In recent years, an increasing number of Chinese movies, TV dramas, and online audiovisual programs have diversified their content and entered the world stage. Data is the most persuasive. According to the "2024 China Drama Development Report" released by the State Administration of Radio, Film and Television, the export value of Chinese TV dramas has steadily increased year after year. From 2012 to 2023, the export value of Chinese TV dramas increased by about three times, from $24.0316 million to $70.3246 million. In terms of movies, from 2017 to 2023, China exported an average of over 50 films to overseas markets each year. Wandering Earth 2 has been released simultaneously in 8 countries including the United States, Canada, the United Kingdom, Australia, and New Zealand, and has been seen by audiences in a total of 39 countries or regions. Flying Life 2 not only achieved high box office success during the Chinese New Year holiday in China, but also became the box office champion of Chinese language films during the 2024 Spring Festival holiday in North America and Australia. Whether the channels for film and television going global are smooth is a key condition. From 'sailing' to 'shipbuilding', and then to 'fleet sailing', China's film and television industry is gradually establishing a diversified path for internationalization. Firstly, domestic film and television works with different themes and styles continue to consolidate their overseas distribution, expanding their market scope by "taking a boat out to sea". Chinese dramas are currently distributed in North America, Europe, the Middle East, Africa, Central Asia, Oceania and other regions, with dramas distributed to the Middle East and Africa accounting for 11.76% of overseas distribution dramas. From the "Three Body Problem" to the "Wandering Earth" series, from "The Human World" to "Blooming Flowers", Chinese film and television tell stories with Chinese characteristics and global resonance to the world. In addition, the overseas versions of major domestic video platforms have gradually become the main platform for Chinese TV dramas to go global, and "shipbuilding and going global" has become the main way for Chinese TV dramas to directly participate in global content market competition. Furthermore, it is becoming increasingly common for a group of production companies with more overseas drama business to "group and go global" or "jointly go global". China has also taken the lead in building the "the Belt and Road" International Film Festival Alliance, which has attracted 48 countries and 55 member institutions by the first half of 2024, becoming an important channel to help the film and television industry go to sea. After years of exploration, Chinese film and television companies have begun to focus on the "global localization" strategy, cultivating a positive cooperative relationship with broadcasting platforms in their output regions. Through co creating content, conducting localized marketing, IP authorization, and leveraging AI technology, they continuously deepen their connections with target markets. For example, 'To Places with Wind' covers 225 countries and regions worldwide in 6 languages and has received praise from UNESCO. The first part of "Fengshen: Chaoge Fengyun" has been highly praised by French audiences, and Chinese commercial films are not limited to the Chinese community when they go global. Many domestic film and television works adopt a co production and cooperation mechanism. For example, the "Detective Chinatown" series of films and television works have enhanced their overseas influence through collaborative filming in countries such as Thailand, the United States, and Japan. For example, Tencent Video's overseas website WeTV has launched a Southeast Asian local original drama program, launching dozens of Southeast Asian local dramas online. There is also the popular domestic animated film "Luo Xiaohei's War" in the Japanese market. The operation of the Sino Japanese IP planning studio ANIMORE has enabled it to carry out diversified licensing cooperation, including theme hotels, perfume and other categories that were difficult to promote in the past; Pao Pao Ma Te also participated in the development of film IP derivatives such as "New God List: Nezha Reborn", "White Snake 2", and "Wandering Earth 2". From this, it can be seen that Chinese film and television dramas with diverse content themes and aesthetic styles have become an important carrier for actively "going abroad" to tell true, three-dimensional, and comprehensive Chinese stories. However, it must be noted that there are still some constraints and bottlenecks in the "going global" of the film and television industry. For example, the scale and territory of overseas markets still need to be further explored, the professional ability of domestic film and television overseas distribution or IP operation is insufficient, the professional team is not sound, the appeal and recognition of domestic film and television cultural brands among overseas consumers still need to be improved, the ability of domestic film and television to extend their revenue beyond the box office of the global cultural market is still relatively lacking, the global industrial chain layout of the film and television industry is not yet perfect, the viewing habits of short drama collections have a significant impact on the output of long dramas, and it is difficult to protect intellectual property rights overseas. It can be expected that with the continuous enrichment of the content of China's film and television industry going global, the channels for China's film and television industry to go global will continue to solidify, the models will become more diverse, and the platforms will be broader. Telling Chinese stories well, there is great potential for domestic film and television. (New Society)