Chinese TV Formats Eye Global Expansion, Industry Leaders Reveal at Mip London

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Experts on television formats from around the world met at Mip London to explore the increasing exchange of content between China and international markets. They emphasized both the prospects and obstacles that come with cross-cultural adaption.

I, as part of Jiangsu Broadcasting Corporation (JSBC), have been sharing our journey from purchasing foreign TV formats to creating our own content for international markets. For more than a decade, JSBC has been steadfastly involved in the format business. We’ve not only acquired but also distributed formats worldwide. Some of the popular shows we introduced to China include ‘Got Talent’ from Fremantle and ‘Still Standing,’ which enjoyed significant success here.

Qin mentioned that although some formats have been selected for use in the U.S., U.K., and Europe, they’re yet to secure a “significant format,” one that could potentially succeed worldwide.

Avi Armoza, from Armoza Formats, underscored the significance of collaboration in development when working with Chinese counterparts. He stated, “The best approach for introducing shows to China is to identify partners who, even if you already have a format, require joint efforts in developing and tailoring it to fit the Chinese market.” Additionally, he pointed out the vastness of production: “A crucial aspect that isn’t immediately obvious from an external perspective is the massive scale of production and production quality here in China.

Tim Crescenti from Small World IFT highlighted a significant issue with scaling Chinese entertainment formats, stating that it must be incorporated into the presentation materials. He shared an example of a Chinese magic show featuring 475 magicians, explaining that potential buyers lose interest immediately upon seeing such a large number of performers. Even though this approach might work in China with numerous artists, it wouldn’t resonate with audiences in countries like Denmark, where similar performances could be successful with just 14 performers – however, the Chinese market doesn’t seem to appreciate that distinction.

Roy Lu, representing Linmon International, specializing in scripted content, has pinpointed romantic comedies as particularly marketable. “There’s a robust demand for premium content dramas and romantic comedies,” said Lu. “One of our shows performed exceptionally well in Indonesia and Thailand for six months, consistently ranking number one.” Lu further noted, “Romantic comedies tend to resonate universally. They cater to a broad audience – the large majority of viewers.

Personally speaking as a film enthusiast, I’m thrilled to share that our series “Nothing But Thirty” has seen incredible success. It’s been skillfully tailored for six distinct regional languages across Asia, and some of these adaptations are currently in the final stages of production.

Zhang Jun from Yulele Film offered suggestions for making Chinese content more appealing globally: “Produce content that strikes a balance between preserving cultural uniqueness and adapting for international audiences. It’s crucial to recognize universal values, tap into common human feelings, and include diverse cultural viewpoints.

Zhang is at present working on a TV series that delves into Chinese history during the Song Dynasty, zeroing in on an aspect he referred to as one of the “most influential cultural exports from Chinese history.” He is actively looking for international collaborators to bring this project to fruition.

The panel emphasized that sponsorship is essential for modifying a format in China. As Qin put it, “Securing a show’s screen time in China often depends on having a sponsor first.” When a sponsorship agreement is established, they are eager to cover the license fee or consulting fee for the flight team, and can then adhere to the international team’s format.

At a Mip London discussion focusing on the rise of collaborative productions between documentary and animation industries, Richard Bradley from Lion TV discussed his company’s 15-year journey forging co-production ties in China. “We’ve completed over 20 projects in collaboration with Chinese partners,” Bradley explained. He emphasized noteworthy initiatives such as a live Lunar New Year broadcast on the BBC, which attracted approximately 2-3 million viewers in the UK and around 100 million viewers in China.

I’m all about the power of reliable collaborations. When you team up with trustworthy allies and have a clear vision of your goals, there’s no limit to what we can accomplish together in our endeavors.

Wei Li from Golden Dreams Media & Communications UK, a branch of JSBC, recently talked about their jointly produced documentaries. Li mentioned that they’ve collaborated on at least five documentaries, each tackling various subjects like modern China, archaeology, science, technology, and numerous other fields. She also hinted at an upcoming project focusing on “the two most influential minds in the history of Eastern and Western civilizations, Socrates and Confucius.” This documentary is anticipated to air on major international channels by the end of the year.

Carolyn Payne from National Geographic discussed the ongoing collaboration between National Geographic and CICC, stating, “In our latest venture, we worked together on a project called ‘Ancient China from Above.’ This involved exploring archaeological sites, the Great Wall, the first Empress’ tomb, and other locations. As Payne pointed out, these collaborations offer significant financial advantages: “These partnerships are beneficial financially as CICC covers half the budget, which is crucial in a time of shrinking budgets and increased need for co-production.

In terms of animations, Allen Lo from Fantawild International spoke about the worldwide influence of their popular franchise “Boonie Bears.” Katherine Senior from Gutsy Pictures talked about their successful collaboration with Chinese partners in the Emmy-nominated series “Moominvalley.

Panelists consistently highlighted the significance of universal themes and cultural sensitivity in creating successful international content. As Wei put it, “The key is to strive for cultural understanding and genuine appreciation.” Meanwhile, Senior underlined that humor plays a crucial role in children’s programming, but it should always be grounded in universal themes such as kindness, friendship, and adventure.

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2025-02-25 18:46