Translated by Elif Ozturgut

The roots of Chinese cinema date back to the early 1900s. By the 1930s, Shanghai had become the hub of a ‘golden age.’ During this period, a socially conscious film movement, often labeled as left-wing, was prominent. Notable works from the era included Cheng Bugao’s Spring Silkworms (1933) and Wu Yonggang’s Goddess (1934).

At the time, cinema served as both an escape for Chinese society amid war and political turmoil and a medium to envision a new social order. Throughout the 1930s and 40s, both the Nationalist government and the Communist Party leveraged film as a propaganda tool. After the founding of the People’s Republic of China in 1949, the industry came entirely under state control, producing films that promoted collectivist values and socialist realism.

Cultural Revolution Period and After

The Cultural Revolution, which began in 1966, led to a major disruption in Chinese cinema. While this political campaign paralysed cultural and intellectual life, film production was almost completely halted. Between 1967 and 1972, almost no new films were made, only revolutionary opera films that were considered ideologically ‘correct’. After the end of the Cultural Revolution in 1976, the cinema industry began to revive under Deng Xiaoping. In the 1980s, the so-called ‘scar dramas’ emerged, films that depicted the social trauma of the Revolution through the stories of individuals. While the Fourth Generation directors who grew up in this period brought the effects of the years of oppression to the big screen, the Fifth Generation directors, who were their students, developed a much more innovative cinema language. The films of directors such as Chen Kaige (Yellow Soil, 1984) and Zhang Yimou (Red Millet Fields, 1987), with their bold aesthetic experiments, powerful visuals and treatment of historical themes, represented a sharp break from earlier periods in Chinese cinema. At the same time, these films were highly acclaimed in international art circles and brought worldwide recognition to Chinese cinema.

Rise in the 1990s and 2000s

Since the 1990s, Chinese cinema has entered a new period of transformation and rise. The directors of the 1990s, known as the Sixth Generation (e.g. Jia Zhangke, Wang Xiaoshuai), addressed the effects of rapid urbanisation and social change with small-scale, realistic stories and made a name for themselves at international festivals. On the other hand, as the Chinese government liberalised the economy from the mid-1990s onwards, the film industry also began to commercialise. In 1994, for the first time in years, Hollywood films were allowed to be screened in China, albeit on a limited basis (e.g. The Fugitive), forcing local producers to turn to larger productions in order to compete. In the late 1990s and early 2000s, Chinese cinema made a technological and artistic breakthrough. Zhang Yimou’s high-budget epic films such as Hero (2002) and Shining Daggers (2004) both broke box office records in China and were released in the West, reaching a wide audience. In 2000, Ang Lee’s film The Tiger and the Dragon was a worldwide success, winning four Oscars and becoming the highest-grossing foreign-language film in the US. Such successes showed that stories of Chinese culture could also resonate with global audiences. Throughout the 2000s, the number of cinema halls increased rapidly in parallel with economic growth and box office revenues grew exponentially. While Chinese productions have improved in terms of content and technical quality, especially popular comedy-drama films for the New Year period by directors such as Feng Xiaogang have succeeded in attracting domestic audiences back to cinemas. As a result, from the late 20th to the 21st century, Chinese cinema has become an industry that has both strengthened in the domestic market and gained international acclaim.

Chinese Government’s Cinema Policies

State Support and Regulations

In China, the film industry is considered strategic by the state and is shaped by intensive public support. Since the government sees cinema as a tool to increase its cultural influence, it invests in many areas from infrastructure to financing. In recent years, China has become the country with the largest number of cinema screens worldwide. For example, by the end of 2016, the number of cinema screens in China surpassed that in North America. As of 2020, there were more than 75,000 cinema screens in China, and this number is still growing. The state is growing the domestic market by encouraging the opening of new theatres and providing financial support to domestic productions. In addition, a significant part of the industry in China is directly or indirectly controlled by the public authority through state-controlled film companies, notably China Film Group, and censorship boards. Legal regulations such as the Film Industry Promotion Law, which came into force in 2017, aimed at the institutional development of the industry by supporting domestic film production with subsidies and strengthening the fight against piracy. However, as foreign-partnered projects and studio investments are also subject to government approval, there is a directive state influence on the industry as a whole.

Censorship and Content Control

In China, there is strict censorship control over film content. The state requires films to conform to the ideological line and uphold ‘social morality’. In this context, politically sensitive topics, criticism of the government, issues such as Tibet or Taiwan, obscene or excessive violence, and supernatural themes deemed ‘superstitious’ are generally prohibited. Scripts are submitted for approval prior to production and changes are requested if necessary. For example, a TV series adapted from a popular novel had a homosexual love story in the original, but the screen adaptation had to show this relationship only as a platonic friendship due to censorship. Similarly, in recent historical films, details that might contradict the official narrative of the Chinese Communist Party are removed or reconstructed. The state-affiliated Censorship Board (formerly SARFT, now the National Administration of Radio and Television of China) reviews every film and does not allow the screening of productions it deems unsuitable. Some productions, such as the 2016 film Father and Son (Shadows), can be banned in the country even if they win awards at festivals due to their political content. Such control mechanisms also lead filmmakers to practice self-censorship, so that the industry largely produces around themes approved by the state.

Domestic Box Office Records and Incentive Strategies

The Chinese government has set a strategic goal of producing its own blockbuster films that can be successful on a global scale. Accordingly, various incentives and protective policies are implemented to ensure the success of domestic films at the box office. First of all, the screening of foreign films is limited by quotas and timing restrictions (details will be discussed below). Especially during important holiday seasons such as Chinese New Year and National Day, movie theatres mainly screen major domestic productions; foreign films are restricted during these periods, allowing domestic films to break records without competitive pressure. In addition, the state provides indirect financial support to high-budget domestic projects and encourages mass screenings of films with high propaganda value by state institutions. The fruits of this have been clearly seen in recent years: In 2020, the top 10 highest grossing films of the year at the Chinese box office were all domestic productions. In fact, more than 83% of the total box office revenue that year came from Chinese films. Similarly, in 2023, not a single Hollywood production was among the top 10 most watched films in China. This picture shows that the state’s strategy of promoting domestic films has been successful. The authorities also aim to produce productions that reinforce national sentiments by supporting epic films (also known as ‘main melody’ films) that glorify Chinese culture or depict historical victories. For example, films such as Wolf Warrior 2 (2017), a heroic portrayal of the Chinese navy, and The Battle of Changjin Lake (2021), about the Korean War in the 1950s, have achieved record box office revenues with strong official support and promotion. Such success stories are part of China’s vision to make its mark on the global cultural scene with its own blockbuster films.

Position of Chinese Films in the Global Market

Giant Market and Local Box Office Dominance

China has become one of the largest cinema markets in the world today. In fact, in 2020, while the halls in North America were closed due to the pandemic, China surpassed the USA/North America in total box office revenue and became the world’s largest cinema market. That year, the Chinese cinema box office ranked first with a revenue of 3.1 billion dollars. In the post-pandemic period, China’s annual box office revenue has been competitive with the US. There are currently tens of thousands of cinema screens in the country, catering to a population of 1.4 billion people, and the total audience reaches 1 billion tickets per year. Domestic films are the first choice of the audience in this huge market. Chinese audiences have a strong cultural interest in their own films and government policies support this. As a result, Hollywood productions often lag behind domestic films in China, even if they are a huge success globally. For example, Disney’s superhero film (Deadpool & Wolverine), which grossed over $1 billion globally, only earned $57 million in China, ranking 15th on the year’s list, while The Heiress (Zhua Wa Wa), a Chinese comedy-drama film released the same year, earned nearly $460 million domestically. As a matter of fact, in 2023, no Hollywood film made it to the top 10 at the Chinese box office, and in 2024, only one foreign film (Godzilla x Kong) made it to the list. This data reveals that domestic productions have established an absolute dominance in the Chinese market. The high audience figures of domestic films are indicative of the strength of Chinese cultural content in its own geography on the one hand, and the impact of the government’s market protection policies on the other.

Achievements in International Festivals

The position of Chinese cinema in the international arena has been strengthened not only by its commercial size but also by its artistic achievements. Especially since the 1980s, Chinese directors and films started to win important awards at prestigious film festivals. In 1988, Zhang Yimou’s Red Millet Fields won the Golden Bear at the Berlin Film Festival, marking a first and making a global impact. Following this, Chen Kaige’s Ba wang bie ji (Farewell My Concubine) became the first Chinese film to win the Palme d’Or at the 1993 Cannes Film Festival. This victory reinforced the prestige of Chinese cinema in world cinema. In the years that followed, Chinese productions and directors continued to be honoured at festivals such as Cannes, Venice and Berlin. For example, Tian Zhuangzhuang (1993 for The Blue Kite) and Wang Xiaoshuai (2001 for Beijing Bicycle) won the Silver Bear, while Jia Zhangke won the Golden Lion at Venice in 2006 for Sanxia Haoren (Still Life). On the Oscar front, Crouching Tiger, Hidden Dragon, directed by Ang Lee and based on Chinese culture, won 4 awards including the Best Foreign Language Film Oscar in 2000 and became the highest grossing foreign language film in US history. In addition, Zhang Yimou’s films Hero and Shining Daggers made it into the top five as Oscar nominees for Foreign Language Film. These examples show that the artistic quality and narrative strength of Chinese cinema are universally appreciated. Chinese directors who have appeared at international festivals have been able to address universal issues with their creative perspectives and contribute to world cinema despite the restrictive environment in their country. Therefore, the position of Chinese cinema in the global market is defined not only by the size of the box office, but also by the prestigious awards and critical praise it has received.

Competing Aspects with Hollywood

The Chinese film industry is now on its way to reach a level that can compete with Hollywood in terms of technique and content. Especially the domestic blockbuster films produced in recent years have reached Hollywood standards in terms of visual effects, action sequences and production quality. For example, the 2019 sci-fi epic The Wandering Earth was described as a groundbreaking production in Chinese cinema. This film, which tells the story of humanity forced to leave the solar system, was the biggest box office hit of the Lunar New Year holiday in China and was considered a milestone in Chinese science fiction. Praised for its sophisticated special effects and a uniquely Chinese take on the theme of global catastrophe, The Wandering Earth showed that Chinese culture has successfully stepped into new genres that can be told on a global scale. Similarly, Wolf Warrior 2 attracted attention with its Hollywood-style fast-paced action. Released in 2017, this film became famous as China’s ‘Rambo’-style action series, following the adventures of a Chinese special forces soldier abroad. Wolf Warrior 2 grossed 5.68 billion yuan (about $854 million) at the Chinese box office, ranking it second all-time in the ranking of top-earning films in a single country – only Star Wars has a higher figure in a single market worldwide: The Force Awakens in North America. This phenomenal success proved that a Chinese film can approach Hollywood’s records in its home market. It should be noted, however, that the success of these films was largely orientated towards the Chinese domestic market; although productions such as Wolf Warrior 2 or The Wandering Earth have received international distribution, their box office performance outside China has remained modest.

However, the competitive aspects of Chinese cinema are not limited to box office or technical skills. In terms of diversity of subject matter and narrative originality, works that can serve as an alternative to Hollywood have begun to emerge. There is a rich range of genres such as historical epics, legends, martial arts (wuxia) films and modern urban dramas. Chinese films have the potential to blend their own cultural motifs (e.g. Shaolin monks, Confucian themes, mythological elements) with modern storytelling techniques and present them to global audiences. Particularly in the field of animation, Chinese films such as Ne Zha (2019) have both broken records at the local box office and attracted attention across Asia. Instead of producing Hollywood-like superhero films, creating heroes based on Chinese mythology can provide differentiation in the global market. In addition, China’s low-budget but original artistic films (such as the works of independent director Bi Gan) are also attracting attention at world festivals, which is a factor that shows its competitiveness in terms of diversity. As a result, Chinese cinema is on its way to becoming a strong competitor to Hollywood both commercially and in terms of content as it upgrades its technological capacities, produces big budget productions and emphasises its unique cultural content. Although this competition is limited to the Chinese domestic market for the time being, given the development momentum of the Chinese film industry, it can be expected to increase its influence in attracting international audiences in the medium term.

Competitiveness with Hollywood

Hollywood’s China Market Strategies and Collaborations

Recognising the enormous size of the Chinese market, Hollywood studios have developed various strategies over the past few decades to enter and capture a share of the market. As China gradually opened its doors to foreign films from the mid-1990s onwards, major Hollywood producers began negotiating with the Chinese government to screen their films in China. Especially in the 2000s, as the Chinese box office grew rapidly, many Hollywood films began to generate a significant portion of their total grosses from China. This led Hollywood to make special moves for China. Co-productions and collaborations are among the most prominent of these moves. Hollywood studios have developed joint projects with local companies to overcome quotas and censorship barriers in China. For example, Disney, for the Chinese release of Iron Man 3, shot extra scenes, added Chinese actors and partnered with DMG in China, making the film almost half Chinese production. Similarly, Legendary Pictures’ The Great Wall, directed by Zhang Yimou, brought together Hollywood stars such as Matt Damon with a Chinese historical concept as a China-Hollywood co-production. The involvement of Chinese companies as investors in some big-budget films has also become widespread; for example, Chinese capital was involved in some films of the Transformers series and the Warcraft adaptation. In 2016, China’s Dalian Wanda Group entered directly into Hollywood content production, acquiring Legendary Entertainment, one of Hollywood’s major studios, for $3.5 billion. All these initiatives have created an ecosystem in which Hollywood and the Chinese film industry are increasingly intertwined. Hollywood films hope to generate high revenues in the Chinese market, while China aims to benefit from Hollywood’s technology and global marketing experience. This interdependence has been embodied in many films made in recent years: From the Fast and Furious franchise to the Transformers films, many have winked at Chinese audiences by featuring scenes set in China, Chinese characters or product placement.

Quotas and Restrictions on Foreign Films

For many years, China has imposed a foreign film quota in order to protect its own cinema industry and to keep foreign cultural influence in check. This quota limits the number of imported (foreign) films that can be shown in Chinese cinemas in a year. It was first introduced in 1994 and only 10 foreign films (mostly Hollywood productions) were authorised for distribution in China that year. The quota was increased to 20 films in 2002 (after China’s entry into the World Trade Organisation) and to 34 films in 2012 as a result of an agreement with the US. At least 14 of these 34 films were required to be in 3D or IMAX format, a provision that generally gave an advantage to big-budget Hollywood films. In addition, a limited number of non-quota ‘buy-out’ foreign films with fixed fees are allowed to be imported, but they cannot share box office revenues. In addition to the quota system, revenue-sharing rules are also organised in a way to disadvantage foreign studios: A Hollywood film shown in China can only transfer 25% of its box office revenue to the producing studio, with the remainder largely going to the Chinese distributor and the state. This is well below other markets around the world (typically 40-50 per cent). The Chinese authorities also strategically adjust the release schedule of foreign films. For example, critical periods such as the summer months or the Chinese New Year period are designated as ‘quarantine periods’, during which almost no foreign films are released. In this way, domestic films can reach maximum grosses during the most popular holiday seasons without competitive pressure. Hollywood studios have to submit their scripts for prior approval and make necessary adjustments in order for their films to be released in China. The film World War Z had to change the reference to ‘where the zombies come from’ from China to another country in order to gain approval in China; a Tibetan character in the film Doctor Strange was transformed into a fictional ethnicity in order to avoid Chinese censorship. Such interventions require Hollywood content to undergo significant changes in order to enter China. As a result, quotas, low revenue share and content restrictions combine to make it very difficult for foreign films to enter the Chinese market. This is consistent with China’s goal of protecting its own industry and has so far been effective in keeping the market share of Chinese cinema high.

Global Audience Potential of Chinese Films

The ability of Chinese cinema to rival Hollywood on the world stage depends to a large extent on the success of Chinese productions in attracting global audiences. For the time being, Chinese films have a limited share of the international box office, with most Chinese-made films generating most of their revenue from their domestic market. However, this may change in the future. With increasing experience and growing budgets, the Chinese film industry has started to develop productions suitable for the international market. Especially in Asia, interest in Chinese films has been increasing in recent years. Traditional fight films and historical epics already find an audience in regions familiar with Far Eastern culture. Now, ambitious works are being produced in universal genres such as science fiction, animation and superhero films. The Wandering Earth film reached many countries outside China via the Netflix platform and aroused curiosity from foreign audiences. Wolf Warrior 2, on the other hand, was released in North America and other markets, albeit on a limited basis, and grossed an additional $100 million outside of China (this was a record level for Chinese productions, although it remained low compared to the figures in China). China is also trying to integrate into the global market through co-productions. The film Kung Fu Panda 3, a co-production between US DreamWorks and Oriental DreamWorks, blended Chinese cultural elements with western animation techniques and was successful worldwide. In the future, there may be similar steps such as the inclusion of Chinese superheroes in major series such as Marvel or DC, and the appearance of characters from Chinese mythology in global films. Still, there are some obstacles to Chinese films attracting global audiences. Language and cultural barriers are the biggest challenge. For years, Hollywood films have used universal themes and simple narrative formulas to deliver content that is understandable and appealing worldwide. Chinese films, on the other hand, are often based on their own history and cultural references, which can make them more ‘foreign’ to Western audiences. For example, nationalist-themed action or propaganda films that attract great interest in China may not find the same response from foreign audiences. Still, there are some obstacles to Chinese films attracting global audiences. Language and cultural barriers are the biggest challenge. For years, Hollywood films have used universal themes and simple narrative formulas to deliver content that is understandable and appealing worldwide. Chinese films, on the other hand, are often based on their own history and cultural references, which can make them more ‘foreign’ to Western audiences. For example, nationalist-themed action or propaganda films that attract great interest in China may not find the same response from foreign audiences.

 Still, there are some obstacles to Chinese films attracting global audiences. Language and cultural barriers are the biggest challenge. For years, Hollywood films have used universal themes and simple narrative formulas to deliver content that is understandable and appealing worldwide. Chinese films, on the other hand, are often based on their own history and cultural references, which can make them more ‘foreign’ to Western audiences. For example, nationalist-themed action or propaganda films that attract great interest in China may not find the same response from foreign audiences. The overly China-centric discourse of Wolf Warrior 2 prevented it from reaching a wide audience in Western markets. Another issue is restrictions on creative freedom: In China, censorship prevents films from tackling directly critical or controversial topics, and stories can sometimes be deemed ‘too safe’. However, global audiences value bold and original stories. At this point, Chinese cinema may need to increase the diversity and boldness of its content in order to succeed internationally.

However, China also has serious advantages. Thanks to its enormous financial resources, it has the potential to produce the world’s biggest budget films. It can also buy or transfer Hollywood’s best visual effects specialists and studios to develop its technical infrastructure (Chinese capital investments in effects companies such as Weta Digital are an example). As Chinese actors and directors are involved in international projects, their name recognition is growing. For example, actress Fan Bingbing or actor Donnie Yen have gained global recognition as they have appeared in Hollywood productions. In the future, China may turn to more universally themed, multilingual or direct-to-English productions to extend its soft power to global audiences through cinema. As a matter of fact, in recent years, some Chinese films are also shot in English in accordance with the international market or are immediately presented to the world market with subtitles instead of dubbing. In sum, Chinese films have a growing potential to attract a global audience, but their ability to have a global impact on par with Hollywood will depend on both the alignment of their content strategies and the transformation of audience habits. It will become clear in the coming years whether Chinese cinema will be able to move from its current strong domestic market position to a more global cultural force in time.

China’s Soft Power Strategy through Cinema

Cinema as a Tool for International Diplomacy and Cultural Influence

The culture and entertainment sector is an important tool in countries’ soft power strategies. Just as the United States has promoted the American lifestyle and values globally for decades through Hollywood films, China also aims to gain global recognition for its rising power through cinema. Chinese leadership has presented a clear vision in this regard. In 2013, President Xi Jinping instructed propaganda and media officials to “tell China’s story well and effectively communicate China’s voice to the world.” This statement indicated that cinema and television content would be used in building China’s international image.

Since the 2000s, China has taken systematic steps to turn its film industry into a tool of diplomacy. While Confucius Institutes were being established in regions such as Asia, Africa, and Latin America, Chinese films targeting these areas also began to circulate more widely. The Belt and Road Initiative launched in the 2010s is not only economic but also includes cultural exchange. China actively organizes film festivals, signs co-production agreements, and distributes Chinese films dubbed into local languages to countries along the Belt and Road route.

Each year, over 100 Chinese films are exported to countries in Asia, Africa, and Eastern Europe and dubbed into local languages—expanding the reach of China’s cultural influence. In this way, Chinese cinema is positioned as an alternative to American films, especially in developing countries. For instance, in some regions of Africa, China broadcasts its series and films on local television channels to reach mass audiences and promote a friendly image of China. These efforts aim to increase sympathy and understanding toward China, creating a cultural soft power domain that supports China’s political interests.

The connections established through cinema play a complementary role to formal diplomacy; gestures such as organizing joint film weeks during Chinese leaders’ foreign visits or opening cinema complexes funded by China have become components of cultural diplomacy.

Cultural Narratives and Propaganda Elements in Chinese Films

An important dimension of China’s soft power strategy through cinema is the effort to convey messages through cultural narratives. Chinese productions often feature stories that reflect elements of Chinese civilization, history, and ideological stance. In recent years, films labeled as “main melody” (主旋律)—those aligning with official ideology—have come to the forefront. These films highlight the heroism of the Chinese Communist Party, the unity and resistance of the Chinese nation, and achievements in development. For instance, the 2018 documentary Amazing China showcased China’s technological and economic achievements under Xi Jinping’s leadership, and was widely promoted through state media as a virtual propaganda campaign.

Historical films also tend to support the official historical narrative. The 2020 film The Eight Hundred told the story of Chinese soldiers fighting against the Japanese in 1937 and achieved great box office success. Interestingly, while the story originally centered on the resistance of the Nationalist government (Republic of China) army, the film’s promotions and subtext emphasized the Chinese Communist Party’s role in the victory. This shows how even historical narratives are adapted to meet present-day political needs. The Chinese Communist Party uses cinema as a tool of memory construction to strengthen its legitimacy, portraying itself through films as the force that always defends the homeland and stands with the people.

Similarly, contemporary action and drama films also portray China in a positive light as a global power. In the Wolf Warrior series, the Chinese army and special forces are depicted as heroes rescuing innocents abroad and defeating Western villains. The series became so popular that China’s assertive foreign policy rhetoric in the West came to be known as “Wolf Warrior diplomacy”—a term derived directly from the film’s title, describing the bold and nationalist tone of Chinese diplomats. This illustrates how a single film can become a powerful propaganda tool closely associated with a country’s diplomatic image.

On the other hand, the soft power elements of Chinese cinema are not limited to overt propaganda but can also be found in more subtle cultural promotions. Period dramas and historical epics, for example, aim to showcase traditional Chinese values and aesthetics, conveying the richness of Chinese culture to international audiences. The Once Upon a Time in China series and the Ip Man films romanticize values like honor, justice, and sacrifice through martial arts, gaining a global fanbase. In animated films, figures from Chinese mythology—dragons, deities, heroes—are adapted into modern narratives to appeal to younger generations. In short, while Chinese films may carry explicit propaganda messages, they also serve as carriers of soft power elements such as language, aesthetics, history, and values for export abroad.

The Future of Chinese Cinema as a Soft Power Tool

China’s soft power strategy through cinema aims to provide the country with a competitive advantage in global cultural influence in the long term. But how effective might this strategy be in the future? It can be evaluated on several fronts.

First, economic sustainability: As the world’s second-largest economy, China has the resources to continuously invest in its film sector. This financial capability indicates a capacity for a long-term cultural campaign. Given Hollywood’s near-century-long influence on global culture, China may try to build a similar impact over the coming decades by consistently investing in cinema. Indeed, China’s state plans include the goal of becoming a “world-class cultural creative power” by 2035, and the film industry is a major part of this ambition.

Second, content quality and diversity: For soft power to be lasting, the content produced must be of high quality and resonate across different regions. Although Chinese cinema has developed technically, it has yet to reach its full potential in storytelling due to restrictions on freedom of expression. If censorship policies are relaxed in the future and more universal stories are allowed, globally acclaimed cult films from China could emerge—greatly boosting China’s soft power.

Another key factor is trust and perception. Hollywood has not only produced films but also generated global affection as a dream-making machine. The American lifestyle, democratic values, and the concept of the “American Dream” have been subtly conveyed for generations through Hollywood films, serving as a source of inspiration in many countries. For Chinese films to create a similar emotional impact, China’s global image needs to become more positive and appealing. However, in today’s Western public opinion, concerns over human rights and criticisms of authoritarianism lead many to approach Chinese cinema’s messages with skepticism. This limits the effectiveness of China’s soft power efforts.

Perhaps for this reason, China is primarily targeting developing countries with its soft power strategy. In these regions, China’s infrastructure investments and its rhetoric of “shared destiny” find a more receptive audience. Cinema is used as a supporting tool to reinforce this narrative.

In the future, whether Chinese cinema can truly rival Hollywood will depend on its global popularity. A turning point would be seeing a Chinese film series or character achieve international phenomenon status—similar to Disney, Marvel, or DC. For example, if a Chinese superhero or historical figure were embraced by global youth (like Japanese anime characters or K-pop idols), China’s soft power campaign could be considered successful. In this context, China has been closely observing cultural models like South Korea’s “Korean Wave” (Hallyu). South Korea has unexpectedly gained significant soft power through music and TV dramas. China hopes to create a similar effect with its broader cultural arsenal, especially through cinema.

Thanks to its economic scale and state-supported strategic vision, Chinese cinema holds the potential to rival Hollywood. Having already established dominance in its domestic market, the next goal for China’s film industry is to achieve universal appeal. To do this, it will need to maintain world-class production standards while skillfully addressing universal human themes. China’s soft power initiative through cinema is moving in parallel with the country’s broader rise. If China succeeds in transitioning from economic to cultural power, the world may witness the rise of a phenomenon we might one day call “Chinawood” in the global film industry. Yet, challenges such as content restrictions and appealing to diverse cultures remain significant obstacles. Still, one thing is clear: China is determined to use the movie screen not just for entertainment but also as a strategic tool to tell its story and strengthen its soft power on the global stage. This makes Chinese cinema a serious contender in the cultural leadership race long dominated by Hollywood.

This article is retrieved from the Teori Journal.

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