Chinese Microdramas: A Strategic Export and Co-Production Initiative with the U.K.

At the "Chinese Drama Trends" forum during Mip London, Chinese producers emphasized the potential of microdramas as a key export vehicle while fostering co-production partnerships with the U.K. Bi Haibo, minister counsellor for press and public affairs at the Chinese Embassy in the U.K., highlighted the progress of Chinese television in thematic innovation and global distribution. He noted that recent agreements signed during U.K. Prime Minister Keir Starmer’s visit to China have expanded collaboration in media and cultural sectors, enhancing the reach of Chinese content in international markets.

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Rupert Daniels, director of services and skills at the U.K. Department for Business and Trade, pointed out the significance of Britain's creative economy, which employs nearly 3 million people and generates approximately £60 billion ($81 billion) in exports. He referenced existing collaborations, including the Chinese-language adaptation of “Inside No. 9” and co-productions involving BBC Studios and Chinese media companies like Tencent and Bilibili.

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Roy Lu, general manager of Linmon Media International, argued that microdramas offer a more agile export pathway compared to traditional long-form dramas, which face challenges in European markets. He noted that China produces 200 to 300 new titles daily, allowing for rapid audience testing and adaptation for overseas viewers. This flexibility positions microdramas as a strategic tool for international expansion.

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Qiu Zhengyang, deputy general manager of Hangzhou Jiaping Pictures, expressed optimism about the coexistence of long-form dramas and microdramas, suggesting that both formats can thrive together. Liyanne Marie Manning, head of casting at Onset Octopus, emphasized the need for immediate audience engagement in U.K.-based productions, indicating that the fast-paced nature of microdramas aligns well with current viewing habits.

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Qiu Qianyi, chief representative at Shenzhen Media Group, promoted Shenzhen as an emerging hub for short-form production. She highlighted the China International New Media Short Film Festival, which has received 60,000 submissions from over 200 countries, showcasing the city's commitment to building an ecosystem for microdrama studios.

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Despite the enthusiasm surrounding microdramas, challenges remain, particularly regarding language barriers and market-entry obstacles. Critics may argue that while microdramas can facilitate quicker adaptations, they may lack the depth and storytelling richness found in traditional formats. However, the consensus among industry leaders is that microdramas represent a promising avenue for cultural exchange and collaboration between China and the U.K.

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• “We Chinese [are] very good at microdramas,” — Roy Lu, General Manager, Linmon Media International

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• “I don’t think they will fight each other. I think they can be two parts of the future,” — Qiu Zhengyang, Deputy General Manager, Hangzhou Jiaping Pictures

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• “If you don’t get that on your screen in 30 seconds and that doesn’t hit then… I’ve not done a good job,” — Liyanne Marie Manning, Head of Casting, Onset Octopus

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• “an ecosystem for the microdrama studio.” — Qiu Qianyi, Chief Representative, Shenzhen Media Group

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The overarching message from the forum was one of optimism and expansion, with microdramas poised to enhance cultural ties and collaboration between China and the U.K.

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