Chinese Soft Power Propaganda Network
Chinese cinema serves as a potent tool for extending Chinese Communist Party (CCP) propaganda, promoting narratives that align with the party’s vision across various genres. Here are some examples of best Chinese propaganda movies:
This series dramatizes the events leading to the establishment of the People’s Republic of China in 1949. It highlights Mao Zedong’s leadership and the CCP’s victory over the Nationalists, emphasizing the legitimacy of the current regime.
The Founding of a Republic dramatizes the events leading to the establishment of the People’s Republic of China in 1949, presenting the rise of the Chinese Communist Party as a heroic and inevitable triumph. The film seeks to highlight the historical struggle for democracy but offers a revisionist theme, framing the CCP’s ascent as a natural and just outcome of the nation’s history. Despite this, the film has been critiqued for being more of a historical romp rather than a disciplined treatment of the subject, as noted by G and M.E. Davies. The former editor of the Southern Weekend, Chiang Ping, remarked that the film underscores the limits of the contemporary Party-guided commercial repackaging of Chinese history.
The impact of the film was significant enough that Douban, a Chinese film rating site, eventually disabled the rating feature for it and the other films in the trilogy. In response to some international reactions, co-director Huang Jianxin defended the film, stating, it’s unfair to describe The Founding of a Republic as propaganda since modern Chinese audiences are too sophisticated to swallow a simplistic rendering of history.
International Reach: The movie has been strategically showcased at various international film festivals and cultural events as part of China’s broader propaganda efforts to influence foreign audiences. Notably, the film earned significant revenue internationally, grossing $1,035,741 worldwide, with substantial earnings in Hong Kong, New Zealand, and Thailand. It was prominently featured at the Chinese Film Festival in Pakistan, held at the Pakistan National Council of Arts (PNCA), among other global venues. Additionally, the film is available on Amazon Prime in select locations and YouTube with English subtitles/audio, where it has garnered over 260,000 views since August 30, 2021. Despite YouTube being banned in China, this substantial viewership from international audiences underscores the attempts to project the state-sanctioned narratives beyond China’s borders
It is a Chinese propaganda film released in 2011 to commemorate the 90th anniversary of the Chinese Communist Party (CCP). The film was produced by the state-owned China Film Group and aims to depict the early formation of the CCP. Starting with the fall of the Qing Dynasty in 1911 and concluding with the Party’s founding congress in 1921, the film portrays the struggle and rise of the CCP as a response to the socio-political challenges of the time.
While the film attempts to present a narrative of ideological commitment and revolutionary fervor, it is widely recognized as a state-sponsored effort to reinforce the legitimacy and historical significance of the CCP. The film’s romanticized portrayal of figures like a young Mao Zedong aligns with its propagandistic goals, aiming to evoke patriotic sentiments and support for the Party among its domestic audience.
International Reach: “The Founding of a Party,” internationally released as “Beginning of the Great Revival,” exemplifies China’s use of cinema as a propaganda tool to shape foreign perceptions of the Chinese Communist Party’s history. Unlike its prequel, “The Founding of a Republic,” this film was dubbed in multiple languages, including Japanese, French, Russian, and English, to ensure a broader international reach. Screened in over 10 countries, including the U.S., Canada, and Australia, it grossed $58,320,429 worldwide. The film was strategically promoted to international audiences, featured at the China Image Film Festival in Europe, where it received The Committee Special Awards. Its multilingual availability and different international cut underscore China’s efforts to influence global audiences more effectively than its predecessor, projecting a state-approved narrative through carefully curated cinematic experiences.
It is the third installment in what can be humorously dubbed the People’s Republic of China Cinematic Universe (PRCCU), following The Founding of a Party and The Founding of a Republic. Directed by Andrew Lau and backed by an astonishing forty-six credited producers, the film is a state-sanctioned, star-studded epic commemorating the 90th anniversary of the founding of the People’s Liberation Army.
Despite its attempts to attract a younger audience by featuring teen idols, the film remains largely a propaganda piece, with a polished narrative that highlights Mao Zedong’s leadership while portraying Chiang Kai-shek as a short-sighted antagonist. The film does include two notable battle scenes that add to its visual appeal, though overall, it continues the trend of its predecessors in presenting a highly stylized and idealized version of history.
International Reach: Unlike its predecessors, this film was strategically released in Southeast Asia, targeting audiences in Malaysia, Brunei Darussalam, and Estonia before being showcased at the ASEAN international film exhibit. Grossing $60,600,361 worldwide, the film serves as a vehicle for the Chinese government to project its narrative beyond its borders. “The Founding of an Army” underscores China’s ongoing efforts to shape foreign perceptions of its military history and bolster its soft power in strategically important areas.
The Wolf Warrior series, comprising Wolf Warrior (2015) and Wolf Warrior 2 (2017), exemplifies Chinese cinema’s role in advancing CCP propaganda. These films follow Leng Feng, a Chinese special forces operative, as he battles foreign mercenaries who threaten China’s sovereignty and global interests. Wolf Warrior emphasizes the discipline and heroism of the Chinese military, contrasting it with the ruthless, morally corrupt foreign adversaries, thereby promoting a narrative of national pride and military strength.
International Reach: “Wolf Warrior” (2015) was strategically marketed and released on a large scale for international audiences. The film is available on prominent streaming platforms like Apple TV, Amazon Prime, Peacock Premium, and many others, ensuring widespread accessibility. Released in both Mandarin and English, it grossed a substantial $81,411,331 worldwide, with notable earnings in countries like Australia ($73,110), Vietnam ($24,939), and New Zealand ($16,275). The film’s broad distribution across various platforms underscored China’s efforts to project its narratives and influence global audiences.
International Reach: “Wolf Warrior 2” (2017) was aggressively marketed and released on a vast scale internationally, making it a cornerstone of China’s soft power propaganda. With an astonishing gross of $870,325,439 worldwide, a mere $2,721,100 came from the domestic market, while the international market contributed a staggering $867,604,339. Key markets included Australia ($1,351,563), New Zealand ($227,311), and the United Kingdom ($135,570). The film, available in Mandarin, English, and French, was distributed across numerous platforms like Apple TV, Peacock Premium, and Amazon Video, ensuring extensive reach. Its overwhelming global success made it one of the top-grossing films of 2017, and it continues to hold a prominent position in the global box office rankings. The term “Wolf Warrior diplomacy,” derived from the film’s title, reflects China’s more aggressive and confrontational approach to international relations.
Read about Operation Red Sea (2018), The Wandering Earth (2019) and other propaganda Movies in the complete report : Link
An anthology film celebrating significant moments in China’s modern history on the 70th anniversary of the People’s Republic of China, promoting nationalism and pride in CCP achievements.
International Reach: “My People, My Country” (2019), released internationally as “Me and My Motherland,” grossed $450,064,993 worldwide, including $2,356,683 in the US & Canada. The film was released in multiple languages, including Mandarin, and English. In the Asia Pacific region, it earned $908,126 in Australia, $369,973 in Hong Kong, and $177,955 in New Zealand. In Europe, the film grossed $166,933 in the United Kingdom.
It is a Chinese propaganda musical that attempts to portray an idealized version of life in Xinjiang, a region marked by severe human rights abuses against Uyghur Muslims. The production companies involved in its production were Department of Culture and Tourism of Xinjiang, Propaganda Department of CPC Committee of Xinjiang Uyghur Autonomous Region and Tianshan Film Studio. The film follows the story of a Uyghur, a Kazakh, and a Han Chinese man who form a musical group, depicting their friendship as harmonious and carefree. However, the film glaringly omits the reality of mass surveillance, forced assimilation, and the internment of over a million Uyghurs in detention camps.
The portrayal of Uyghurs in the film—clean-shaven, drinking alcohol, and without traditional headscarves—further whitewashes the repression of their culture and religion. Despite its intent to showcase unity and joy, The Wings of Songs is a blatant attempt to obscure the ongoing genocide and cultural erasure in Xinjiang, failing to resonate even within China, where it underperformed at the box office.
China’s television industry, the largest producer of TV series and movies globally, operates under a tightly controlled regulatory framework designed to ensure that all content aligns with the Chinese Communist Party’s (CCP) ideological goals. On April 26, 2022, the China Federation of Radio and Television Social Organizations and the China Network Audiovisual Program Service Association introduced the Specifications for the Production and Operation of TV and Web Drama Crews, a set of regulations that encapsulates the CCP’s stringent oversight of popular culture. These regulations emphasize a correct political orientation, mandating that all TV series promote core socialist values, patriotism, and national unity, while resisting any content that could be seen as damaging to national honor or social stability.
The guidelines also require actors, directors, and all production crew members to possess political literacy, ensuring that they adhere to the Party’s ideology throughout the production process. Additionally, the regulations prohibit any promotion of religion or superstition, particularly targeting groups labeled as xie jiao (cult organizations) and illegal religious movements. This pervasive censorship underscores the CCP’s determination to use television as a tool for promoting socialism and suppressing any narratives that could challenge its authority or disrupt the social fabric. Chinese propaganda series are widely accessible on numerous OTT platforms, often available in dubbed and subtitled formats on Reddit, YouTube, Telegram channels and other channels, reaching a broad international audience. Following are some prominent examples:
This series focuses on the early 20th century intellectual developments that led to the founding of the CCP. By showcasing figures like Chen Duxiu and Li Dazhao, it reinforces the idea that the CCP’s rise was both inevitable and necessary for China’s modern revival.
These historical epics serve as soft power tools by promoting a narrative that intertwines China’s historical greatness with the CCP’s leadership. They position the CCP as the rightful heir to China’s cultural legacy, thus appealing to both domestic and international audiences by invoking a sense of continuity and destiny in China’s global resurgence.
Read about other Propaganda Series in the complete report : Link
China’s influence over Hollywood and other global movie industries is substantial and multifaceted, particularly through censorship and content manipulation. This influence primarily stems from China’s enormous market potential, which is too lucrative for global studios to ignore. Here’s how China exerts this influence:
In recent years, China has significantly expanded its influence in the global film industry through strategic investments and acquisitions. Major Chinese companies like Wanda Group, Alibaba Pictures, and Bona Film Group have acquired key cinema chains and formed partnerships with Hollywood studios, integrating Chinese cultural and political narratives into international cinema. State-backed entities such as China Film Group Corporation (CFGC) also play a vital role in producing and distributing content that aligns with China’s ideological goals.
For years, China has effectively extended its control over several major cinema chains worldwide, significantly influencing global cinema. The most notable example is the 2012 acquisition of AMC Theatres by Wanda Group, which made it the world’s largest cinema chain. Wanda’s investments didn’t stop there; the conglomerate also purchased Hoyts Group in Australia and New Zealand in 2015, further consolidating its influence in the international entertainment market.
Alibaba Pictures Group Limited, a subsidiary of Alibaba Group, has emerged as a major player in the global film industry. Originally known as ChinaVision Media, the company was acquired by Alibaba in 2014 and subsequently rebranded. By mid-2015, Alibaba Pictures had become the most valuable film company in China, with a market value surpassing $9 billion. The company has expanded its influence by investing in both Chinese and international cinema, including co-producing major films like Mission: Impossible – Rogue Nation and partnering with Steven Spielberg’s Amblin Partners. This partnership marked a significant move in bridging Chinese and American cinematic narratives, with Spielberg expressing hopes that their collaboration would bring“Chinese-themed stories to the American audience”.
Bona Film Group Company Limited, one of China’s largest film production and distribution companies, has made a significant impact on both the Chinese and international film markets. Founded in 1999, the company has grown to become a major player in the global film industry, known for its successful integration of Chinese cinema with Hollywood productions.
Bona Film Group has been involved in the production and distribution of several high-profile Hollywood films featuring big stars. Notable titles include Quentin Tarantino’s “Once Upon a Time in Hollywood,” starring Leonardo DiCaprio and Brad Pitt, and “Ad Astra,” starring Brad Pitt. The company also co-produced “Midway,” a war film directed by Roland Emmerich. Through these collaborations, Bona Film Group has influenced a large international audience, expanding the global reach of Chinese film productions and contributing to China’s soft power strategy in global media.
China Film Group Corporation (CFGC) is the largest and most influential film enterprise in China, playing a crucial role in both the domestic and international film markets. Owned by the Central Propaganda Department of the Chinese Communist Party, CFGC operates as a state monopoly, overseeing the importation, production, and distribution of films in China. The company has a significant role in producing and distributing propaganda films that align with the government’s narrative, such as “The Battle at Lake Changjin” and its sequel, which are patriotic war films emphasizing China’s military strength and resilience along with propaganda movies discussed previously in the report like The Wandering Earth, Wolf Warrior 2. Alongside its domestic focus, CFGC has also established strategic partnerships with major Hollywood production houses. It has collaborated on blockbuster films like “The Great Wall,” produced with Legendary Pictures, and “Furious 7” and “The Fate of the Furious,” in association with Universal Studios. CFGC’s involvement in these high-profile Hollywood projects allows it to extend China’s cultural influence globally, blending entertainment with state messaging, and showcasing its ability to collaborate with Western media giants while promoting its own ideological and cultural values.
Universal Pictures, a major American film production and distribution company under NBCUniversal, has expanded its presence in China through significant collaborations and investments. Recognizing China’s growing influence in the global entertainment market, Universal has sought to build strong partnerships with Chinese companies. This approach has been evident in both its film projects and theme park ventures.
In 2015, Universal announced the development of Universal Studios Beijing, a $3.3 billion theme park that officially opened in September 2021. The park features attractions based on Universal-owned properties as well as licensed content, attracting millions of visitors annually and solidifying its relationship with Chinese entertainment industry.
On the film production side, Universal has tailored its projects to appeal to Chinese audiences, driven by the success of franchises like “The Fast and The Furious,” which grossed over $300 million in China alone. This financial success has influenced Universal’s future projects, with the studio structuring new releases to resonate with Chinese viewers from the outset.
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