DUANJU  NEWS

This is a first: in Toronto, the exhibition La Verticale , initiated by Le Labo in partnership with the Cinéfranco festival, gives central space to the 9:16 format. Six French-speaking artists present works designed for a tall screen, breaking with the horizontal conventions of traditional cinema. From November 1 to 9, 2024, the public discovered videos projected in studio 277 , in the premises of the Labo, at 401 Richmond Street. This initiative, led by Dyana Ouvrard (general and artistic director of the Labo) and Mathilde Rousseau , helped to promote a form of expression that was still marginal: vertical video. Another way of seeing, another way of telling Conceived as a media arts component of the Cinéfranco festival, the exhibition moves away from the classic big screen to explore margins and mobile formats. Each work, from Writer's Block to Flânerie éphémère , questions intimacy, memory, and disappearance, making the vertical format a fertile constraint. In Canada, conceptual and artistic research is emerging around the vertical format, well beyond simply adapting it to mobile uses. • CHOQ FM , October 31, 2024 • The Lab , October 22, 2024 • Facebook - Le Labo , December 11, 2024

In january 2024, a name appeared in the columns of the French media: ReelShort. This application, already massively used in the United States and Asia, burst onto the French landscape as a curiosity, immediately dubbed the "TikTok of series". From La Montagne to Midi Libre, including Stratégies, France Info, La Dépêche, France Inter and Courrier International, all relayed the phenomenon. For many, it was about presenting the French public with a new way of consuming stories: vertical episodes of one to two minutes, designed to scroll on a smartphone, interspersed with advertisements. Between fascination and skepticism The tone of the articles oscillates between astonishment and caution. Some highlight the app's dazzling success, driven by massive downloads and colossal advertising budgets. Others point to its limited catalog, its formulaic plots, or its business model based on advertising and micropayments. The tiktok of series The term has become widely used. It clearly conveys the impression of a format designed to capture attention, somewhere between social media and serial fiction. This comparison with TikTok has undoubtedly facilitated the understanding of a phenomenon still little known to the general public in France: micro-drama, or duanju. ReelShort's entry into the French news marks a turning point: it's the first time that a format born from China's vertical miniseries culture has been covered in a coordinated manner by the national press. Behind the media curiosity lies a deeper shift: the realization that ultra-short mobile fiction is no longer an anecdote, but a new global narrative language. Sources: • La Dépêche , December 1, 2023 • Courrier International , January 27, 2023 • France Inter , January 1, 2024 • The Mountain , January 8, 2024 • Strategies , January 8, 2024 • France Info , January 10, 2024 • Midi Libre , January 10, 2024

Long confined to Chinese platforms, duanju are now appearing on screens around the world. Their international distribution relies on a careful adaptation of stories, faces, and narrative codes. Apps like ReelShort and DramaBox don't just translate their content. They adapt their offerings to each market: local casting, familiar settings, reworked dialogue to better fit cultural usage. Some series produced in the United States adopt local narrative codes: sentimental thrillers, intense romances, social dramas. Platforms also rely on social media to circulate the most intense clips, often in just a few seconds. Digital word of mouth plays a central role: it's often isolated scenes—a look, a slap, a statement—that capture attention before leading to the full series. On TikTok, the hashtags #shortfilm and #shortmovie have exceeded 29 billion and 17 billion views respectively. The ReelShort app boasts over a billion monthly views, 62% of which come from users under the age of 35. In France, Le Monde notes that this ultra-fast format is attracting a new generation of users, accustomed to consuming stories in fragments. Far from being a simple export product, duanju is becoming a shared visual language, capable of reaching viewers from very different cultures. Sources: • The Telegraph , November 11, 2024 • 36Kr Europe , April 18, 2024 • Le Monde , June 7, 2024 • Radii , February 20, 2025 • Caixin Global , June 25, 2025

Before becoming a global phenomenon, Duanju was born in China at the crossroads of web literature, short programs, social networks and mobile uses. As early as 2002, platforms like Qidian offered digital serial novels, read chapter by chapter. This episodic, fast, and addictive reading method laid the foundations for a new relationship with fiction: sequenced, designed to be consumed in series. This narrative model has gradually migrated to video. Around 2010, the first micro-films emerged: very short, autonomous, and often self-produced videos, broadcast on Tudou or Sina Video. Narratively looped into a single episode, they marked a first bridge between web fiction and video. In 2013, the first micro-dramas appeared on Youku. Unlike micro-films, these were episodic, structured as mini-series. Still in horizontal format, they laid the foundations for duanju without yet addressing mobile devices. It was in 2018 that Duanju adopted its current form: vertical, mobile, ultra-rhythmic, and monetized. The smartphone not only became a main screen, but also its cradle. The episodes, lasting from 1 to 6 minutes, scroll like stories. The writing is concise, marked by final twists, to capture attention in a continuous flow. This period corresponds to the rise of applications like Douyin and Kuaishou, which popularized the format among the general public. Subsequently, this model was exported and consolidated through platforms such as ReelShort , DramaBox , or GoodShort , confirming the emergence of a narrative language specific to mobile uses. In China, these dramas are often referred to as "vertical paid duanju" (竖屏付费短剧), highlighting their roots in a specific digital culture and an economic model based on the purchase of episodes or subscriptions. In short, Duanju is not just a new format: it is a complete reinvention of storytelling, born out of Chinese digital culture and shaped by two decades of experimentation between text, image, and interaction. Sources: • 中国作家网 / China Writers Association , December 25, 2023 • 澎湃新闻 / The Paper , June 11, 2024

A contributor to several journals and an observer of cultural changes, Jean-Marie Sanjorge appropriates the duanju format to offer a broader interpretation. For him, it is fully in line with the acceleration that shapes our modernity. "A lot has been said about the phenomenon of acceleration that has characterized Western modernity over the last two centuries. It's not my place here to judge the advantages and disadvantages of this situation, but, in accordance with the title of this page, to consider it unavoidable! We can naturally link this to the phenomenon of acceleration that has characterized political cycles, social developments, clothing trends, the art of writing, or, quite simply, the general way of life. This movement is, of course, reinforced by the complete computerization of recent communication methods. Our vertical fictions are an absolute accomplishment of this trend, something we fully embrace! It's up to us to reflect, in collaboration with our partners, on how to further enrich our creations and give them a new dimension!" Continuing this reflection, Jean-Marie Sanjorge recalls that brevity is not only a modern constraint, but also an ancient aesthetic tradition, like Chinese Jueju , which reveals the strength of very short forms. "We could talk about the short forms used brilliantly by French writers, but, in homage to our Asian partners, I will mention here short poetic texts: very old but still practiced, they were born from the feeling that a few words were likely to gather the attention and emotion of the reader, around images immediately conveying aesthetics! For example, the Chinese poet Du Mu, in the 9th century AD, in just four lines: Over such a long distance, birdsong where green illuminates red, Villages by the water, hills, banners of wine in the wind, Hundreds of temples in the South How many terraces drowned in mist and rain? In a single glance, these birds in the mist offer us their beauty... What more can we say? How far we seem here from our current vertical fictions! Of course! Yet, let us keep in mind the idea of a concentration of emotion, which we must try to reanimate, in a form that is obviously totally new! We will create surprise... That is our challenge!" Between digital modernity and poetic heritage, Jean-Marie Sanjorge sees brevity as an art in itself, a stimulating path for creators, beyond economic logic. #JeanMarieSanjorge

Costume dramas are having a major moment in the short-drama world. From breathtaking emperors to tragic princes and charming jokers, the new generation of “male gods” is redefining what it means to shine on the vertical screen.  Unlike modern dramas, where good looks may be enough, period dramas demand more: presence, elegance, and the ability to make audiences believe you truly belong to another time. Recently, Sohu spotlighted six breakout stars whose ancient-style performances have captivated millions. Each one brings something unique, but the real question is, who would you crown as your number one?   No.1 Yang Ze - Born in 1995, 184cm, from Chongqing Don’t be fooled by his youthful image. Once Yang Ze put on his period costume for Fragrant Snow Reflects the Palace, his career skyrocketed. Netizens on Xiaohongshu consistently rank him as one of the most striking men in costume drama. With sharp features, deep-set eyes, and that cold-yet-affectionate aura beloved in webnovels, Yang Ze embodies the ruthless hero archetype. Just don’t try imagining him as a soft puppy love interest,  fans warn it’s too heart-shattering! No.2 Wang Peiyan - Born in 2001, 183cm, from Chongqing What sets Wang Peiyan apart? Comedy. At first glance, his sense of humour might outshine his looks, but put him in costume, and the transformation is unreal. In My Concubine, he emerged like a comic-book tyrant come to life, with narrow eyes, red eyeshadow, and all the lethal charisma you could want. A man who can be both funny and devastatingly handsome? That’s the real charm.    No.3 Spreading Wings (Zhang Chi) - Born in 2001, 180cm Delicate features, red lips, and a restrained aura define Zhang Chi. He shifts effortlessly from aloof to vulnerable, showing off refined emotional range. In Attack the Heart, just a look conveyed a character’s journey from coldness to warmth. With roles in Slave of the Jade Waist, Cherishing Jade and Loving Fragrance, and Spring Night in Your Arms, his 16-drama résumé proves he’s one of the most dedicated stars of the genre. No.4 Li Ruoxun - Born in 2003, 184cm Li Ruoxun embodies the “tough yet noble” archetype. With eyebrows like blades and a nose bridge that seems sculpted for the screen, his youthful looks carry surprising gravitas. Among his 29 short dramas, 18 are costume pieces,  a statistic that highlights his dominance in the genre. From The Legend of Fenghua to The Strategy of the Beauty and The Rebellion of Zhaohua, he balances roles as both noble hero and scheming mastermind. Fans still swoon over his Republican-era role in The Hot Heroes. No.5 He Congrui - Born in 1997, 177cm, from Guangdong Though his filmography in costume dramas is smaller, every pick is a gem. Please Come Into My Arms earned 9 million in collections, cementing its place as a top-tier short drama. He Congrui’s charm lies in duality and gentle features softened by strength, an emperor’s majesty paired with a scholar’s elegance. His soulful eyes make him equally believable as a tyrannical ruler or devoted lover. His collaborations with Liu Nian (Nian Nian Youci, What a Trouble) have fueled fandom’s favourite CP, “Bai Nian Hao He.” No.6 Chen Tianxiang - Born in 2002, 183cm, from Hunan The final name on this list is unforgettable. His white-haired look in The Double-Faced Official Has a Secret Love for Me left audiences breathless. With 26 dramas under his belt,  20 of them costume pieces and nine surpassing one million collections, Chen Tianxiang’s track record is extraordinary. His noble yet icy screen aura, sharpened by his single-lidded eyes, makes him perfect for roles that demand both elegance and emotional depth. Moon in the West Tower, The Medical Concubine, and The Emperor and Her only prove his star power further. The Verdict Six “male gods,” six distinct charms: from Yang Ze’s commanding aura to Chen Tianxiang’s ethereal beauty. But as the fandom loves to say, only children would choose just one. For true fans of short-drama costume epics, why not admire them all? So tell us, who’s your number one?   Sources : Sohu , August 29, 2025. Article written by Blessing Azugama #BlessingAzugama

Comics are considered to have been born in the 19th century, from varied premises: illustrated stories, Epinal images, precise narratives with images and texts (Rodolphe Töppler), introduction of speech bubbles (Winor Mc Cay) at the very beginning of the 20th century... But we want to insist here, in the duanju spirit which is ours, on a particular dimension of this creation: the tendency which was hers to divide her story, which she would entrust to periodic supports responsible for gradually delivering the story in its entirety, before it was published in a complete album! This type of publication aimed at young people began in the 1930s (Le Journal de Mickey , 1938) but especially after the Second World War with the launch of the weeklies Spirou (where Lucky Luke appeared, alongside many others!) and Le journal de Tintin (with, of course, each week, an episode of the adventures of the young reporter!). Later came Pilote (where the adventures of Asterix the Gaul , who was to acquire worldwide fame, appeared week after week!) And I can't name any other memorable comic strips that adorned these unforgettable newspapers every week! This weekly division explains why, often, the bottom of the page where the mythical story to follow appears highlights an element of suspense or anxiety aimed at motivating the reader for the next issue of the newspaper! As for manga , we should note the Weekly Shōnen Jump , presenting each week (the original Japanese version was weekly as the title indicates here) series intended to appear later in albums (including the famous Dragon Ball !) Naturally, the emergence of digital formats has led to fundamental changes in this editorial system. We will have to come back to this! Asterix & Obelix in the magazine Pilote , July 17, 1965. Tanguy and Laverdure ( aviation  comic) and Lieutenant Blueberry ( western  comic) on the bottom of the page in Pilote  magazine. With "TO BE CONTINUED" ! Cover of Le Journal de Mickey  (October 1, 1959). Example of a single-page comic strip: "Lancelot and Princess Liselotte," with the mention "TO BE CONTINUED" at the bottom. Article written by Jean-Marie Sanjorge #JeanMarieSanjorge Please note: Disney invested in a duanju platform "Dramabox" in July 2025. Read the article

The Quebec newspaper La Presse, a long-standing source of information in French-speaking Quebec, published an article on August 20, 2025, " Welcome to the world of the (very) small screen " devoted to the rise of vertical series, which appeared in the headlines. Written by journalist Mathieu Perreault, a science and culture specialist at La Presse for over twenty years, this report examines the revolution that Duanju represents in the global audiovisual landscape. The article conducts an in-depth investigation and notably examines the experience of Guillaume Sanjorge, a French producer, and his commitment to developing this format. Mathieu Perreault, journaliste (à gauche) & Guillaume Sanjorge, Producteur (à droite) Guillaume Sanjorge opens the article, emphasizing the speed of production cycles, the power of plots constructed in seconds, and the way these mobile fictions are renewing image consumption. He also highlights the importance of cultural and linguistic adaptation, emphasizing that Duanju cannot be thought of solely in an Asian context. Photos from his filming are published. The presence of such a subject in a media outlet like La Presse is not insignificant. Founded in 1884 and having had the courage to make a 100% digital shift, this Montreal newspaper illustrates both the dynamism and the capacity of a major French-language media outlet to modernize without ever compromising the quality of its journalism. By mentioning this new format, La Presse not only demonstrates the public's growing interest in short, vertical fiction, but also the importance that the French-speaking world can play in the dissemination and adaptation of this innovative format, designed for a new screen: the telephone (provided it has the means to do so...). The fact that a French producer is heard by a Quebec media outlet, at the heart of the North American cultural space, underlines the importance of dialogue between French-speaking creators and audiences around Duanju. Source : La Presse , August 20, 2025

In China, a quiet revolution has reshaped the way audiences consume stories. Known as Duanju, these short dramas, packaged in one to two-minute vertical episodes, have exploded in popularity, topping streaming charts and birthing a billion-dollar industry. With fast production cycles, addictive cliffhangers, and mobile-first design, Duanju has become the binge-watch of the smartphone era. But could this format thrive in Africa, where storytelling is already one of the continent’s most dynamic exports? Africa’s Own Micro-Drama Roots Africa is no stranger to short-form storytelling. TikTok skits, Instagram reels, and YouTube comedy sketches already command millions of views. Nigerian creators, for instance, have built global fan bases with quick-witted, relatable content. Nollywood, the continent’s film powerhouse, has also experimented with short web series and micro-films. But unlike China’s Duanju industry, Africa’s short content is largely fragmented. It flourishes on global platforms like TikTok and YouTube, with little local infrastructure to monetise at scale. Humor and social commentary dominate, while serialized melodrama, Duanju’s bread and butter, remains underexplored. The Overlap: Why Duanju Fits Africa Mobile-first culture: Africa has one of the fastest-growing mobile internet populations in the world. Smartphones are often the first and only screen. Emotional storytelling: Whether in Nollywood or in skits, African stories thrive on heightened emotion, exaggerated characters, and dramatic conflict, perfect ingredients for Duanju. Low-budget creativity: African creators already excel at producing impactful stories with minimal resources, a key feature of the Duanju model. Still, challenges remain. Data costs are high in many African countries, limiting binge consumption. Monetisation options are sparse, with ad revenue and creator payouts lagging behind global averages. And culturally, audiences have leaned toward humour and satire rather than the serialised melodrama that fuels Duanju in China. Without localised platforms or sustainable monetisation models, the format risks being seen as just another global trend rather than a transformative industry shift. The real potential may lie in a fusion: an African Duanju that blends melodrama with comedy, romance with street culture, and serialised hooks with cultural authenticity. Imagine a Lagos love story told in 100 one-minute episodes, or a pan-African thriller designed for the vertical screen. Streaming platforms like Showmax or even TikTok itself could become the launchpads for such experiments. With Nollywood’s global influence and Africa’s young, digital-native population, the continent could not just adopt Duanju, but reinvent it. Duanju’s rise signals more than a passing trend. It’s a shift in how stories are written, filmed, and consumed in the mobile-first world. Africa, with its vibrant storytelling traditions and hungry young audiences, is well-positioned to embrace this format. The question is not whether Duanju can thrive in Africa; it’s who will build the ecosystem to make it happen. And when it does, the world may find itself binge-watching African micro-dramas the same way it once fell for Nollywood films. Article written by Blessing Azugama #Blessingazugama

The global rise of short-form vertical storytelling is about to make history with the first-ever Vertical Drama Market, an industry event dedicated exclusively to vertical dramas, set to take place in Los Angeles and hosted by VertIGo. The Vertical Drama Market aims to spotlight one of the fastest, growing formats in the entertainment landscape by bringing together creators, platforms, and executives driving innovation in the vertical content space. The event promises a mix of panels, pitches, networking, and screenings designed to give industry professionals both inspiration and practical pathways into the format. Highlights of the program include: Panel Discussions: Industry insiders explore trends, opportunities, and the future of vertical storytelling. Pitches: Speed pitching with vertical app executives and offline pitches from finalists of the VertIGo Pitch Competition. Presentations: Showcases of vertical production companies and app demonstrations. Brunches & Mixers: VIP networking sessions and VertIGo Vertical Mixers designed to connect creatives with key decision-makers. Screenings: Exclusive screenings of hit vertical dramas followed by Q&A sessions with directors, producers, and cast. Vertical Story Lab: A development hub where emerging creators can shape their projects with the support of experienced producers. The event also opens opportunities for companies to gain visibility through the official Market Guide, booths, or sponsorship packages. The Market Guide, in particular, offers international companies outside Los Angeles a chance to participate and showcase their projects to industry attendees. With vertical video consumption surging worldwide, the Vertical Drama Market positions Los Angeles as a new hub for dialogue, development, and dealmaking in this dynamic content sector. Source For more information about the event and participation opportunities, visit the official websites: Vertical Drama Market – Dana Productions  VertIGo Event Portal Article written by Blessing Azugama #BlessingAzugama