles, reaching 195 countries and regions worldwide. Second, continuously producing globally appealing premium content. By combining “bringing in” and “going global” strategies, HBS amplifies its worldwide influence, showcasing China’s image and voices across multiple dimensions. Since 2020, Mango TV has invited more than 260 international guests and over 460 guests from Hong Kong, Macao, and Taiwan of China to participate in variety shows and film productions. Third, exploring multi-channel market pathways for cultural export. HBS strengthens its overseas new media matrix, leveraging partnerships to broaden reach while deepening localized operations. It actively expands international collaborations and exports globally competitive program formats.

Le Phuong Tao

Chairwoman, YeaH1 Group

The Vietnamese adaptation of Sisters Who Make Waves has aired two highly successful seasons. Partnering with Mango TV’s original IP, we engaged 58 top Vietnamese celebrities and employed 4K production technology to set a new benchmark for Vietnamese variety shows. Positioned as a premium, high-value program, it significantly elevated industry standards. The show achieved over 20 billion views across platforms, ranking No.1 in the industry. On YouTube, it immediately topped Vietnam’s entertainment channel rankings by a wide margin, while YeaH1 Group’s platforms garnered 2 million clicks. The reasons why Sisters Who Make Waves has been a great success are as follows. First of all, the original format is very unique and valuable. Secondly, the cultural relevance sparks resonance with the audience. Thirdly, the IP influence is potent. Lastly, 58 true stories are presented in different ways, reflecting the diversity of women and deeply moving the audience.

Wu Zimin

Head of Global Partnerships, Greater China, Meta

Meta’s platforms (Facebook, Instagram, Threads) boast 3.43 billion daily active users globally, with low user overlap and one-click cross-posting for precise fan targeting. In 2019, iQiyi expanded to Facebook’s international version, and by 2024, its Instagram followers surged by over 116%, covering regions such as Asia-Pacific, North America, and the Middle East. Its strategy includes frequent short video updates, leveraging celebrity endorsements for traffic, and being an early adopter of Threads. Among Chinese stars expanding their influence globally, Yu Shuxin has gained 4.2 million Instagram followers, adding 1 million annually, with a strong presence in Southeast Asia, Brazil, and the U.S. She attracts fans through behind-the-scenes content and collaborative short videos. Meanwhile, Bai Lu, Xu Kai, and others boast over 5 million followers, reaching Southeast Asia and Latin America, by enhancing engagement through overseas schedules and fan meetings. Meta has facilitated the globalization of Chinese dramas and celebrities through multi-platform collaboration and technological empowerment. Moving forward, it will continue to deepen partnerships to propel Chinese content onto the world stage.

Zhang Xinyu

Head of Short Drama for Key New Accounts Team, Google Greater China

Google has witnessed the global expansion of long-form drama platforms like Tencent and iQiyi, and in recent years, short dramas have also begun making waves overseas. When venturing abroad, these platforms primarily target markets such as the U.S., Southeast Asia, and East Asia, while also keeping an eye on emerging markets like India, Brazil, Mexico, Thailand, and the UK. Chinese short dramas have gained influence in multiple countries - for instance, the U.S. boasts a massive user base with strong payment willingness; Japan’s commuting culture suits short dramas, and their emotional narratives resonate well; Indonesia has a vast audience with high receptivity to diverse content. Google can tailor advertising strategies based on market dynamics and commercial goals, recommending the use of highlight clips from hit dramas as ad creatives and leveraging deep linking to enhance conversion rates, thereby helping short dramas penetrate overseas markets.

As a global leader in search engines, Google’s business spans internet search, cloud computing, advertising technology, and more. The company currently operates eight products with over 1 billion users each, reaching 2.9 billion unique users worldwide every month. The Google China team has long been supporting Chinese enterprises in their global expansion. We aim to help high-potential Chinese brands explore innovative overseas marketing strategies, master digital marketing skills, and build brand value, fostering and accelerating the international success of outstanding domestic content.

Keynote Speech 2:

Content Demand in the International Market

Emmanuel Franz

Chief Financial & Administrative Officer, European Broadcasting Union (EBU)

Chief Representative, EBU China Representative Office

The European Broadcasting Union (EBU) has a 21-year history in China, with long-standing collaborations with partners like CCTV. We offer over 470 types of content, spanning 65 countries and multiple languages, reaching an audience of 1 billion. 98% of our broadcast content is available online, supported by 582 apps with 2.1 billion monthly visits, and we have a broad young audience base. Young European audiences spend increasing time online, averaging 4 hours and 39 minutes daily watching videos - content must be tailored for them. Our observations show that younger viewers prefer consuming video content in their bedrooms. Thus, we need to provide more diverse and engaging content, not only through on-demand services but also by leveraging tools like search engines to attract younger demographics. Additionally, we must maximize the potential of social platforms to enhance content visibility and influence.

Krisztina F. 

Director of International Relations, MTVA 

Hungary and China have enjoyed 76 years of diplomatic relations, during which MTVA has always placed great emphasis on exchanges and cooperation with Chinese media. In recent years, we have broadcast several outstanding TV dramas from Mango TV, which were warmly received by Hungarian audiences. Our collaboration with Shanghai Media Group in the field of music has also yielded fruitful results. Moving forward, we look forward to exploring more opportunities for cooperation with the Shanghai Radio Children’s Chorus in children’s content. Hungarian art and traditional culture have garnered significant interest in China. Through documentaries, reality shows, and other formats, we have worked hand in hand with Chinese media to tell stories that bridge our two nations. Initiatives such as co-produced documentaries and the filming of the variety show Chinese Restaurant in Budapest have resonated deeply with audiences in both countries. This visit to Shanghai has allowed me to witness firsthand the city’s authentic charm and dynamic energy. The pace of development and urban allure here are truly impressive. We are eager to learn innovative ideas from our Chinese counterparts and further deepen our collaborative exchanges, working together to bring more authentic, heartwarming, and captivating stories to audiences in Hungary and China.

Jiella Esmat

Founder & CEO, 8 Lions Entertainment (UK)

With years of global operations, 8 Lions adopts a data-driven approach, leveraging audience insights and platform data from Meta, Google, and others. We prioritize licensed partnerships and are committed to empowering Chinese IPs to go global. The entertainment industry is transforming, with AI and YouTube reshaping content creation. YouTube serves as a vital distribution channel, while AI enhances efficiency and audience insights. Creators can harness platform data for production and real-time feedback analysis. Today’s youth represent the future - their preferences will fuel the rise of Asian IPs worldwide. Positioned as a bridge connecting East, Middle East, and West, 8 Lions combines deep expertise in digital media with acute market understanding. We assist Chinese IP owners in global expansion across traditional distribution, YouTube, Roblox, and emerging platforms, maximizing the reach of their assets.

Elena Sunbeam

Organizer of the World Content Market, Russia

In Russia, 99% of the population watches television daily, and Chinese film and television content has had a profound influence here. This year, Россия-1 has purchased over 130 Chinese programs for its 11 major television channels operating in Russia, including TV series, films, animations, and documentaries. In 2024, ten Chinese TV series gained immense popularity in Russia, including hits like To the Wonder and Full Bloom. First, the series boasts remarkable cultural appeal, with distinctive cultural elements captivating local audiences. Second, the ingeniously crafted plotlines strike a chord with viewers, evoking deep emotional resonance. Third, the production exemplifies excellence, demonstrating top-tier quality in cinematography, set design, and acting performances. Fourth, the linguistic and cultural transmission aligns perfectly with Russian sensibilities, enjoying exceptional acceptance among local viewers.

Roundtable Forum III:

International Communication Forum

— How Chinese Stories Can Win Global Audiences

Chan Shuhung

General Manager, Television Broadcasts Limited (TVB)

Established in 1967, TVB is Hong Kong’s first free-to-air television station and a leading content producer. With an annual output exceeding 20,000 hours of programming - spanning dramas, news, variety shows, and more - and a library of hundreds of thousands of titles, TVB is renowned for its quality content and global recognition. TVB excels in producing long-form dramas, which have garnered a massive international fan base. We remain committed to this strength. At the same time, short-form dramas present an opportunity we cannot overlook. We plan to adapt some of our classic IPs into short-form content to test market reception. However, condensing 45-minute episodes into 1-2 minute formats is no easy feat - this poses a significant creative challenge. Currently, several short-form drama projects are in development. While the road ahead is demanding, we embrace the challenge to innovate and expand our storytelling horizons.

Xie Guangcai

Executive Vice President, COL Group Co., Ltd.

The short-form drama market currently hosts over 200 apps, yet only a limited number will ultimately survive. Unlike traditional content licensing, global expansion in short-form dramas represents a complete ecosystem - spanning script development to monetization - requiring substantial investment. The U.S. market accounts for half of global paid subscriptions due to precise ad targeting and high conversion rates, while regions like Southeast Asia may adopt ad-supported free models. Competition has escalated from domestic to international markets, with significant platform differentiation expected within 2-3 years. Following text-based and long-form video expansions, short-form dramas emerge as the promising new frontier for cultural exports. For Chinese stories to truly succeed globally, we must move beyond mere outreach to deep market penetration - only by establishing sustainable ecosystems can we accumulate loyal users and achieve stable, profitable growth.

Lu Yu

General Manager, Shanghai Linmon Media Co., Ltd.

COL Group Co., Ltd. went public in 2015 and expanded overseas in 2016. After 2020, its overseas short-form drama business started from zero and once surpassed TikTok in download volume. Currently, there are three types of short-form dramas “going global”: Chinese teams telling Chinese stories, Chinese teams telling overseas stories, and overseas teams telling overseas stories. At present, 80% of the content consists of translated dramas, including subtitled and dubbed versions. In terms of APP user retention, dubbed dramas show 35% higher retention than subtitled ones, while local dramas achieve nearly 47% retention rate, higher than translated dramas. Long-term observation shows local dramas are becoming the dominant format. Chinese short-form dramas “going global” have their own methodology. At the story level: the spiritual core must reflect universal global values. In terms of narrative framework: short-form dramas are video versions of online literature, differing from local dramas in high-conflict elements and storytelling. From a visual perspective: settings require closer alignment with overseas environments. Regarding linguistic and cultural elements: slangs must be adapted to local contexts. Chinese short-form dramas have evolved from domestic competition to global expansion. In the past, it was copyright export, now it’s ecosystem export – there’s a fundamental difference. Now it’s a new video format specifically designed for mobile devices.

Hui Min

General Manager of Copyright Business, China Literature

China Literature has been dedicated to the global expansion of online literature for many years. Practice has shown that there are significant differences in content acceptance between Eastern and Western audiences. Successful overseas works often tell stories of universal values in simple ways. For example, the competitive spirit of The King’s Avatar and the underdog growth story of Fights Break have achieved “overseas success”, gaining widespread resonance abroad. However, cultural gaps remain the main challenge: the complex settings of fantasy works increase comprehension difficulty for overseas users, and some specific cultural elements in domestic realistic themes are also harder to understand. Therefore, localized production for overseas markets needs to actively adapt to conceptual differences, focus on universal themes, and simplify cultural contexts. As successful cases like Mulan and Ne Zha have demonstrated, transforming complex cultural cores into simple and understandable narratives is more likely to create breakout hits and win global recognition.

Wang Qi

General Manager of Content Business, iQIYI International

iQIYI’s global expansion began with international distribution in 2017, followed by the launch of its international-version APP in 2019. Now available in over 190 countries and regions, with Singapore as its global headquarters, iQIYI International has established local operations in Thailand, Malaysia, Indonesia, North America, and the newly added Middle East and North Africa region. Reflecting on this journey, two key strategies stand out. First, content remains central - distributing premium Chinese content while co-producing localized content with regional partners to match local preferences. Second, emphasis on market-specific localization and precision operations. Here, translation and dubbing prove critical as the foundation for cross-cultural communication. When Chinese content premieres overseas simultaneously with mainland China, over a dozen language translations are immediately available. Moreover, dubbing quality continues to improve through voice casting that balances character authenticity with local audience expectations, delivering superior viewing experiences to more users worldwide.