China’s Vertical Film Movement: Revolutionizing Short Drama for Mobile Viewing
China’s vertical short drama movement is rapidly growing, with projections suggesting a market value of $14 billion annually. The format is designed for smartphones, depicting quick, simple narratives that appeal to vast audiences. Industry leaders discuss opportunities and technological advancements that will support the genre’s development.
The recent Hong Kong Filmart highlighted the significant rise of China’s vertical short drama movement, a trend that industry experts predict will develop into a market worth approximately $14 billion annually. Zhou Yuan, CEO of Content Republic, emphasized that this format caters to audiences who have not been sufficiently served by existing media options. The term “vertical short drama” describes series filmed vertically for optimal viewing on smartphones.
Initially popularized on platforms such as Snapchat and Instagram, vertical dramas are now predominantly produced by Chinese creators, particularly through TikTok and its Chinese counterpart, Douyin. Traditional streaming services, such as iQIYI, are increasingly shifting focus to this new, rapid storytelling format, which consists of approximately 70 short scenes lasting one to two minutes each.
These vertical narratives tend to revolve around “simple stories of love, wealth, betrayal, and revenge,” frequently featuring mythical elements such as vampires and werewolves, as reported by Global Times. Male characters typically exhibit a form of infatuation with the female protagonist, demonstrating predictable narrative arcs.
Market predictions by iMedia Research suggest that the vertical short drama sector will increase in value from $5.2 billion in 2023 to over $13.8 billion by 2027. Undoubtedly, the session titled “Co-Create The Future: Vertical Short Drama’s Global Opportunity Awaits” attracted significant interest at Filmart.
Participants included industry leaders like Ashley Zhang from Content Republic, Selina Yurou Zhang from Australia, and Nic Westaway, once famous for his role in the long-running Australian series “Home and Away.”
Westaway remarked on the rapid pacing of vertical dramas, stating, “In a vertical, in like eight days [of shooting], you get all of that” referring to the condensed storytelling style compared to traditional feature films. Content Republic currently manages approximately 60 active productions across the globe, mainly focusing on romantic comedies and business-centric narratives, produced by minimal crews in very short time frames.
Zhou expressed the need for more professionalism in the sector, aiming to produce an annual total of 400 vertical dramas—200 for the domestic market and 200 for international audiences. He claimed that over 400 million individuals in China dedicate more than 30 minutes daily to watching these narratives.
Furthermore, vertical filmmakers are rapidly embracing new technologies, including Artificial Intelligence, which promises to reduce production time significantly. A notable example of this trend is the cross-cultural success of the “XXL Size Wife” franchise, which has been translated into eight languages, evidence of its broad appeal and storytelling resonance.
The vertical short drama movement in China represents a burgeoning market with significant growth potential. With an emphasis on rapid storytelling tailored for mobile consumption, this trend not only fills existing gaps in the media landscape but also showcases the adaptability of Chinese filmmakers to emerging technologies. As production efforts intensify, including the integration of AI, this format is poised to continue captivating audiences globally.
Original Source: www.hollywoodreporter.com
Post Comment