Chinese producers are making strides in positioning microdramas as a key vehicle for export while forging stronger co-production partnerships in the U.K. This strategy was highlighted at the “Chinese Drama Trends” forum at Mip London, showcasing a dual-track approach to global expansion and format diversification.
Bi Haibo, minister counsellor for press and public affairs at the Chinese Embassy in the U.K., emphasized the significant progress made by Chinese television in thematic innovation, production quality, and global distribution. He mentioned the recent agreements signed during U.K. Prime Minister Keir Starmer’s visit to China, which have expanded collaboration in the media and cultural sectors between China and the U.K.
Furthermore, Bi highlighted the unilateral visa-free policy for U.K. nationals implemented by China since Feb. 17, aimed at facilitating people-to-people exchanges and practical cooperation between the two countries. He encouraged industry players to take full advantage of this policy to strengthen partnerships and collaboration.
Rupert Daniels, director of services and skills at the U.K. Department for Business and Trade, underscored the scale of Britain’s creative economy, employing nearly 3 million people and exporting around £60 billion globally. He mentioned successful collaborations such as the Chinese-language adaptation of “Inside No. 9” and co-productions involving BBC Studios, Tencent, Bilibili, and Phoenix TV.
The discussion, moderated by Qiu Yuanyuan, secretary-general of the Jiangsu International Communication Center at Jiangsu Broadcasting Corporation, focused on enhancing the international appeal of Chinese content. Gary Woolf, executive VP of strategic development at All3Media International, emphasized the importance of strong production partners and universal storytelling for globally viable projects.
Guo Feng, chair of Yulele Media Group, highlighted the blend of Chinese cultural specificity with universal themes in his company’s slate of projects. He discussed the universal themes of his wartime-set project “Tile Cat,” emphasizing family bonding, generational love, and struggles between lovers as elements that resonate across cultures.
While traditional long-form Chinese-language dramas face challenges in Europe, Roy Lu, general manager of Linmon Media International, advocated for microdramas as a more agile export pathway. He noted the rapid turnaround of microdramas in China, allowing companies to test audience response and adapt quickly for overseas markets.
Qiu Zhengyang, deputy general manager of Hangzhou Jiaping Pictures, shared insights on the coexistence of long-form drama and microdrama divisions within her company. She emphasized that the two formats complement each other, offering distinct storytelling opportunities for the future.
Liyanne Marie Manning, head of casting at Onset Octopus, emphasized the need for immediate audience engagement in U.K.-based vertical drama shoots. She highlighted the importance of capturing viewers’ attention within the first 30 seconds of a production to ensure a strong impact.
Qiu Qianyi, chief representative at Shenzhen Media Group, showcased Shenzhen as a growing hub for short-form production, particularly in the microdrama space. She mentioned the China International New Media Short Film Festival as a platform supporting directors from around the world, building an ecosystem for microdrama studios in the city.
Despite language and market challenges, the forum participants expressed a shared vision of expansion, with microdramas emerging as a strategic tool for global reach alongside deepening U.K.-China production ties. The evolving landscape of Chinese television promises exciting opportunities for international collaboration and cross-cultural storytelling.
