Illustration: Liu Xiangya/GT

The 18th Straits Forum recently opened in Xiamen, East China's Fujian Province. As the largest and most inclusive public sphere of exchange between the Chinese mainland and the island of Taiwan, the 2026 forum placed a special spotlight on cross-Straits audiovisual exchanges. From mainland TV dramas winning hearts across the island to film co-productions, film and TV are weaving a thread that is stitching people together through shared emotions and stories across the Taiwan Straits. 

What gives an audiovisual work the power to resonate across the Straits? There are many examples that can answer this question, but the Chinese mainland costume drama Pursuit of Jade stands out as the most telling one. Produced in the mainland in 2026, the drama became a sensation in Taiwan island shortly after its release, emerging as an iconic case of cross-Straits exchange through television. 

Not long ago, Zhu Fenglian, a spokesperson for the State Council Taiwan Affairs Office, responded to the drama's popularity in Taiwan island, noting that outstanding audiovisual works can foster "shared cultural roots and emotional connections" among audiences.

Showing shared cultural roots is exactly why Chinese mainland TV dramas have become so popular in Taiwan island. 

While Pursuit of Jade has captivated audiences with its stunning visuals, what truly sets it apart is how its characters embody the core of the Chinese spirit of resilience, loyalty and more. Unlike many costume dramas that lean toward fantasy, the drama has authentic cultural elements such as shadow puppetry and Qinqiang Opera. This allows Taiwan viewers to learn about traditional culture through entertainment.  

Yet this is not limited to costume dramas. With increasingly refined production values, Chinese mainland TV dramas across genres and themes have been gaining popularity in Taiwan ­island in recent years. Blossoms Shanghai, an urban period drama adapted from a literary work, topped the drama chart on its very first day of release in Taiwan island. Meanwhile, the spy thriller Silent Honor has evoked a sense of patriotism among audiences in Taiwan island through its true historical narratives.

Then there's Dear You, a low-budget Chinese mainland film that took audiences by storm this year. By highlighting the deep linguistic ties between the Chaoshan region of South China's Guangdong Province and Taiwan island, the film deeply resonated with Taiwan viewers.

However, the influence of these films and TV dramas has never been one-way. For example, Taiwan films such as The Pig, the Snake, and the Pigeon have earned both rave reviews and strong box-office returns in mainland theaters. 

This mutual attraction not only reflects audiences' preferences, but also opens the door to cross-Straits audiovisual cooperation. 

On the surface, such collaboration is about markets, integrating resources and investment choices. However, look closer at the co-productions greenlit in recent years, what made them successful is still the unchanging cultural memories shared across the Straits. These shared values are not just made apparent through the audiovisual industry, they are also nurtured by policy and regulations.  

In April, the Taiwan Work Office of the CPC Central Committee released 10 policy measures to promote cross-Straits exchanges and cooperation. Among them was a provision allowing the entry of Taiwan-made audiovisual productions that are properly oriented, healthy in content, and well-produced. 

On the one hand, these policies are a landmark that cross-Straits audiovisual exchanges are accelerating toward a deeper and two-way journey. On the other hand, policy support can also help push cross-Straits film and television cooperation beyond traditional frameworks, opening up niche areas that better reflect today's media landscape. The "micro-drama" category is one example.

Today, Taiwan micro-drama creators can collaborate with their mainland peers by means of co-productions and performances. The micro-drama industry has always been a magnet for young creators. As a result, cross-Straits collaboration is actually about the exchange of young talent - a quiet but powerful process of nurturing the next generation of audiovisual talent.

From a cultural narrative perspective, micro-dramas, with their flexible, everyday storytelling ecosystem, are uniquely good at finding small, relatable entry points into larger cross-Straits themes. They allow stories to be told more lightly and vividly, embedding themselves into people's daily lives and sparking genuine empathy. 

For example, in January, the first cross-Straits co-produced vertical micro-drama premiered in Beijing. Centered on a young Taiwan protagonist, the series captures the profound cultural memories shared by countless people on both sides of the Straits. 

At the recent Straits Forum, a small detail revealed just how important "people" are in driving cross-Straits audiovisual exchanges. 

After mainland actor Zhang Linghe took the stage to give a speech, he quickly became a trending topic on social media. Zhang had already won hearts across Taiwan island as the male lead in Pursuit of Jade. Now to many, the star is not just a cross-Straits idol, but a living footnote to the growing integration of cross-Straits cultural industries. 

The forum's sub-event, the "Straits Audiovisual Season," was designed to address the hot topic of cross-Straits audiovisual exchanges. Additionally, an inauguration ceremony for an exchange center dedicated to audiovisual copyrights took place on site. 

The new center is a move to provide institutional safeguards for the cross-Straits audiovisual industry. Its establishment also reflects that cross-Straits audiovisual communication is no longer just about exchange of works. It is evolving into an integrated ecosystem that incorporates everything from copyright services to collaborative production.

The author is a reporter with the Global Times. life@globaltimes.com.cn