A film executive expressed concern about intellectual property rights (IPR) protection when Chinese films are released overseas while speaking at a forum during the 24th Shanghai International Film Festival (SIFF).

"The illegal streaming and piracy should have our high attention when Chinese films are distributed to foreign territories," Yu Dong, chairman of Bona Film Group, said at the Chinese Film Industry Summit on June 12. 

"We invest a lot in producing our films, but we didn't receive fees for the IPR, and there is rampant piracy. Now, in China, when you pirate an American film on a video streaming platform, you will face a lawsuit. However, our films, in many places in the world, are free and pirated."

He added that he once found a website based in London streaming China's phenomenal animated feature "Ne Zha" and within a month it had more than 800,000 views. "Chinese films indeed reach the world, but we do not have any measures or even any litigation channels and mechanisms for the protection of IPR. This means that we must not only go out to the world, but also go out to protect IPR."

Yu joined several other top film executives at the forum to discuss the creation of China's mainstream films and the development of the Chinese film industry. 

Cheng Wu, CEO of Tencent Pictures, said that when China's cultural and film and television works go international, the creators need to raise the level of industrialization and catch up with the international level; on the other hand, they need to know the interests of the young generation. 

Wang Changtian, president of Enlight Media, added that Chinese films should have strategy and targeted destinations for international release. "The films should go global along with Chinese manufacturing and products, especially in the places which embrace Chinese products and culture."

Fu Ruoqing, general manager of the China Film Group Corporation, agreed. "The cultural gap is a consensus, so we can't force foreigners to accept the differences. However, when Chinese manufacturing and products and services are steady and solid in going global, Chinese culture will go along with them. And we have also created new technical standards for films, such as the Cinity film projection system, which will also help cultural products go global when our technologies and services are in place."

Zeng Maojun, president of the Wanda Film Group, felt strongly about the fast recovery of Chinese film market after the COVID-19 pandemic and its energetic and robust growth because Wanda is the only film giant in China that owns foreign cinema chains.  

"When the world lacks films to present, China takes the lead. The total box office gross of China's domestic productions took over more than 80% of the Chinese film market last year. After the pandemic, we have more great films to make," he said. 

The executive hoped Chinese filmmakers would try to adopt more universal cinematic language popular in the world to make films that can be accepted by the global audience, while Chinese film authorities can support such creators for their universal approach.

Wang Jianer, chairman of Shanghai Film Group, calling for more new consumption, merchandise and scenarios beyond the mere theatrical releases of films, believed China should continue to catch up with the Western film industry and export cultural products and cultural values that fit China's strength as a major country and improve its soft power. 

"As the internet economy is developing very well and technologies advance fast, and China is attractive to foreign talents, we should grasp the opportunity to perfect our industrial and production systems to better tell Chinese stories."

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