After winning the Thunder, anti-piracy wars burned to the TV box

Charles Rivkin, chairman and CEO of the newly established American Film Association, visited Beijing last year to attend the annual appreciation reception. During his trip, he engaged in in-depth discussions with Chinese media on issues such as anti-piracy efforts and Sino-US film cooperation. His visit highlighted the growing importance of collaboration between Hollywood and the Chinese film industry.

Declaring War on the TV Box: American Film Association Expands Global Anti-Piracy Network

President of the American Film Association, Charles Rivkin

Combating piracy has long been a top priority for the Motion Picture Association (MPAA). In recent years, the MPAA has taken several strong actions against digital piracy. In 2014, it launched the "Where to Watch" search engine in partnership with major Hollywood studios, including the six major studios at the time (which will soon become five after Disney’s acquisition of Fox). The same year, it also signed an anti-piracy protection agreement with Thunder, a leading BT client platform in China.

This year, the MPAA took another significant step by bringing together Hollywood's "Big Six," along with Netflix, Amazon, BBC, Sky TV UK, India Star TV, Weixiu Film, STX Entertainment, and over 30 other global companies to form the Alliance for Creativity and Entertainment (ACE), a new global anti-piracy organization.

Rivkin stated, “Piracy is becoming more ‘creative’ with each passing day, and our response must evolve accordingly. With streaming platforms like Netflix and Amazon investing heavily in anti-piracy measures, we now have more technical support than ever before.” He also expressed hope that more Asian companies would join ACE in the future, working together to tackle piracy in Asia and better protect the rights of filmmakers across the region.

ACE Weaving a Global Anti-Piracy Network

In August this year, the MPAA won a major copyright infringement lawsuit against Thunder. A Shenzhen court ruled that the platform had not hosted 28 movies from MPAA members. This victory marked a significant win in the fight against online piracy. The MPAA has since turned its attention to the next big challenge: TV boxes.

“TV boxes are no longer just a local issue; they are present in many countries around the world. Once pirated content is embedded into these devices, it can be distributed in large quantities,” said Rivkin. “We need to unite global forces to combat this emerging form of piracy.”

The existence of these boxes has confused many consumers, who often believe the content is legitimate. MPAA and ACE have already filed lawsuits against set-top box companies in the U.S., Australia, and other regions, resulting in the closure of several major players. However, Rivkin emphasized that legal action alone is not enough. “We also need to educate consumers about piracy. Many people don’t realize that content accessed through these boxes is illegal. Pirates aren’t stealing from governments or big studios—they’re stealing the hard work of millions of film industry workers in China and the U.S.”

Whether one country leads or not isn’t the point. The Chinese-American film market is a shared destiny.

The MPAA’s annual reception was attended by notable figures such as Yu Cizheng, Director of the Copyright Management Department at China’s National Copyright Administration, Fu Ruoqing, Chairman of Huaxia Film Corporation, Liu Chun, Director of the International Cooperation Division at SARFT, Miao Xiaotian, General Manager of China Film Co-production Company, and Xiao Ping, Representative of China Film Import and Export Company, among others. Over 100 industry professionals from both the U.S. and China gathered to celebrate the achievements of the past year’s US-China film collaborations.

Some Hollywood Films Sell Better in China Than in North America

China’s number of movie screens has surpassed 50,000, and the domestic market is rapidly catching up with the U.S., the world’s largest film market. According to Rivkin, it doesn’t matter which country is first. “The U.S. has only 41,000 screens. We predict that by 2020, China will surpass the U.S. to become the world’s largest movie market. But regardless of who leads, the U.S. and China will remain the two largest markets, and we will continue to work together.”

In an interview, Rivkin referred to the U.S.-China film industry as a single entity, a community of shared fate. “Not only is the movie market getting closer, but there is increasing common ground between Chinese and American filmmakers.”

Rivkin noted, “Paramount has a project led by a young Chinese director this year. After meeting these filmmakers, I felt the same connection as with young American directors. They are all inspired by the same movie masters and share similar challenges in filmmaking and investment.” He also mentioned that out of seven U.S. films released this year, six performed better in China than in the U.S., with one being a dog-themed adventure. “While American films still reflect U.S. values, as cultural exchanges deepen, our shared cultural values will grow even stronger.”

In the past year, the American Film Association has deepened its international cooperation with Chinese authorities and the film industry. It held forums and “Hollywood Master Classes” during the 7th Beijing International Film Festival, the 20th Shanghai International Film Festival, and the 4th Global Film Industry Summit. It also organized the 7th “China-Foreign Cooperative Film Exhibition” series and the 2nd “Golden Screen Award” in Los Angeles, promoting cultural exchange and strengthening cooperation between the U.S. and Chinese film industries.

Small and Medium Cities in China Hold Great Cultural Potential

“2016 China Film and TV Industry Contribution to National Economy Report”

The American Film Association, in collaboration with Oxford Economics, released the 2016 report titled “China Film and TV Industry Contribution to the National Economy.” The study revealed that in 2016, the Chinese film and television industry contributed 573.1 billion yuan to the national economy, created 1.095 million jobs, and generated 48 billion yuan in direct taxes.

The report highlighted that 38% of China’s total box office revenue came from third-tier cities and below, underscoring the vast potential of cultural markets in smaller cities. It also pointed to the rapid growth of online media in China, particularly mobile platforms, which have driven a surge in online movies and TV dramas. In 2016, China released 2,500 online films, with platforms like iQIYI entering the film production sector, signaling a shift in how content is created and consumed in the digital age.