1. Content Interpretation The *Provisions on the Handling of Foreign-Related Intellectual Property Disputes* were promulgated against the dual background of intensifying global intellectual property competition and the accelerated "going global" drive of China's film and television industry. As Chinese film and television works including *The Wandering Earth* and *The Battle at Lake Changjin* have gained growing influence in the international market, the film and television industry has become an important carrier for cultural exports. However, the industry faces multiple challenges in its overseas expansion: First, technical cooperation and copyright disputes occur frequently, involving issues such as special effects technology patent disputes and script idea plagiarism; Second, European and American countries take intellectual property rights as a tool to erect trade barriers. For example, the United States has frequently launched Section 337 Investigations against Chinese film and television works, alleging technological infringement or imposing distribution restrictions; Third, piracy of film and television derivatives is rampant on cross-border e-commerce platforms, and some overseas streaming platforms unreasonably take down Chinese works or reduce the proportion of copyright revenue sharing. The promulgation of the aforesaid Provisions is of far-reaching significance to the film and television industry, which is mainly reflected in the following three aspects:
Content Interpretation
Content Interpretation
### 1. Content Interpretation The administrative guidance issued by the National Radio and Television Administration (NRTA) provides clear creation directions and value guidelines for film and television companies. First, film and television companies shall abandon excessive reliance on "instant gratification" and focus on in-depth exploration of realistic themes instead. The administrative guidance points out that "gratification" is not synonymous with micro short dramas. Creation works shall avoid emotional expressions such as confrontational retorts and "public humiliation plot twists", as well as stereotypical character settings, shift focus to the actual needs of the people, and integrate realistic concern into the core of plots, for example, conveying hope by presenting the struggle stories of ordinary people. Second, film and television companies shall balance artistic imagination and realistic logic. Although creative devices such as "time travel" and "rebirth" can enhance dramatic effect, they must comply with the logic of daily life, the rule of law, history and science, to avoid being divorced from the foundation of reality due to excessive entertainment orientation. For example, creators can explore the theme of cultural inheritance through historical-themed micro short dramas, instead of producing absurd plots detached from the characteristics of corresponding times. Finally, film and television companies shall reshape the ethics of romance narration, put an end to the practice of using "melodramatic" and "vulgar" content as emotional catalysts, and advocate civilized and positive values on marriage and love. For example, when portraying emotional conflicts, the complexity of human nature shall be presented in a three-dimensional manner, instead of relying on clichés such as feuds between wealthy families and currying favor with powerful groups. In addition, the industry shall recognize that the market size of micro short dramas in China has exceeded RMB 50 billion. Under the guidance of policies, "standardized regulation" and "creation quality improvement" are promoted in parallel. Film and television companies shall proactively participate in programs such as the "Travel with Micro Short Dramas" initiative, extend the scope of creation to social topics including rural revitalization and Made in China, and undertake the social responsibility of disseminating mainstream culture while pursuing commercial value.
