China Shifts Cultural Exports to Infrastructure Models
Beijing is moving beyond exporting finished media to building the digital systems that produce and distribute content globally, reshaping international cultural supply chains.
China is increasingly exporting the infrastructure behind its entertainment products rather than just the content itself. According to The Diplomat, this shift represents a strategic move to embed Chinese technical and commercial systems into foreign markets, moving the industry from simple distribution to integrated production ecosystems.
Recent initiatives in Shanghai and Guangxi illustrate this transition. By establishing service stations and co-creation platforms, Chinese firms are providing the tools for script analysis, automated video production, and multilingual translation. This approach allows local creators to operate within a framework designed and maintained by Chinese companies, blurring the line between exporting culture and providing global cultural technology.
New digital export hubs
In September, the Lingang New Area in Shanghai launched an AI and micro-drama overseas service station. Initial service points were established in Saudi Arabia, Singapore, the United Kingdom, and Switzerland. The system is designed to help Chinese companies navigate foreign regulations and localize content, covering the full export chain from development to distribution.
Simultaneously, Guangxi Publishing & Media Group introduced FLYTOTO, an AI-powered platform for short-drama co-creation. This platform connects Chinese production teams with audiovisual institutions in Southeast Asia, offering support for script analysis and automated production. These moves suggest a coordinated effort to systematize the global expansion of digital media.
Platform influence and soft power
Researchers at the London School of Economics argue that these platforms exercise a form of invisible influence. Through recommendation systems, data management, and monetization models, the infrastructure itself shapes what audiences see and engage with. This concept of platform soft power suggests that the tools of distribution are becoming as significant as the content they carry.
The distinction between exporting Chinese culture and producing culture for foreign markets is becoming less clear. A Chinese company can operate the platform and provide the infrastructure while the content is created by writers outside China. This model allows for local production that may not visibly reference China, yet remains dependent on Chinese technical and commercial frameworks.
From translation to local production
This shift did not begin with micro-dramas. China Literature’s Webnovel platform, launched in 2017, initially focused on translating Chinese fiction for foreign readers. However, the platform has since expanded to host original fiction by international writers, providing them with publishing and monetization systems. By the end of 2025, the platform reported hundreds of thousands of international writers and original works, indicating a mature ecosystem.
The goal is no longer solely to find foreign audiences for Chinese stories. Instead, platforms are providing the business models and distribution channels that allow global stories to reach audiences. This change means Chinese companies are gaining the local connections and infrastructure necessary to produce and distribute cultural content across borders, regardless of the origin of the creative work.
