1905—2025：中国电影诞生120年了！
In 1905, Dingjun Mountain, widely regarded as the first Chinese film, premiered and marked the beginning of China's cinematic journey. Now, in 2025, Chinese cinema celebrates its 120th anniversary. From silent to sound films, from black-and-white to color films, and from technological dependence to independent innovation, Chinese filmmaking has weathered a century of transformation. It continues to evolve through openness in technology, industry, and cultural exchange. As a key driver of high-quality growth, intellectual property (IP) is playing an increasingly vital role in protecting creators' rights, unlocking content value, and propelling Chinese films onto the global stage. The Bilingual Weekly takes you on a journey through 120 years of Chinese film history, decoding the spirit of innovation behind every cinematic frame.
1905年，中国电影的“开山之作”《定军山》首映，开启了中国用光影讲故事的时光旅程。2025年，中国电影迎来诞生120周年。从无声到有声，从黑白到彩色，从技术依赖到自主创新，中国电影历经百年风雨，始终以开放的姿态在科技创新、产业升级、文化传播方面持续突破。作为推动电影产业高质量发展的关键要素，知识产权的力量日益显现，在保护创意者权益的同时，助力内容价值变现，推动中国电影走向全球。本期《双语周刊》将带领读者一同穿越120年的光影长河，解锁一帧帧电影画面背后的“创新密码”。
Copyright protection safeguards creativity
As an IP-intensive creation, film is characterized by high investment, substantial copyright value, and a high risk of infringement. Effective copyright protection is essential for a healthy film ecosystem. According to the Film Industry Promotion Law of the People's Republic of China, film-related IP is protected by law, and no organization or individual may infringe upon it. On the administrative front, the National Copyright Administration and other departments have launched annual enforcement campaigns for seven consecutive years, protecting the rights of legitimate theatrical releases. Data shows that during the 2025 Spring Festival, over 2.29 million infringing and pirated links related to the festival's theatrical releases were promptly removed or blocked by online platforms.
China is also aligning closely with international standards. The first international IP treaty concluded in China and named after a Chinese city, the Beijing Treaty on Audiovisual Performances, adopted in 2012, extends both the economic and moral rights of performers to cover films, videos, and television programs. It offers broader protection for actors, voice-over artists, and other performers, helping to inspire their creative passion and promote the creation and wider dissemination of films and other performance works.
Tech innovation transforms the screen
With the rise of big data, 5G, and artificial intelligence, China's film industry has seen a comprehensive upgrade in visual effects, production pipelines and projection technologies. Chinese science-fiction films represented by the franchise of The Wandering Earth adopt cutting-edge visual effects technologies, showcasing the strength of the country's film technology. In The Wandering Earth II, thousands of visual effects shots, collaboratively completed by numerous Chinese visual effects teams, authentically recreated complex scenes like apocalyptic landscapes and space flights, marking a new breakthrough in the industrialization of Chinese cinema.
On the film projection front, innovation continues. The CINITY LED cinema system, developed by China Film Tech Company not only overcomes traditional limitations in aspect ratios but also introduces high frame rate and immersive sound technologies, offering audiences a significantly enhanced cinematic experience. Currently, the company has established a relatively comprehensive IP system, enabling the successful application of this system in multiple cinemas across China. The CINITY LED mastering technologies have also gone global, providing support for the production of Hollywood films.
IP-Driven derivatives go viral
The film derivative industry is a highly innovative and integrated sector. In recent years, more and more Chinese films have commercially developed locally distinctive IP derivatives, further enhancing the market value and influence of their film IPs. Films like Nezha: Birth of the Demon Child and Boonie Bears: Time Twist blend traditional culture with modern aesthetics, achieving box office success while spawning dynamic merchandise lines. Taking Nezha: Birth of the Demon Child as an example, it has partnered with dozens of brands, with IP derivative collaborations spanning multiple product categories, including collectible blind boxes, dairy products, digital devices, and automobiles. The Huaqiang Fantawild Culture Technology Group Co., Ltd. has built a well-developed IP ecosystem around the "Boonie Bears" franchise, and has creatively integrated cultural creative products with tourism to launch a series of themed amusement parks inspired by the IP. Notably, an increasing number of Chinese films are blending Intangible Cultural Heritage (ICH) projects and traditional aesthetics with modern cinematic techniques, helping to bring Chinese culture to the global stage. For example, I Am What I Am integrates the traditional ICH lion dance with animation, while showcasing the folk customs of southern China. This fusion gives the film rich cultural depth and distinct artistic appeal.
Open collaboration empowers global reach
Nezha: Birth of the Demon Child has ranked fifth in global box office history; Resurrection won the Special Jury Prize at the 78th Cannes Film Festival; and the 2025 China Film Festival has been held in countries and regions including the UK, Germany, and France. Today, China is playing an increasingly active role in reshaping the global cinematic landscape. Through international exchange and collaboration, Chinese films are showcasing their evolution from genre expansion and narrative innovation to technological advancement, inviting global audiences to better understand China through the lens of cinema.
As international exchange and cooperation in the film industry become increasingly frequent, China's film market continues to grow in global appeal. According to a press conference for the 2025 Shanghai International Film Festival and Shanghai TV Festival, the upcoming 27th Shanghai International Film Festival has drawn significant attention both in China and abroad. This festival has received a record-breaking number of submissions for the Golden Goblet Awards, with over 3,900 films from 119 countries and regions. Among them, more than 1,820 submissions will make their world premiere, and more than 520 will debut internationally. Cinema is increasingly becoming a bridge for global cultural exchange and understanding.
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Chief Planner:Zeng Yanni
Coordinator:Cai Guangning
Writers:Guo Siyuan/Xue Peiwen/Tian Yihui
Translators:Xue Peiwen/Guo Siyuan/Tian Yihui
Designer:Yao Lihui
（Editor Liu Shan）
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