Zhejiang's Global Media Blitz: Tech, Culture, and Commerce Converge

SINGAPORE – November 27, 2025 – Next week, as the global entertainment industry descends upon Singapore for the 26th Asia TV Forum & Market (ATF), one booth in particular will represent more than just a collection of companies. Booth N08 at the Marina Bay Sands Expo will be the forward operating base for a calculated and well-funded cultural expansion, as China's Zhejiang province unveils a comprehensive showcase of its film and television prowess. This is not merely a trade mission; it's a statement of intent from an economic and cultural juggernaut aiming to translate its domestic success into global influence.

The "2025 Zhejiang Service Trade (Singapore) Film and Television Exhibition" brings together 12 of the province's key media enterprises, but the story behind this event is far larger than the sum of its parts. It represents the convergence of a trillion-yuan industrial ambition, cutting-edge technology, and a sophisticated content strategy designed to captivate international audiences.

The Trillion-Yuan Engine of Cultural Export

Zhejiang is no longer just a participant in China's media landscape; it is a primary engine driving its growth. The province's audio-visual industry is on a staggering trajectory, posting revenues of 964.71 billion yuan (approx. $133 billion USD) in 2023—a 23% leap from the previous year. With a stated goal to surpass one trillion yuan in annual revenue by 2027, the province is methodically building an ecosystem designed for global competition.

This economic might is the foundation of a broader national strategy. The exhibition aligns perfectly with Beijing's long-standing "Go Global" policy and the cultural export goals embedded in its 14th Five-Year Plan. The government is actively fostering "national cultural export bases" with preferential policies, and Zhejiang is a prime example of this strategy in action. The province itself provides robust support through initiatives like the Zhejiang Cultural and Arts Development Fund, which injects 130 million yuan annually into creative projects.

By leveraging the ATF, a premier content market in Asia, Zhejiang is making a strategic play for the lucrative Southeast Asian market and beyond. The plan is not just to sell content but to embed the province's creative and technical services into the global production chain, fulfilling China's ambition to become a "cultural powerhouse" by 2035.

Technology as the Tip of the Spear

While financial backing provides the fuel, technology is the engine of Zhejiang's global push. The exhibition is set to highlight a formidable arsenal of innovations designed to streamline production, break down distribution barriers, and enhance creative output. This focus on technology is what elevates the province's strategy from simple content sales to a full-spectrum industrial offensive.

At the forefront is the integration of AI Generated Content (AIGC). With the global AI in media market projected to exceed $123 billion by 2033, Zhejiang companies like Hangzhou Huangliu Cultural Development are showcasing how AIGC can accelerate everything from scriptwriting to post-production. AI-driven workflows are reported to reduce video editing time by up to 30% and increase media delivery efficiency by 40%, giving Zhejiang-based producers a significant competitive edge in speed and scale.

This technological prowess extends to infrastructure and distribution. Hengdian World Studios, often dubbed "Chinawood," will be promoting its one-stop service platform, offering global film crews access to its massive live-action shooting bases and comprehensive support from pre-production to final cut. Meanwhile, digital platforms are solving the challenge of international distribution. Zhejiang Huamai Network Technology's MEGAMEDIA platform already connects film and television resources from 50 countries, acting as a digital silk road for content. Complementing this is Haining Naqada Media Company, which offers Hollywood-level multilingual dubbing and localization services, ensuring that Zhejiang's stories can resonate with local audiences in Southeast Asia and worldwide.

A New Narrative: From Blockbusters to Art House Acclaim

For years, the international perception of Chinese media has been dominated by historical epics and state-approved narratives. However, the portfolio on display from Zhejiang signals a deliberate and nuanced evolution in storytelling, aimed at capturing a wider, more discerning global audience.

The most compelling evidence of this shift is A Story About Fire, an animated feature from Parallax Films. Before even reaching the Singapore market, the film has already blazed a trail through the elite international festival circuit, earning a world premiere at the 75th Berlinale and a coveted spot in the Annecy International Animation Film Festival's Work in Progress section. Praised for its exquisite hand-painted ink-wash style and its philosophical depth rooted in ancient Qiang myths, the film proves that Chinese animation can compete—and win—on the world's biggest artistic stages.

This artistic ambition is complemented by commercial savvy. Companies like Xiaowu Bros. are tapping into the explosive global market for short dramas with titles like The Invincible Bastard Son. Zhejiang Zhongnan Animation's Legend of King Qian has already been broadcast in over 130 countries, demonstrating a proven track record in creating globally appealing animated content.

Furthermore, the province is showcasing content that offers a window into modern China's soul, moving beyond urban landscapes. Zhejiang Star Fashion Film's The Hidden Village weaves themes of intangible cultural heritage and rural revitalization, while Zhejiang Xiuming Film's DONGMEI offers a delicate portrayal of rural life. This diverse slate—from internationally acclaimed art films to viral short dramas and culturally rich narratives—demonstrates a sophisticated understanding of a fragmented global market, where authenticity and unique perspectives are increasingly valuable commodities. The goal is clear: to "tell a good story about China" not through monolithic propaganda, but through a rich tapestry of stories that are as diverse as the global audiences they seek to attract.

The gathering at the Marina Bay Sands is therefore more than a trade show; it is a meticulously orchestrated event where industrial policy, technological innovation, and creative ambition intersect. As global distributors, investors, and producers walk the floors of the ATF, the message from Zhejiang's contingent will be unmistakable: China's media industry is not just coming to sell, it is coming to partner, innovate, and lead.