DUANJU  NEWS

France operates one of the world's most interventionist audiovisual funding systems. Through the National Center for Cinema and the Moving Image (CNC), part of the revenue generated by broadcasters is reinvested into content creation. Often presented as a pillar of the French cultural exception, this model has long supported film and television. But adapting it to the digital economy remains an open challenge. It is in this context that the suspension of the CNC Talent progra

France Télévisions is the main public broadcasting group in France. It operates several national channels and a free streaming platform, france.tv, which is primarily funded by public money. In addition, the group has a network dedicated to its overseas territories, called " La 1ère ," which produces and broadcasts local content in Africa, the Caribbean, the Indian Ocean, and the Pacific. The group is introducing two short, serialized series, specially designed to be broadca

The market for film photography is projected to reach nearly $5 billion by 2025. The "Camp Snap" camera, screenless and inspired by film photography, has sold over a million units. Companies are anticipating this shift. A segment of young people is turning away from traditional smartphone uses, despite the increasing image quality. Generation Z (born between 2000 and 2010) is beginning to adopt screenless cameras and rediscover film, in the United States, Europe, and Asia. Th

"A country that no longer controls its narratives is a country that loses its soul. And an industry that no longer controls its formats is an industry that loses its future." It was with this quote attributed to the famous French director Bertrand Tavernier that Isabelle Degeorges recently raised the debate surrounding fiction for mobile phones. Isabelle Degeorges, President of Gaumont Television France since 2013, heads the French television branch of Gaumont. The group, fou

With the Walkman, music left the living room, the hi-fi system, and shared listening, to enter the rhythm of movement. It became part of the body. Headphones on, you no longer "put on" music: you wear it. Shuhei Hosokawa, a Japanese researcher and theorist of musical cultures, described in the early 1980s this individualized listening zone which partially cuts off auditory contact with the outside and transforms the street into a scenery to be passed through, rather than a sp

Duanju News explicitly linked binge-watching, speed-watching, and the rise of the Duanju format. Here, we examine how this analytical framework was adopted by French and international media outlets, its chronology, and why it is circulating today. Context: On July 25, 2025, Duanju News proposed a simple idea to test, but one difficult to articulate clearly without taking a step back: while binge-watching normalized the process of watching content consecutively, speed-watching

The article published by 20 Minutes and signed by Camille Moretti is part of a now well-established "Duanjuphobic" trend: following the president of the CNC (National Center for Cinema and the Moving Image), some French media outlets, such as France Inter and Le Figaro , are approaching the phenomenon of vertical mini-series through the lens of mistrust, even suspicion. The format is becoming an object of concern rather than a subject for analysis. Nothing new, then: the s

The Nikon Film Festival is an annual short film competition launched in France by the camera brand Nikon. Open to all, it invites filmmakers, students, and amateurs to create a 2-minute 20-minute film on a set theme. In addition to extensive online exposure, winners receive awards, some of which are funded by the French National Center for Cinema and the Moving Image. Presented as a springboard for young talent, the festival nevertheless relies on a model where marketing some

On October 14, 2025, at the end of the 7 p.m. news on France Inter, the major French public radio station, the journalists humorously concluded: "We will resist, we will fight with our little arms." A seemingly innocuous phrase, but revealing a certain French reflex in the face of cultural revolutions. We laugh to keep at a distance what is disturbing: a new, fast, popular, and strangely effective format. This ironic tone is not just a radio joke. It is part of a broader cont

When a major mainstream outlet turns its attention to the duanju phenomenon, it’s often to treat it as a curiosity. But the Figaro article of October 12, 2025, signed by Salomé Hembert, deserves a closer look as much for what it reveals as for what it leaves out. In 2024, actor Thierry Lhermitte joked that a scathing piece in Le Monde or Libération usually meant box-office success was near. Reading Le Figaro ’s article, it’s hard not to think of that old rule. The text che

In 2020, in the midst of the municipal election campaign, 5G entered the public debate. Green mayor Éric Piolle launched a striking statement on RTL: "5G is so we can watch porn movies even when you're in your elevator in HD." A provocation intended to denounce the energy consumption of digital technology and question the notion of progress. Five years later, what was a witty remark has become reality: 5G makes it possible to seamlessly watch Duanju series even in the most un

During his opening speech at the 2025 La Rochelle Fiction Festival, Gaëtan Bruel, president of the French National Center for Cinema and the Moving Image (CNC), addressed the phenomenon of micro-dramas, better known in China as duanju. Rather than seeing it as the emergence of a new audiovisual language, he described it as “the perfect counterexample” of what a national screen culture should defend. That reaction reveals a deeper confusion between a format and the commercial

Wix is one of the most widely used website hosts in the world, with over 250 million websites created. Dailymotion, for its part, is a...

Over the past decade, the way we watch series has changed profoundly. With the rise of streaming, binge-watching, watching episodes one after the other without a break, has become almost the norm. Netflix, almost in spite of itself, has imposed this model by making all seasons available as soon as they are released. Added to this is another phenomenon, already noted in 2017 by France Inter : "speed-watching." More and more viewers are speeding up their series, watching them a