Shanghai Launches Merged Film and TV Market With Industry-Public Hybrid Model
Shanghai's newly merged International Film & TV Market kicked off Saturday at the Shanghai Exhibition Center, launching a five-day event that combines professional industry networking with public cultural experiences.
The market, running through June 25, represents the consolidation of the Shanghai International Film Festival Market (SIFF Market) and Shanghai TV Festival Market (STVF Market) into a single comprehensive platform.
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The event is housed at the Shanghai Exhibition Center, originally built in 1955 as the Sino-Soviet Friendship Building. The major landmark draws heavily on Russian and Empire style neoclassical architecture and spans 93,000 square metres, making it one of the largest integrated building complexes in central Shanghai.
Chen Guo, managing director of Shanghai International Film & TV Events Center, says the consolidation reflects broader industry trends. 'The industry's evolving trend where content creation, technological applications, and talent mobility increasingly blur the lines between film and television,' Chen explains. 'Many outstanding companies and creators develop across both sectors. This integration aims to break down invisible resource barriers and build a comprehensive, efficient platform that congregates film, series, technology, capital, and talent.'
The market's most distinctive feature is its dual-track approach. Professional activities take place inside the Shanghai Exhibition Center, with dedicated meeting zones, display areas, and industry salons designed for efficient business interactions. Meanwhile, outdoor markets serve as platforms for public engagement, featuring immersive IP experiences and cultural products. 'We turn industry achievements into tangible cultural offerings for the audience,' Chen notes. 'This stimulates public enthusiasm for film and TV culture, provides valuable feedback, and fosters innovation in content and business models.'
The approach aims to bridge professional efficiency with popular appeal, allowing audiences to immerse themselves in storytelling while providing industry professionals with direct consumer insights. The outdoor market emphasizes openness and interaction, with themed exhibitions such as the 'I Am What I Am' film, where audiences immerse themselves in the story, or TVB's exclusive products that recall childhood memories.
The market builds on deal-making success from its predecessor events. Last year's markets recorded over 200 exhibitors and 40,000 visits, with notable achievements including a Korean delegation that generated 107 business negotiations between Chinese and Korean companies, resulting in deals valued at approximately $56.3 million. The Korea Creative Content Agency (KOCCA) organized a delegation including major broadcasters KBS, MBC, SBS, CJ ENM, and SLL, bringing 13 leading Korean companies to showcase content at the Korea Pavilion.
This year's market has expanded international participation with a dedicated International Zone featuring an International Negotiation Area designed for global buyer-seller interactions, with 50 overseas exhibitors already participating. Organizers are targeting even greater international involvement in future editions, aiming to attract more top-tier international producers and streaming platforms.
The market is showcasing emerging technologies reshaping content creation and distribution through its UHD HUB, which features experience zones dedicated to AI and XR technologies. A standout attraction is an XR large-space project about Qin Shi Huang's Tomb, allowing audiences to experience historical content within a virtual environment. AI applications are particularly prominent, with demonstrations of multi-language AI voice-over and video translation technologies designed to help Chinese content reach global markets more efficiently. The Shanghai International Film Festival's SIFF ING-AIGC program highlights work from young creators utilizing AI in their projects.
The merger eliminates what Chen describes as 'invisible barriers that once separated film and TV markets,' bringing together film producers, TV production companies, streaming platforms, tech suppliers, creators, and investors in a unified space. Activities are designed to be medium-agnostic, with forums, expert sessions, and buyer salons applying to both film and TV sectors. 'The IP project promotion event doesn't emphasize the medium but focuses on compelling stories and IPs to attract suitable development partners,' Chen explains. This borderless approach enhances opportunities for cross-field collaboration, talent mobility, and technology sharing.
Programming is curated around real industry demands, with IP promotion activities driven by booming interest in adaptations and franchise development. Aligned with national strategies for ultrahigh-definition video, the UHD HUB presents cutting-edge technology, reflecting industry hotspots and addressing pain points. 'All activities are designed around real demands, ensuring relevance—focusing on the latest industry frontiers, technological up-gradings, and creative innovations,' Chen says.
While acknowledging the importance of transaction volume, attendance, and press visibility, organizers are taking a broader view of success. 'We place greater emphasis on soft power and long-term effects,' Chen says, focusing on the market's role in fostering cross-sector collaborations, providing cutting-edge industry knowledge, and offering platforms for innovative projects and emerging talent. The ultimate goal is for the market to become 'a renowned hub for global thought exchange and industry innovation, regarded as a continuous creator of projects' that advances both Chinese and global entertainment ecosystems.
Looking beyond this inaugural merged edition, organizers plan continued refinement focused on internationalization, industry leadership, and enhanced interactivity. Plans include establishing forward-looking technology innovation zones and expanding the successful Cinemart initiative that creates channels between industry professionals and the public. 'We aim to establish this as a new cultural landmark that embodies Shanghai's distinctive charm,' Chen concludes.
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