Translation. Region: Russian Federal
Source: People's Republic of China in Russian – People's Republic of China in Russian –
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Source: People's Republic of China – State Council News
TIANJIN, July 29 (Xinhua) — David Kolosov, a Russian doctoral student at the Institute of International Relations of Peking University, answered reporters' questions in Chinese fluently at the SCO Dialogue of Civilizations 2025 in recent days. When asked about Chinese pop culture, he immediately enthusiastically mentioned the game "Black Myth: Wukong", saying that the Chinese game is very popular. He believes that games and other forms of pop culture are becoming a new window for the world to get to know China.
According to the Global Soft Power Index 2025 report released by the British institution, China's soft power has already risen to second place in the world. In recent years, Chinese pop culture has attracted the attention of the world. With a creative combination of modern and traditional elements, and the support of social media and digital platforms, Chinese online literature, web series and online games, as well as films, clothing, music and other cultural products, have gained increasing popularity among audiences around the world.
Devinder Kumar, an Indian expert at the Communication Center for Central-Eastern Europe and Central-South Asia under the Foreign Languages Administration of China, believes that the game “Black Myth: Wukong” deeply combines traditional myths and digital technology, giving a new life to the classics in the gaming world.
Games are gradually becoming one of the important means for overseas youth groups to experience Chinese culture. In 2024, the actual sales revenue of games developed in China in overseas markets was US$18.557 billion, up 13.39 percent year-on-year.
Cinema is also an important form of cultural exchange and mutual borrowing between civilizations. D. Kolosov shared with journalists his impressions of watching the film “Nezha 2” with his Chinese friends: “I really liked the film, it helped me better understand traditional Chinese myths and Eastern philosophy.”
Zafar Uddin Mahmood, former special assistant to the Pakistani prime minister, who attended the forum, said, “About two months ago, the ‘China Film Festival’ was held in our city. At that time, many people came to watch the films and many young people were even ready to queue for hours to buy tickets. This shows enough that Chinese culture crosses borders and is widely spread among the youth.”
At the thematic sub-forum on multi-format exchange in the visual arts within the framework of the “Dialogue of Civilizations among the SCO countries 2025”, Devinder Kumar shared his experience of participating in the filming in Dunhuang and said that with the popularization of visual media, young creators are using film, video and digital platforms to build a “bridge of friendship” that crosses national boundaries.
Not only games, movies, web series, short videos, mini-series… more and more Chinese pop culture products are becoming popular overseas.
Adel Baktygulova from Kyrgyzstan, who is studying at Tsinghua University, shared her love for Chinese internet literature and web series, saying that these works are welcomed by young people around the world due to their unique imagination and rich emotional undertones.
“Going abroad” of Chinese popular culture is not a mechanical “export” but an adaptation to the local cultural context to resonate with local audiences. Devinder Kumar said that nowadays, many Chinese works of internet literature and web series have been translated into Indian languages, which can be easily watched on mobile apps. The series are also dubbed by professional actors, so that local audiences can easily immerse themselves in them.
The recently released 56th “Statistical Report on China's Internet Development” shows that in 2024, the overseas Internet literature market size exceeded 5 billion yuan, and the number of overseas users exceeded 350 million. A number of web series that entered the international market have received wide praise from viewers and achieved commercial success.
Many young people from SCO countries who attended the event noted that Chinese popular culture is based on deep cultural connotations and has transcended national boundaries through innovative forms of expression, causing resonance and building a bridge for exchange of opinions and dialogue among youth groups. A. Baktygulova believes that the deep, original and creative traditional Chinese culture is a rich source of innovation in popular culture.
Devinder Kumar said overseas audiences are interested in the "East" and "new cultural experiences," while the integration of modern technology and the constant renewal of outstanding works of Chinese pop culture are attracting more and more young people. -0-
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