The click of a computer, or the pressing of a TV remote, is now all it takes for a global audience to watch Chinese dramas — and for China to tap into a gushing revenue stream.

During the 14th Five-Year Plan period (2021-25), the country has seen television and radio programs and related services surge by 40 percent, said Dong Xin, deputy director of the National Radio and Television Administration, at a press conference held by the State Council Information Office on Sept 25.

With the internet versions of Chinese audiovisual platforms reaching more than 200 countries and regions, the country has generated over $63 billion in revenue overseas. Besides, more than 300 apps for micro-dramas have been available for downloading on overseas platforms, added Dong.

Some of the most popular programs include Welcome to Milele, inspired by the true stories of Chinese medical aid teams in Africa; Minning Town, a heartfelt story of a Ningxia village's fight against poverty since the 1990s; and To the Wonder, a poetic portrayal of a young woman's life and romance in Xinjiang's Altay region.

Further exemplifying Chinese content's popularity, when Welcome to Milele was broadcast in Kenya, the audience for Citizen TV — one of Kenya's most-watched channels — surged by over 135 percent, or 2.35 times its previous viewership. Baby-Bus, an animation franchise known for a couple of cute panda siblings and cheerful melody, has reached an audience of 220 million, with its yearly views boasting around 39 billion clicks.

Aside from propelling more Chinese shows to go abroad, the country is also endeavoring to introduce excellent foreign works. For example, shows from more than 30 countries and regions have been broadcast in China from 2021 until this year. Among them, the most popular works include Mr Bates vs The Post Office, about one of the biggest miscarriages of justice in the United Kingdom's history, which has earned 8.5 out of 10 points on China's popular review aggregator Douban.

A huge market with a sizable output, China has produced and distributed over 1,500 dramas and 3,500 animated works, generating revenue of 1.49 trillion yuan ($205.5 billion) from all TV, radio and audiovisual content between 2021 and the end of 2024, surging 61.96 percent compared with the same period during the 13th Five-Year Plan(2016-20), said Cao Shumin, director of the administration.

Micro-dramas, mostly shot vertically and recounting wild plots, are also flexing their muscles overseas, amid their exponential growth at home. Over the past five years, China has produced around 150,000 micro-dramas, reaching a sizable user base of 696 million by July.

"This year, the market's scale is expected to achieve a bigger breakthrough from last year's 50 billion yuan," said Han Dong, deputy director of the administration.

Despite the once niche sector's rapid expansion, with last year's market scale surpassing the film industry's yearly box office for the first time, most micro-dramas have received mixed reviews, criticized for stereotyped plotlines and coarse footage.

However, the situation is changing. With an increase in budgets, a number of acclaimed micro- and short-dramas have surged, with outperforming examples including Contenders, about Chinese immigrants in Singapore in the 1940s, and Finding Home in Blossoms, recounting the striving of a group of young people in the Xizang autonomous region.

Currently, 14 provinces, regions and municipalities have introduced policies to support the production of high-quality micro-dramas. A set of management measures is also being drafted to regulate the industry. These measures will provide legal protection for the sector's development and address common viewer complaints, such as the overuse of stereotypical plots like the "overbearing CEO" — a trope depicting the romance between a wealthy, domineering man and a woman from a humble background.

"High-quality production, mass appeal, and international reach represent the future direction for the micro-drama industry," said Dong.

xufan@chinadaily.com.cn