華策影視的國際化之路

文/林念衾 胡文慧

《長歌行》以少女李長歌描繪少年成長群像，展現(xiàn)了初唐少年們意氣風(fēng)發(fā)、奮發(fā)向上的精神風(fēng)貌。The Long Ballad centers around Li Changge, the daughter of Li Jiancheng, crown prince of the Tang dynasty, and shows the energic spirit of youth during the time.

過去的十年，中國電視劇的海外整體售價(jià)提升了近30倍。

2021年，古代傳奇電視劇《長歌行》突破華語影視單集銷售價(jià)格，以15萬美元一集出售海外發(fā)行版權(quán)費(fèi)，單集銷售創(chuàng)華語影視劇新高。該劇在Youtube、Net flix、Viki、Line TV、MyVideo等全球新媒體平臺和韓國、日本、新加坡、越南、菲律賓等多國國家電視臺播出，實(shí)時(shí)觀看人數(shù)排名美國地區(qū)全站第一。

與《長歌行》一樣，從神話仙戀題材的《三生三世十里桃花》，到宮廷權(quán)謀劇《天盛長歌》，再到東方童話極致浪漫愛情劇《與君初相識》，無一不打破海外點(diǎn)擊量或討論量的數(shù)據(jù)紀(jì)錄，引發(fā)前所未有的現(xiàn)象級追劇熱潮。而在這些不同古裝劇的背后，都有一個(gè)共同的名字—華策。

提到中國電視劇的國際化發(fā)展，華策是個(gè)繞不開的關(guān)鍵詞。華策從創(chuàng)立之初就致力于文化“走出去”，從2009年起，華策每年海外出口影視劇的份額就一直居中國影視企業(yè)首位。目前，浙江華策集團(tuán)的影視內(nèi)容出口額占中國總量的近五分之一，向220個(gè)國家發(fā)行了超過15萬小時(shí)的影視內(nèi)容。從影視傳統(tǒng)強(qiáng)項(xiàng)古裝劇到“后疫情”時(shí)代推出主旋律題材劇，從劇目的國際化到IP的國際化，從最初把旅館兩個(gè)小標(biāo)間作為辦公室到國際影展上“擺地?cái)偂痹俚饺缃裨谌蚍秶鷥?nèi)積極構(gòu)建新媒體傳播宣發(fā)“一張網(wǎng)”，華策的這十年海外勵志史，不僅為中國電視劇進(jìn)一步打開國際市場提供了有益經(jīng)驗(yàn)，也為國際受眾有機(jī)會了解真實(shí)、立體、全面的中國貢獻(xiàn)了更加多元化的視角和素材，更對于影視制作國際合作的模式創(chuàng)新具有重要的現(xiàn)實(shí)意義。

從劇目國際化到IP國際化的“華策之選”

受益于中國傳統(tǒng)文化的國際魅力和“四大名著”電視劇海外行銷積累的聲譽(yù)，古裝劇一開始便成為華策開啟全新海外市場之路、贏得海外受眾認(rèn)可的“敲門磚”。

《三生三世十里桃花》是華策YouTube官方頻道點(diǎn)擊冠軍，全劇累計(jì)觀看次數(shù)破10億，觀看時(shí)數(shù)則達(dá)到了驚人的17億小時(shí)。《天盛長歌》則成為被Net flix最高級別預(yù)購的第一部中國古裝大劇，并且以無刪減版全集播出，美國最重要的電視電影專業(yè)網(wǎng)站IMDb網(wǎng)友對它的評分為最高分10分?！杜c君初相識》在Facebook上閱讀覆蓋量超過54萬人次。

這些古裝劇為海外觀眾提供了了解中國歷史文化、感知富有中國特色東方美學(xué)意韻的豐富素材，在很大程度上滿足了他們對擁有五千年文明歷史的東方大國的神秘想象。在海外受眾眼中，中國古裝劇里快意恩仇的武俠江湖、玄幻多情的仙俠世界宛如另一重瑰麗浪漫的奇妙時(shí)空。值得一提的是，諸如華策等中國影視人越來越注重將細(xì)節(jié)做到極致，讓這些美妙場景得到全面的支撐。中國古裝劇在這十年發(fā)展中，早已擺脫了過去“粗布麻衣”“造型簡陋”“特效低劣”的標(biāo)簽，一些劇的質(zhì)感甚至不輸于電影，從劇情邏輯到包括臨摹所涉歷史時(shí)期生活習(xí)慣、衣著風(fēng)格在內(nèi)的對于服化道的精準(zhǔn)把控，都迎來“精品時(shí)代”，這也正是這些古裝劇能贏得海外市場的重要因素。

除了古裝劇，近年來華策向全球推廣中國題材的另一大影視作品類型便是主旋律題材劇，先后將《外交風(fēng)云》《絕境鑄劍》《海棠依舊》《覺醒年代》《我們的新時(shí)代》《解密》等多部作品發(fā)行到海外。其中，講述新中國建交史的重大外交題材劇《外交風(fēng)云》的版權(quán)發(fā)行覆蓋亞洲、歐洲、北美、非洲等26個(gè)國家和地區(qū)，海外播放量突破2000萬。以“數(shù)學(xué)奇才”容金珍為主人公的諜戰(zhàn)題材劇《解密》先后被翻譯成近10種語言，在Viki上評分達(dá)到9.5分，引發(fā)俄羅斯等國家年輕受眾的追劇熱潮。

當(dāng)代中國的發(fā)展與崛起，并非無根之木、無源之水。歷史走到今天，“中國共產(chǎn)黨為什么能”“馬克思主義為什么行”“中國特色社會主義為什么好”也絕非口號，而是能透過真實(shí)反映歷史故事、以小人物折射大時(shí)代的中國影視劇作品打動大多數(shù)海內(nèi)外受眾，甚至受到不少年輕受眾認(rèn)可和追捧的。而華策的關(guān)鍵之選，便是如何讓正劇在尊重真實(shí)性的基礎(chǔ)上變得更青春、更具當(dāng)下性、更有時(shí)代感。在華策董事長趙依芳眼中，中國一直是年輕的中國，革命事業(yè)本身就是青春之歌。無論是現(xiàn)在的年輕人，還是一百年前的年輕革命者，都有很多一脈相承的相似之處。這種為理想而奮斗的熱血性，是具有跨越國界的感染力的。

為了更加貼近時(shí)代偉人們的真實(shí)形象，塑造出生動全面立體的人物角色，《覺醒年代》劇組翻閱了大量資料，更是四處了解核實(shí)，大到作品中人物的行為、小到稱呼。例如李大釗與妻子趙紉蘭之間“姐與憨坨”的昵稱，就是費(fèi)盡周折聯(lián)系到了李大釗的后人才了解到的。正如趙依芳所說，“不要胡編亂造，不要虛構(gòu)架空，不要浮夸表現(xiàn)，對于觀眾，只要你真實(shí)他們就買賬；你不真實(shí)，編得再高大上他們也不買賬”。

好故事是一門世界語言，《天盛長歌》是中國古裝劇一次成功的嘗試。A good story is universally loved, and The Rise of Phoenixes, a Chinese historical drama, is a successful attempt.

《致我們單純的小美好》在亞洲各國收視表現(xiàn)非常搶眼，是菲律賓ABSCBN 電視臺播出的第一部中國現(xiàn)代劇。圖為該劇在日本播出的宣傳海報(bào)。A Love So Beautiful is quite popular in Asian countries. It is the first Chinese modern drama shown by the Pilipino broadcaster ABS-CBN. The picture shows a promotional poster for the show's airing in Japan.

《外交風(fēng)云》一舉斬獲第32屆飛天獎優(yōu)秀電視劇獎和第30屆中國電視金鷹獎最佳電視劇獎。Diplomatic Situation won the 32nd Feitian Award for Outstanding Television Series and the 30th Golden Eagle Award for best TV series.

隨著海外市場的不斷擴(kuò)展，海外受眾逐漸打破了中國片就等于功夫片的刻板印象，對于中國電視劇題材的需求日趨多元，古裝、現(xiàn)實(shí)、魔幻甚至諜戰(zhàn)，都有其特定的喜好人群。與此同時(shí)，中國電視劇也得到越來越多國際同行的認(rèn)可，劇本輸出模式的中國故事全球化制作—國際翻拍成為近年來的重要熱點(diǎn)。以華策原創(chuàng)出品的影視劇為例，《致我們單純的小美好》《百萬新娘之愛無悔》《下一站是幸福》《以家人之名》等多部電視劇，以IP改編、翻拍模式分別出口到韓國、越南、泰國、土耳其等國家和地區(qū)。其中，《致我們單純的小美好》韓國版已在韓國KakaoTV和Net flix全球播出，受到海外年輕受眾的喜愛。

從兩個(gè)標(biāo)準(zhǔn)間到全球一張網(wǎng)的“華策之路”

趙依芳說，影視劇行業(yè)的精品制造，手藝萬歲、內(nèi)容為王。從她的身上，可以清晰地看到浙商精神中求真務(wù)實(shí)、吃苦耐勞、敢為人先的特質(zhì)，而這種精神特質(zhì)也一路引領(lǐng)著企業(yè)從華新到華策的成長。

1992年，趙依芳辭去公職，拋下鐵飯碗，毅然投身于“下海大潮”中。此后，她來到杭州，在莫干山路一家小旅館租下兩個(gè)標(biāo)準(zhǔn)間當(dāng)辦公室，團(tuán)隊(duì)當(dāng)時(shí)只有5個(gè)人，開始了白天跑業(yè)務(wù)、晚上做文案的艱辛創(chuàng)業(yè)。三年后，他們完成了第一部電視劇《子夜》，沒想到一舉獲得全國“五個(gè)一工程獎”、金鷹獎和飛天獎的大滿貫，這個(gè)叫“華新影視”的“小作坊”一炮而紅。

沒過多久，“成長的煩惱”促使趙依芳開始考慮企業(yè)發(fā)展的新方向。當(dāng)時(shí)，有香港代理機(jī)構(gòu)在內(nèi)地電視節(jié)上看中了由華新影視出品的《紹興師爺》，并提出購買這部劇的海外發(fā)行代理權(quán)。賣代理權(quán)，看似是一單穩(wěn)賺不賠的生意，卻被趙依芳斷然拒絕。她的理由是 ：不建立自己的海外渠道，將來便會很被動，一定要親自去世界舞臺上試試。

于是，早在20世紀(jì)90年代中后期的香港和美國影視節(jié)展上，便能看到華新影視為發(fā)行自己的劇目帶著《紹興師爺》《聊齋先生》等到處“擺地?cái)偂钡纳碛啊Ｄ菚r(shí)去的人不會英文，他們便借來旁邊展位的翻譯幫忙，做成了第一筆國際單子。這件軼事至今仍被傳為佳話。

2006年，華策設(shè)立國際部。開啟海外征程的頭十年里，每年掙回來的版權(quán)費(fèi)，也就能和海外發(fā)行的人力、物力成本勉強(qiáng)持平，更別說利潤有多少了。為了省錢，國際部工作人員拖著行李箱到處奔波、隨身帶物料、自己設(shè)計(jì)中文海報(bào)、動手布置展臺都是家常便飯?！皵[地?cái)偂钡淖阚E遍布韓國、越南、法國等各大國際電視節(jié)展，甚至早年在法國戛納電視節(jié)期間留下過利用展館對面公寓陽臺掛廣告條幅宣傳公司和展臺位置的“壯舉”。直到2009年，華策憑借《中國往事》獲得韓國首爾電視節(jié)最高榮譽(yù)獎，第一次走上了國際領(lǐng)獎臺。

此后的十多年里，隨著全球新媒體增長勢頭迅猛，華策也逐漸將海外發(fā)行的重心轉(zhuǎn)移到了建設(shè)“全球一張網(wǎng)”上，率先以YouTube、Net flix、Dailymotion、Viki和 OTT平臺等作為主要渠道，迄今已建立50多個(gè)華策頻道或華策專區(qū)，并提供30多種在地化譯制語言，供全球受眾觀看。以YouTube為例，華策已開設(shè)18個(gè)專門頻道，形成“網(wǎng)絡(luò)電視中國劇場”，包括電影、動漫、電視劇等多種節(jié)目類型，以電視劇為主，提供中文、英語、泰語、西班牙語、越南語、葡萄牙語、馬來語、土耳其語、俄語、韓語、印尼語、阿拉伯語等12個(gè)語種的服務(wù)，用戶規(guī)模超1100萬，訂閱人數(shù)居大陸影視制作公司前列。

如今的華策，不再是角落里缺少關(guān)注的“龍?zhí)捉巧?，而是國際舞臺的重要參與者，掌舵人趙依芳則成為首位被授予“法國戛納電視節(jié)最高榮譽(yù)勛章”的中國電視人?，F(xiàn)在，華策國際部員工中有許多都是海歸年輕人，疫情暴發(fā)前每年12個(gè)月里有10個(gè)月幾乎都在參加各大節(jié)展的路上。他們不僅對自己國家和民族有著強(qiáng)烈的認(rèn)同感和歸屬感，更有讓中國電視劇變得更好、讓世界更加了解中國的使命感和責(zé)任感。正如趙依芳所言，“華策人一直這樣告訴自己，世界上就應(yīng)該有一個(gè)地方播出中國電視劇，讓更多人了解中國人，了解中國優(yōu)秀的文化”。

從國際化表達(dá)到全球化合作的“華策之力”

毫無疑問，中國需要了解世界，一直以來中國都在不懈努力，為之伸出開放、包容、互惠的橄欖枝并積極分享中國智慧、貢獻(xiàn)中國方案；同樣的，世界也需要了解中國。影視作品便是與世界溝通、讓世界獲得對中國真實(shí)認(rèn)知的“一扇窗”。通過積極尋找國際化的表達(dá)方式、讓中國劇走向海外，從而建立與外部有效的溝通，則是作為中國影視劇領(lǐng)軍者的華策十多年來為讓這個(gè)世界變得更好而奉獻(xiàn)出的滿腔誠意和滿懷力量。

為何說是讓“世界變得更好”？從近年來華策推向海外影視劇的成功案例來看，無論是古裝劇還是主旋律題材劇、現(xiàn)實(shí)題材劇，都能讓受眾沉浸在作品本身魅力的同時(shí)，真切感受到中華優(yōu)秀傳統(tǒng)文化的美妙和中華民族善良、忠義、堅(jiān)忍、頑強(qiáng)等精神內(nèi)核的美好。而這些美妙和美好，應(yīng)該被更多人看見、聽見、懂得，因?yàn)樗鼈兗染哂惺澜缙毡閮r(jià)值觀的共通性，又是人類共同的文化精神財(cái)富，可以讓世界變得更美更好。這與中國始終期盼同世界“美美與共”的初衷如出一轍。

優(yōu)秀的中國神話武俠古裝劇，是中式審美濃墨重彩的集大成者，通過對歷史典籍反復(fù)考究，上至皇室深宮的禮服長袍、器皿擺設(shè)，下至市井生活的家長里短、煙火氣息，都充滿傳統(tǒng)文化的詩情畫意，盡可能多地還原中國古代的雅致生活，展現(xiàn)出一幅政通人和、波瀾起伏的時(shí)代畫卷。除了東方美學(xué)韻味之外，無論古裝劇還是歷史正劇，抑或是現(xiàn)實(shí)題材劇，“何為家，何為國，何為百姓，何為天下”這一體現(xiàn)精神內(nèi)核的價(jià)值思考才是最打動人之處。劇中的人物們，在生與死、恨與義、家仇與國難中掙扎求索、眾生求道，最終同歸于一個(gè)初心：讓天下人能過上好日子，看見世間的好。不局限于兒女情長、個(gè)人安危榮辱，而是更多地關(guān)注天下大義大愛，展現(xiàn)人性的光華，這便是中華民族之可貴品質(zhì)。

另一方面，華策通過把中國電視劇推向海外的實(shí)踐，從而激發(fā)影視制作國際協(xié)作模式的不斷創(chuàng)新，對于打造文化交流互鑒新渠道、實(shí)現(xiàn)“讓世界變得更好”，也有著深刻的現(xiàn)實(shí)意義。2016年，國家牽頭的“絲路電視國際合作共同體”成立。緊跟與世界文化共建的步伐，華策通過建立全球娛樂合伙人聯(lián)盟和中國電視劇出口聯(lián)盟，與華納、索尼、?？怂?、ITV、愛奇藝等國際國內(nèi)傳媒集團(tuán)開展多元合作，與海外平臺攜手，展開中國原創(chuàng)IP授權(quán)全球再合作、合拍等更深度的協(xié)作方式，并自主創(chuàng)立包括“一帶一路”沿線國家和地區(qū)在內(nèi)的面向全球的華語影視聯(lián)播體。2018年，華策與小豬佩奇IP所屬公司—英國Entertainment One在“國際影視合拍論壇”上進(jìn)行簽約。2019年，中國（浙江）影視產(chǎn)業(yè)國際合作區(qū)在杭州落地啟用，其中也可看到華策的身影。五色交輝，相得益彰，八音合奏，終和且平。影視劇國際化合作所能做的更多是織就世界文明的燦爛畫卷。

全球著名投資人、《原則》作者瑞 · 達(dá)利歐說，人們彼此如何相處，是決定他們將如何應(yīng)對共同面臨的情況的最重要因素，而他們所擁有的文化，是決定他們彼此如何相處的最重要因素。讓世界更多更真實(shí)地了解中華文化、了解中國社會，并非只是為了中國自身，而是為了讓身在世界中的人們能更好地相處，在共同危機(jī)來臨時(shí)能更融洽地?cái)y起手來應(yīng)對。

中國（浙江）影視產(chǎn)業(yè)國際合作區(qū)。China (Zhejiang) Film and Television Industry International Cooperation Zone.

The Internationalization of Huace Film & TV

By Lin Nianqīn Hu Wenhui

越來越多聚焦不同生活的現(xiàn)實(shí)題材電視劇走出國門，圖為《以家人之名》在馬來西亞播出的宣傳海報(bào)。A promotional poster for the airing of the TV series Go Ahead in Malaysia, as more realistic TV series focusing on different aspects of people’s lives in Chinafind a growing number of international audiences.

Over the past decade, the overall selling price of Chinese TV dramas overseas has risen by nearly 30 times. In 2021, the historical romance TV seriesbroke the sales price record of a single episode of Chinese-languagefilm and television,and the copyright fee for its overseas distribution was sold at US$150,000 per episode. The show was broadcast on major global new media platforms such as YouTube, Netflix, Viki, Line TV,and MyVideo, as well as on national TV stations in Republic of Korea (ROC), Japan, Singapore, Vietnam and the Philippines. The number of its real-time viewers rankedfirst in the United States.

Like,with the theme of fairytale love, the court dramaand the oriental fairytale romantic dramaall broke the records of overseas viewing or discussions, triggering an unprecedented and phenomenal upsurge for viewers to follow these and similar dramas. And behind these different historical dramas, there is a common name — Huace.

From the very beginning, Huace has been committed to cultural globalization. Since 2009, Huace’s annual share of film and television exports has rankedfirst among Chinese companies.At present, the content exports of Zhejiang Huace Film & TV Co., Ltd account for nearly one-fifth of China’s total, and more than 150,000 hours of film and television content have been distributed to 220 countries. From the traditional historical dramas to those in the “post-pandemic” era, from the internationalization of repertoire to that of IP formation, from the initial two hotel rooms as offices vending from a “street stall” at internationalfilm festivals to a network for new media communication and publicity on a global scale, Huace’s 10-year overseas development not only provides useful experience in opening up the international market for Chinese TV dramas, but also contributes more diversified perspectives and materials for international audiences to understand the real, three-dimensional and comprehensive China,which is of practical and important significance in the innovation of international cooperation infilm and television production.

Benefiting from the international charm of traditional Chinese culture and the long-standing reputation accumulated by overseas marketing of the TV dramas of the “Four Classic Novels”(,,and), historical dramas served as the “stepping stone” for Huace to open a new overseas market and win the recognition of overseas audiences.

is the click champion of Huace’s YouTube official channel. The cumulative number of views of the whole play has exceeded 1 billion, and the viewing hours have reached an astonishing 1.7 billion hours.became the first Chinese costume drama to be pre-ordered by Net flix at the highest level, and it was broadcast in an unabridged version. Netizens on IMDb, the most important professional website in the United States, rated it at the highest score of 10 points.has been read more than 540,000 times on Facebook.

These historical dramas provide overseas audiences with rich materials to understand Chinese history and culture and perceive oriental aesthetics with Chinese characteristics. In the eyes of the audience, the martial arts world in Chinese costume dramas and the fantasy world are like another magnificent and romantic universe. It is worth mentioning that Chinesefilm and television makers are paying more and more attention to details. Chinese costume dramas have long since gotten rid of the labels of “shabby linen clothes”, “simple design” and “inferior special effects”. The texture of some TV dramas is on par even with that of movies. The precise control of the folkways, plot, and clothing style, makeup,props has ushered in the “high-quality era” as an important factor for these costume dramas to win overseas markets.

In addition, another major type offilm and television works that Huace has promoted to the world is the main theme or main melody drama. For example,,,, andhave been distributed overseas.Among them, the copyright distribution of the major diplomatic drama, which tells the history of diplomatic relations between the People’s Republic of China and other countries, has covered 26 countries and regions in Asia, Europe,North America, and Africa, and the number of overseas broadcasts exceeded 20 million. The spy war dramafeaturing a mathematics wizard has been translated into nearly 10 languages with a score of 9.5 on Viki, attracting a wave of young fans in Russia and other countries.

With the continuous expansion of markets, overseas audiences have gradually broken the stereotype that Chinesefilms are kung fufilms, and the demand for more Chinese TV drama themes has become diverse. They have been recognized by more international colleagues and the global production of Chinese stories — international remakes become an important hot spot in recent years. TV dramas originally produced by Huace, IP adaptions and remakes of,, andwere exported to ROC, Vietnam, Thailand, Türkiye and other countries and regions.

Huace President Zhao Yifang shows the spirit of Zhejiang businessmen, which in essence is truth-seeking, pragmatic, hardworking and pioneering. In 1992, the then 35-year-old Zhao resigned from the government, came to Hangzhou and rented two hotel rooms as an office. There were onlyfive people in the team at the time. Three years later, theirfirst TV seriesunexpectedly won the National Five-One Project Award, the Golden Eagle Award and the Feitian Award in one fell swoop.Before long, Zhao started to think about a new direction for the company. A Hong Kong agency took a fancy to theirat a TV festival, and proposed to purchase the overseas distribution rights of this drama, but Zhao rejected it flatly: If you don’t establish your own overseas channels, you will not be able to stand on your own in the future.

2017年戛納電視節(jié)MIPTV論壇上，《三生三世十里桃花》入選“全球最受歡迎電視劇劇目”，這也是第一部入圍該榜單的中國電視劇。In 2017, Eternal Love was on the Top 50 list of the MIPTV Most Popular TV Drama, thefirst in China.

In the mid-to-late 1990s, Zhao set up stalls at the Hong Kong and American film and television festivals, to sell the copyrights ofandas the first order. In 2006, Huace established its international department. In the first decade, the copyright fees earned every year could barely cover the human and material costs of overseas distribution. It was common practice for their staff to carry materials with them, design Chinese posters, and arrange booths by themselves. Their footprints spread all over major international TV festivals in ROC, Vietnam, France, among other countries.During the Cannes TV Festival, they even used the balcony of the apartment opposite the exhibition hall for advertising banners to promote the company and the location of the booth. It was not until 2009 that Huace won the highest honor at the Seoul TV Festival with, and for the first time stepped onto the international award-winning stage.

With the rapid growth of global new media, Huace gradually shifted to the construction of a global network on YouTube,Netflix, Dailymotion, Viki and OTT platforms. More than 50 Huace channels or zones have been established, and 30-odd locally translated languages have been provided. Taking YouTube as an example, Huace has set up 18 special channels to form the “Internet TV China Theater”, including various types of programs such as TV series, movies, animations, etc., in Chinese, English, Thai,Spanish, Vietnamese, Portuguese, Malay, Turkish, Russian, Korean,Indonesian and Arabic. The number of users exceeds 11 million,and its number of subscribers leads among similar companies in Chinese mainland.

Today’s Huace is an important player on the international stage. Zhao Yifang has become the first Chinese TV personality to be awarded the “Highest Medal of Honor at the Cannes TV Festival”. At present, many of the employees of Huace International Department are young returnees from overseas.Before the outbreak of the pandemic, almost for 10 months out of the 12 months of each year, they participated in major festivals and exhibitions. They not only have a strong identification with their own nation, but a sense of belief and responsibility for making Chinese TV dramas better and for the world to understand China better.

Film and television works are “a showcase” to allow the world to gain a degree of true understanding of China. Huace, as a leader of Chinesefilm and television dramas, has been sincerely dedicated to making the world a better place. Judging from the successful Huace dramas overseas in recent years, whether be they costume dramas, main theme (main melody) dramas, or realistic dramas, the audience can be immersed in the charm of the work itself, while truly feeling the beauty and harmony of traditional Chinese culture, such as kindness, loyalty, perseverance, and tenacity. And these should be seen, heard and understood by more people, because they not only share the common values of the world, they are themselves the common cultural and spiritual wealth of mankind.

Chinese mythology and martial arts dramas are the masterpieces of Chinese aesthetics. Through repeated study of classics, from the dresses, robes and utensils of the royal palace to folk stories, they are full of poetic traditional culture. They restore as much as possible the elegant life of ancient China,showing a picture of political harmony with prosperous people.The characters in the play grapple with problems of life and death,of hatred and righteousness in family feuds and national calamity,and all living beings seek the Way, andfinally all come to the same original intention: to let the world live a good life and see the good in the world. Not limited to their love, personal safety, honor and disgrace, they pay more attention to the world’s righteousness and fraternity, and to showing the brilliance of human nature.

On the other hand, by promoting Chinese TV dramas overseas, Huace has stimulated the continuous innovation of the international cooperation model offilm and television production,and has a profound effect on creating new channels for cultural exchanges and mutual learning as well as on “making the world a better place”. In 2016, the government-led “Silk Road TV International Cooperation Community” was established. Keeping up with the pace of cultural co-construction with the world,Huace has carried out diversified cooperation with international and domestic media groups such as Warner, Sony, Fox, ITV,iQiyi and others through the establishment of the Global Entertainment Partner Alliance and China TV Drama Export Alliance. It also partnered with overseas platforms to carry out indepth cooperation methods such as global re-cooperation and coproduction authorized by Chinese original IP, and independently create a global-oriented Chinese-language film and television network which also covers countries and regions along the“Belt and Road”. In 2018, Huace signed a contract with British Entertainment One, the company that owns Peppa Pig’s IP, at the “International Film and Television Co-production Forum”.In 2019, the China (Zhejiang) Film and Television Industry International Cooperation Zone landed in Hangzhou, and we saw Huace in it again.