Reconstructing the Field of Film and Television Literature: A Preliminary Discussion on the Functions of Long-Form and Micro-Short Dramas

Ji Min (China)

Abstract

In recent years, with the rapid development of short-video platforms, micro-short dramas have risen swiftly due to their short production cycles, low costs, high output, and high returns. They have introduced new content supply and monetization models, encroaching on a significant portion of the long-form drama market and posing unprecedented challenges to traditional television series. Conversely, long-form dramas face multiple difficulties, including high production costs, slow monetization, and audience attrition, largely due to changes in viewing habits.

Drawing on over twenty-five years of professional experience in the film and television industry, the author compares long-form and micro-short dramas in terms of narrative structure, dissemination channels, audience reception, and cultural functions. The paper explores their evolving roles in contemporary media and examines prospects for their future development.

Keywords: long-form drama; micro-short drama; media evolution; narrative structure; audience engagement; China

I. Media and Temporal Evolution: Historical Trajectories of Long-Form and Micro-Short Dramas

1. The Development of Long-Form Dramas: From the Golden Age to Platform Transformation

Long-form dramas refer to traditional television series, typically spanning dozens or even hundreds of episodes, originally broadcast via television networks. The rise of micro-short dramas has led to the common designation of traditional series as “long-form.”

China’s television drama history was marked by the 1981 production Eighteen Years in the Enemy Camp, widely considered the country’s first true television series and a milestone in Chinese TV history. In an era without the internet or mobile phones, television was a primary source of information and entertainment. Its success inspired further investments in the industry and propelled rapid development.

The 1980s saw high-quality adaptations of classical novels such as Dream of the Red Chamber and Journey to the West. Despite technological limitations, professional craftsmanship and rigorous production standards produced enduring classics, which were broadcast nationwide, sparking widespread audience engagement. By the 1990s, television had become a mainstream cultural medium. The industry entered a period of rapid growth and industrialization, expanding from historical dramas to diverse genres including contemporary family, youth, urban romance, and crime dramas. Popular works such as Desire (1990) and The Story of the Screenwriters Department (1991) exemplified this golden era.

From 2000 onwards, market mechanisms matured, leading to industrialized production. The emergence of online platforms such as iQIYI, Tencent Video, and Youku in 2014 initiated a new phase of “network-TV convergence,” resulting in unprecedented prosperity for television dramas. Investment increased substantially, with production budgets rising from several million RMB to over one hundred million RMB per series, and episode counts extending to 40–80 episodes for major costume dramas. Notable series such as Empresses in the Palace and Nirvana in Fire achieved both TV and online success. However, television networks’ declining relevance and audiences’ changing habits signaled the gradual decline of traditional broadcast as the primary delivery platform.

2. The Rise of Micro-Short Dramas: From Grassroots to Industrialization

The origins of micro-short dramas can be traced to the early 2010s, coinciding with widespread mobile internet adoption and increasingly fragmented viewing habits. Younger audiences preferred “snackable” content—short, intense, and tightly plotted narratives. Platforms such as Douyin (TikTok China) and Kuaishou facilitated rapid production and dissemination, leveraging algorithms, vertical-screen immersion, and user-friendly content creation tools.

Typically, micro-short dramas run 1–3 minutes per episode, with 70–80 episodes per series. Designed for mobile viewing, these series emphasize brevity, rapid pacing, and dense storytelling. Their popularity enabled platforms to build dedicated short-video drama sections, and even traditional television networks began scheduling micro-short drama slots.

In recent years, the entry of professional filmmakers and capital investment has transformed micro-short dramas from ad hoc, low-quality productions into a standardized, industrialized sector. By 2024, Chinese micro-short drama users exceeded 600 million, with nearly 60% under the age of 30, highlighting the significant potential to challenge long-form dramas.

II. Structure and Aesthetics: Narrative Differences Between Long-Form and Micro-Short Dramas

Long-form dramas excel in narrative complexity, thematic depth, and cultural expression. They often feature multiple parallel storylines, detailed character development, and intricate cause-and-effect chains, employing techniques such as foreshadowing, flashbacks, and layered plot reversals. Examples include Dream of the Red Chamber (1980s), Empresses in the Palace (2010s), and Ren Shi Jian (2020s).

By contrast, micro-short dramas prioritize immediate gratification, emphasizing rapid conflict, dramatic reversals, and high-impact plotlines. Due to their brevity, they generally focus on a single narrative thread, with limited character development and thematic exploration. Early productions often exhibited exaggerated performances, melodramatic plots, and low production values, making them closer to short-video extensions than traditional audiovisual works.

III. Genre and Value Orientation: Classical Narratives vs. Sensory Stimulation

Long-form dramas frequently explore historical, familial, urban, or criminal themes, promoting social responsibility and positive values. Micro-short dramas often favor romance, revenge, fantasy, or sensationalist storylines, emphasizing entertainment and emotional intensity. While both formats compete for attention, they can coexist, complementing each other in the media ecosystem.

IV. Commercial Ecosystem and Industrial Models: Audience Composition and Viewing Habits

Long-form dramas primarily attract middle-aged and older audiences who value narrative depth, character growth, and social values. Micro-short dramas appeal to younger viewers consuming content in fragmented time slots, seeking entertainment and rapid emotional stimulation.

Industrial models also differ: micro-short dramas have rapidly developed a full production chain encompassing script incubation, filming, editing, marketing, distribution, monetization, and IP extensions. In contrast, long-form dramas rely on traditional advertising and broadcast revenue, with longer production cycles and slower monetization.

V. Conclusion: Toward Integration and Symbiosis

Micro-short dramas precisely meet younger audiences’ demand for “fast, bite-sized, and thrilling” content, while long-form dramas maintain irreplaceable advantages in narrative depth and cultural value. The future media landscape will likely witness convergence: long-form dramas adopting aspects of micro-short drama pacing, and micro-short dramas increasing production sophistication. Both formats will increasingly function as cultural commodities, coexisting and complementing one another in diversified, integrated entertainment ecosystems.

Author Biography

Ji Min, Researcher at the World Micro-Short Drama Research Association, China. With twenty-five years in the film and television industry, she has extensive experience in investment, production planning, marketing, and distribution. She has invested in and led the planning of twelve television series, with multiple works achieving record-breaking TV ratings. She has also participated in the domestic distribution of over one hundred television series and fifteen films, and introduced nearly 100 foreign films to China, while exporting about thirty Chinese films and TV series overseas.