At the recently held 12th China Online Audiovisual Conference, micro dramas received widespread attention. The data shows that the market potential of micro dramas going global is 7 to 12 times that of the domestic market, and the total scale is expected to reach billions of dollars. The popularity of micro dramas, a new form of film and television, not only impressed domestic audiences, but also quickly went abroad, embracing a large number of overseas users. Mini dramas' going global 'are gradually becoming a new driving force for telling Chinese stories well and promoting the' going global 'of film and television culture. According to the "Research Report on the Development of Online Audiovisual Applications in China (2025)", in 2024, there will be 20 Chinese (including Hong Kong, Macao, and Taiwan) applications among the top 100 in terms of overseas audiovisual application revenue, with 11 new nominees and 8 micro dramas. According to incomplete statistics, the overseas applications of micro dramas have exceeded 300, with a cumulative global download volume of over 470 million times. In the first half of 2024 alone, the total revenue of overseas micro drama platforms reached 230 million US dollars. Yang Chenghu, Vice Dean of the School of Arts and Media at Beijing Normal University, analyzed: "This set of data shows that Chinese micro dramas are rapidly reconstructing the global audio-visual industry pattern. This emerging cultural form has not only become a light cavalry for the international dissemination of Chinese culture, but also breaks down the barriers to the dissemination of film and television content overseas with industrialization and scale. Currently, Chinese micro dramas are reshaping the international communication pattern and becoming a new growth point for global digital content. Chinese micro drama products have covered over 200 countries and regions worldwide, forming a development pattern centered on North America and radiating to vast markets such as Europe, Japan, South Korea, the Middle East, and Southeast Asia. At the "International Communication Forum for Short Films", Zhou Jihong, Director of the International Cooperation Department of the State Administration of Radio, Film and Television, shared his observations and reflections on Chinese short films in three words - "breaking the deadlock", "decoding", and "achieving long-term success". Zhou Jihong stated that Chinese micro dramas need to explore a new path for international dissemination that prioritizes content, emotional resonance, platform breaking, and technology empowerment. This will contribute to the high-quality development of China's audiovisual industry and make micro dramas an important force in promoting cultural industry innovation and advancing cultural exchange and cooperation. 'Excellent creation' is the key to achieving high-quality development of micro dramas. The list of outstanding winners of the "2024 International Short Drama Competition" announced at the "International Communication Forum for Short Dramas" includes works covering modern urban, historical and cultural, science fiction, rural revitalization, intangible cultural heritage inheritance, and other themes such as "Escape from the British Museum", "The Bone Whistle of Hemudu", "Chinese Mythology", "There is a Taste called Qingxi", and "Don't Disturb Me in Farming". The novel 'Escape from the British Museum' uses personification of cultural relics to narrate the emotions of family and country across time and space; The Bone Whistle of Hemudu "unfolds a beautiful picture of the endless vitality of Chinese civilization through the mysterious encounter between archaeologists and Hemudu ancestors spanning thousands of years... These innovative narrative techniques have sparked a" Chinese aesthetic fever "overseas. Director Zhang Wenchu of "Escape from the British Museum" shared his creative experience, "We need to face world issues with an Eastern narrative, and create a chemical reaction between the implicit aesthetics of the East and Western culture. In fact, international expression is not passive adaptation, but finding a storytelling style that suits oneself in the world narrative. Micro dramas are becoming a window to showcase Chinese culture to the world due to their lightweight production, fast-paced storytelling, and high dissemination efficiency. At the "Micro Drama Going Global and Ecological Health Development Forum", some frontline practitioners in overseas business shared the opportunities and challenges of micro drama going global. At the level of overseas short drama content, Lin Qiwen, Vice President of DataEye, a market research firm specializing in digital content, introduced that "female themes dominate in overseas short dramas, with emotional, urban, and comeback themes being the most popular. Among them, translated dramas account for over 80% of the market." Wu Kelei, Business Manager of DramaBox, an overseas platform for short dramas, believes that "in terms of core driving forces, both overseas and domestic short dramas are mobilizing users' emotions." Zhu Canon, CEO of Huachao Culture, said, "The most important thing is to be able to capture the aesthetic points of local audiences." However, the iterative upgrading of high-quality content creation is also a direction that overseas markets need to strive for. Wang Yan, General Manager of Market and Public Relations at Dianzhong Technology, stated that the overseas promotion of micro dramas is not about "copying and pasting", but rather a precise adaptation of "thousands of people, thousands of faces". Different companies will decode localized content strategies through cultural genes, and solve how to formulate development strategies for different regions. This is the problem and direction worth studying when micro dramas go global. Micro dramas are not simply cultural and entertainment products, but new carriers for cultural exchange and mutual learning. In this regard, He Tianping, an associate professor of the School of Journalism at Renmin University of China, had a deep thought: "New technology empowerment, localized content innovation, cross type integration and professional talent training dimensions to cultivate new quality productivity are the possible paths to speed up the quality and efficiency improvement and achieve industrial development." Domestic short play creation is realizing the iterative upgrading from "traffic sales" to "value resonance", from "emotional consumption" to "emotional resonance", and short play going abroad will also use small size to carry large narrative in the international communication of Chinese stories, and use small cuts to move the big pattern. (New Society)