Group 1 - The summer season has initiated a competitive landscape among major streaming platforms in China, including iQIYI, Tencent Video, Youku, and Mango TV, each launching new series to attract viewers [1] - iQIYI has released series such as "Ling Jiang Xian" and "Shu Juan Yi Meng," while Tencent Video has responded with "Peach Blossom Reflecting the River" and "Sweep Drug Storm" [1] - The competition is not limited to domestic markets, as these platforms are expanding their reach globally, with significant growth in the export of Chinese dramas [3][4] Group 2 - The export value of Chinese dramas has seen substantial growth, reaching $8,274 million in 2022, a 45.6% increase from the previous year, and is expected to maintain a strong presence in the global market [3] - Over 40% of production companies are now collaborating directly with local media, while nearly 30% are using self-built international platforms to distribute content [3] - Tencent Video's WeTV has established a strong foothold in Southeast Asia, leveraging local partnerships and acquiring popular content to enhance its library [7][8] Group 3 - iQIYI has adopted a phased global strategy, initially acquiring exclusive rights to popular foreign content and then collaborating with local media for original productions [14] - Youku has focused on mature markets like Europe and North America, successfully distributing series like "White Night Chasing" and "The Longest Day in Chang'an" through platforms like Netflix [16] - Mango TV is exploring overseas markets primarily through variety shows, while gradually expanding its drama offerings [22] Group 4 - The content landscape is shifting from a focus on historical dramas to a more diverse range of genres, including contemporary and realistic themes, with 49% of exported dramas in 2023 being contemporary [25][27] - Platforms are increasingly investing in high-quality productions across various genres, with Tencent Video leveraging big IPs and high production values to create global hits [29][31] - iQIYI has developed a differentiated content matrix with various themed channels, successfully launching series that resonate with international audiences [33][35] Group 5 - The competition among platforms has evolved from simple content output to a more complex ecosystem involving platform development, technology integration, and cultural exchange [65] - The transition to a 3.0 phase signifies a shift towards collaborative ecosystem building, where platforms and content creators work together to enhance cultural influence globally [65]

正在举办的上海电视节上，多个主题论坛、市场活动都有大量与海外传播或跨国合作相关的环节。 在国内竞争白热化的当下，中国的影视、IP内容"卷"向海外已是各方公认的一条未来发展路径。但该怎 样展开跨国合作？该怎样把中国的内容产品、文化IP向海外观众输出？ 在上海电视节上，国内综艺《乘风破浪的姐姐》在越南的落地被当作一个案例。来自越南的制作方 YeaH1 Group的主席黎芳陶向与会嘉宾介绍，该综艺节目引入越南后，越南版同名综艺的播放量超过 200亿次，播出期间霸榜越南电视台（VTV）每周收视率，投资规模、收视表现等都创下越南历史之 最。 从过往几大长视频平台采取的动作来看，主要包括：一是充分利用自有内容优势输出内容，例如借助持 续优化翻译字幕、语境转换和本地化配音等方式，降低观看门槛与推进文化融合。二是采购海外本土影 视版权，例如WeTV先后与泰国、印度尼西亚、马来西亚等国家的顶级知名影视机构等达成战略合作， 爱奇艺也在去年上新了多个海外制作公司的新节目。三是持续加码自制本土内容，WeTV目前已与泰国 CHANGE 2561、Wabisabi Studio工作室、Kongthup Production制作公司、TV ...