V. Dispute Resolution Mechanism: Establishing an Industry-Standardized Arbitration System
To address legal and cultural disputes arising from cross-border collaborations, the team, in collaboration with the International Association of Film and Television Lawyers and UNESCO, formulated the "Convention on the Resolution of Disputes in Cross-Cultural Film and Television Collaborations." The convention innovatively establishes a "cultural jury" system, with a seven-member jury composed of cultural experts, legal scholars, and industry representatives from both disputing parties. The jury employs a three-stage hearing process: "statement of facts – cultural interpretation – application of law." In handling disputes regarding the portrayal of historical figures in a South Korean-American co-production, the jury, by comparing the differences in historical textbooks from both countries and in accordance with the spirit of the Berne Convention, ruled that historical background explanatory subtitles must be added at the end of the film, thus safeguarding creative freedom while respecting cultural sensitivities.
To date, the arbitration mechanism has handled 43 transnational disputes, reducing the average resolution time from 14 months in traditional litigation to 7 weeks, with a 92% satisfaction rate among both parties. Its success has been incorporated into the "Global Creative Industries Cooperation Guide" published by the United Nations Conference on Trade and Development (UNCTAD), becoming an industry standard.
VI. Sustainable Development Assessment: Constructing ESG Film and Television Indicators
Drawing on ESG principles from the financial sector, Su Yao developed a sustainable development assessment system specifically for the film and television industry. The Environment dimension monitors the carbon footprint of filming activities, requiring production crews to use at least 30% renewable energy and achieve a 75% waste recycling rate. The Social dimension assesses the project's impact on local communities; for example, when filming in Africa, over 60% of the staff must be local, and investment must be made in building community film screening locations. The Governance dimension examines the protection of labor rights by partners, prohibiting the use of child labor and forced labor, and ensuring that women comprise at least 40% of the workforce.
While filming an environmental documentary in the tropical rainforests of Southeast Asia, the production team reduced carbon emissions by 21 tons through a solar power system and built three digital classrooms for local villages, earning them the "Champions of the Earth" award from an international environmental organization. This evaluation system not only enhanced the project's social value but also attracted the attention of ESG investment funds such as BlackRock, bringing the team an average of $120 million in green financing annually.
This systematic and sustainable development mechanism has upgraded the team's cross-disciplinary collaboration model from single-project operation to a self-renewing ecosystem. When the 100th international collaborative project, "Echoes of the Silk Road," began filming in Samarkand, the AI-generated multilingual storyboards, blockchain-certified fair trade props, and crew members from 23 countries collectively constituted a new paradigm for global film and television cooperation. As Zhong Hua said at the Cannes Film Festival forum, "We are not making films, but weaving a cultural network so that every node can continue to shine." This mechanism, which combines commercial success with social responsibility, technological innovation with humanistic care, is redefining the future landscape of international film and television cooperation.
Continue read on readnovelmtl.com
