Key Focus
The National Copyright Administration publicly solicits comments on the Regulations for the Implementation of the Copyright Law (Draft Revision for Public Comment) — intending to further clarify categories of works and related concepts, implement the requirements of international treaties, refine rules on performers’ rights in service performances and in audiovisual works, and at the same time provide a clearer basis for copyright authorities to investigate and handle large-scale, profit‑making and professional infringements.
The China Film Administration and the State Administration for Market Regulation jointly issued the Notice on Promoting Diversified Operations of Cinemas and Boosting the Prosperous Development of Cinema Culture — requiring efforts to promote the integration of diversified business formats in cinemas, strengthen brand building and IP operation, and at the same time enhance intellectual property protection and crack down severely on illegal acts such as camcording and unauthorized online dissemination of films.
Beijing Internet Court: Live‑streaming platforms are entitled, in accordance with the agreed rules, to take measures such as banning the live‑streaming rights of accounts that repeatedly use recorded videos to masquerade as live streams — the authenticity of live‑streaming is part of the platform’s operational order and consumer trust; the merchant involved packaged recorded content as real‑time live‑streaming, causing consumers to mistakenly believe that the streamer was giving a live on‑site presentation, thereby violating the principle of good faith and disrupting the normal business order of the platform.
News
The Cyberspace Administration of China has strictly dealt with a number of short‑video accounts that published fictional dramatized content and failed to label such content in accordance with the relevant specifications: over the past two months, major websites and platforms have cumulatively removed more than 241,000 short videos that violated labeling requirements, taken action against more than 21,000 accounts, and corrected or supplemented labels for more than 1,275,000 short videos that were mislabeled or unlabeled.
The National Copyright Administration and the Saudi Authority for Intellectual Property signed a Memorandum of Cooperation in the field of copyright and related rights: the two countries will further strengthen cooperation in copyright, regularly exchange legal and technical information in the field of copyright and related rights, and promote cooperation among collective management organizations of copyright.
The Music Copyright Society of China: as of 12 July 2026, its copyright collections in the karaoke sector exceeded RMB 300 million, representing a year‑on‑year increase of 48% and reaching a record high; as of 30 June 2026, the number of contracted karaoke venues increased by 41.4% year‑on‑year, and the number of contracted karaoke rooms increased by 35.21% year‑on‑year.
Sensor Tower: in June 2026, a total of 38 Chinese companies were listed among the global Top 100 mobile game publishers by revenue, with combined revenue of USD 2.06 billion, accounting for 41.6% of the total revenue of the global Top 100 mobile game publishers for the period; Tencent, Diandian Interactive, Lemon Games, NetEase and miHoYo ranked among the top five Chinese mobile game publishers by global revenue; the game Honor of Kings has generated cumulative global in‑app purchase revenue of more than USD 17.5 billion, and continues to rank first in cumulative global mobile game revenue.
DataEye: from 2025 to date, 15 listed game companies including Tencent, 37 Interactive Entertainment and Kunlun Wanwei have completed 72 investment and financing transactions, with total investment exceeding RMB 87.2 billion, but only seven projects are directly related to the core game business in the cultural and entertainment sector, with a combined investment of only about RMB 200 million; more than 90% of the remaining funds have been allocated to non‑entertainment industries such as AI and robotics.
The 2026 BilibiliWorld exhibition concluded at the National Exhibition and Convention Center (Shanghai): a total of 170 domestic and overseas brands participated; the exhibition received a cumulative 400,000 visitors from more than 30 countries and regions worldwide, with passport‑holding visitors accounting for 18%, marking a new high in the level of internationalization of the exhibition.
Cases
People’s Procuratorate of Hongkou District, Shanghai: a defendant used AI software to “rewrite articles with one click” and controlled a large number of accounts to publish homogenized articles in bulk, exploiting loopholes in the platform’s original‑content subsidy mechanism to fraudulently obtain subsidies of more than RMB 18,000; the court convicted the defendant of fraud and sentenced him to six months’ fixed‑term imprisonment, suspended for one year, and imposed a fine of RMB 5,000.
Key Focus
The National Copyright Administration Publicly Solicits Comments on the Regulations for the Implementation of the Copyright Law (Draft Revision for Public Comment)
The Draft for Public Comment is intended to implement the Copyright Law as amended in 2020, align with international treaties such as the Beijing Treaty on Audiovisual Performances and the Marrakesh Treaty, and respond to practical needs in areas such as copyright registration, audiovisual works, performers’ rights and copyright protection in the digital environment. After revision, the number of articles in the Regulations will increase from the current 38 to 49. The deadline for feedback on the Draft for Public Comment is 12 August 2026.
The key points of the core revisions in the Draft for Public Comment are as follows:
1. Improving categories of works and related concepts (Articles 3, 4 and 8): In accordance with the current Copyright Law, the original expression “cinematographic works and works created by a process analogous to cinematography” will be adjusted to “audiovisual works”, and it will be clarified that film and television works include films, television dramas, feature programs, documentaries, animated films, online dramas and variety shows, among others. At the same time, concepts such as architectural works, video products, exhibition acts and public broadcasting of performances of works will be further refined, and the boundaries between audiovisual works and video products, and between live broadcasting and remote transmission, will be clarified.
2. Improving rules on presumptions of right holders and copyright registration (Articles 9 and 10): Natural persons, legal persons or unincorporated organizations whose names are indicated on a work shall, in principle, be presumed to be the copyright owners; entities whose rights are indicated on performances, typographical designs, sound and video recordings and radio and television programs may also be presumed to be the relevant right holders. Registration certificates issued by registration institutions recognized by the copyright authorities will serve as preliminary proof of the registered matters.
3. Refining rules on joint works and adaptation of audiovisual works (Articles 11 and 12): Where a joint work cannot be used separately, each joint author may, in his or her own name, bring an action to protect the copyright in the work as a whole; where the work can be used separately, each author may independently enforce rights in respect of the part he or she has created. Where a work is made into an audiovisual work and the contract does not clearly stipulate the relevant arrangements, it shall be deemed that the right holder has consented to necessary alterations to adapt the work to audiovisual expression; however, substantive modifications that fundamentally alter the original author’s wishes, ideas and emotions shall still require separate consent.
4. Supplementing rules on the use of commissioned works (Article 15): Where the copyright in a commissioned work belongs to the commissioned party, the commissioning party may use the work within the agreed scope; where the scope of use is not agreed, the commissioning party may use the work free of charge within the specific purpose for which the work was commissioned.
5. Refining the system for accessible access to works by persons with reading disabilities (Article 24): It is clarified that “persons with reading disabilities” include persons with visual impairments, as well as persons who are unable to read normally due to visual deficiencies, perceptual disabilities or physical disabilities; “accessible formats” refers to alternative modes or forms that enable such persons to perceive and effectively use the works.
6. Refining rules on service performances and performers’ rights in audiovisual works (Articles 34 and 35): Supplementary provisions are made regarding the right of performing entities to use service performances within the scope of their business, and the rights of performers in audiovisual works are clarified. As a general rule, the rights in performances in films and television dramas shall be enjoyed by the producers, but performers shall still have the rights to be identified, to protect their performance images from distortion, and to receive remuneration in accordance with contracts.
7. Clarifying rules on communication over information networks and public communication of sound recordings (Articles 41 and 42): The term “wired or wireless” in the rights of broadcasting, communication over information networks and related neighboring rights will cover radio waves, cable and information networks and other technical means of transmission. At the same time, “public communication” of sound recordings does not include interactive communication whereby the public may access sound recordings at a time and place individually chosen by them.
8. Refining protection of technological measures and rights management information (Articles 43 to 46): The scope of technological measures and rights management information is clarified, and it is stipulated that entities meeting statutory conditions may apply to circumvent technological measures for the purpose of fair use. Technological measures that impair users’ network or data security, or that are unrelated to copyright protection and harm the public interest, are not protected by the Copyright Law.
9. Clarifying the scope of administrative copyright enforcement (Articles 47 and 48): The Draft for Public Comment enumerates specific circumstances that “harm the public interest”, including damaging the image of the State or public security, disrupting market or cultural order, committing infringement for profit, and engaging in infringement as a profession, thereby providing a clearer basis for copyright authorities to investigate and handle large‑scale, profit‑making and professional infringements.
Source: National Copyright Administration
The China Film Administration and the State Administration for Market Regulation Jointly Issue the Notice on Promoting Diversified Operations of Cinemas and Boosting the Prosperous Development of Cinema Culture
The Notice is intended to promote the transformation of cinemas from traditional venues for film screenings into comprehensive cultural experience spaces integrating film viewing, social interaction, entertainment, culture and consumption, and to further enhance the operational vitality and service quality of cinemas through diversified operations, brand operation, technological upgrades and policy support. The core points of the Notice are as follows:
1. Promoting the integration of diversified business formats in cinemas: Cinemas are encouraged to move beyond the single business model of film viewing and introduce business formats such as specialty catering, cultural and creative retail, film derivatives, trendy toys and figurines, art exhibitions, cultural lectures, AI agents, arcade games and karaoke, and to expand consumption scenarios through live‑streaming‑based sales, integrated online‑offline retail, and linkage with surrounding commercial and cultural‑tourism venues.
2. Creating comprehensive cultural experience spaces: Cinemas are supported in renovating lobbies, corridors and idle screening rooms to introduce projects such as cultural and creative markets, IP pop‑up stores, leisure book bars and art exhibitions, thereby creating comprehensive cultural spaces that integrate film viewing, social interaction, art, entertainment and consumption.
3. Strengthening brand building and IP operation: Cinemas are encouraged to implement “one policy for each cinema” based on their location, history, facilities and target customer groups, and to develop art cinemas, technology cinemas, community cinemas and specialty theme cinemas; at the same time, they are encouraged to tap into their own cultural assets, develop cultural and creative products, digital collectibles and derivative content, and cultivate cinemas’ own IPs.
4. Enhancing refined operation of membership and customer groups: Cinemas are encouraged to improve membership systems, analyze viewing preferences of different customer groups, match films with target audiences, and provide audiences with precise services and personalized recommendations. Film industry associations may, in accordance with the law, establish star‑rating evaluation systems for cinemas to promote improvements in operational and service quality.
5. Enhancing technological and operational service capabilities: Cinemas are encouraged to adopt advanced technologies such as digital cinema LED projection systems, and to support virtual reality film screenings through the construction of new cinemas or the addition of screening rooms; at the same time, they are required to strengthen equipment maintenance, film promotion and distribution, and staff training to ensure screening quality and service standards.
6. Improving policy support and strengthening intellectual property protection: Local film authorities shall strengthen business guidance and industry administration, and market regulation authorities shall facilitate the handling of relevant permits for cinemas that meet the conditions. At the same time, all departments will strengthen intellectual property protection and crack down severely on illegal acts such as box‑office fraud, camcording and unauthorized online dissemination.
Source: China Film Administration
Beijing Internet Court: Live‑Streaming Platforms Are Entitled, in Accordance with the Agreed Rules, to Take Measures Such as Banning the Live‑Streaming Rights of Accounts that Repeatedly Use Recorded Videos to Masquerade as Live Streams
The plaintiff, a trading company, opened an account on a live‑streaming platform operated by the defendant, a technology company, for the purpose of selling its own brand of clothing. In December 2025, the defendant, on the ground that the account involved had repeatedly used pre‑recorded videos to masquerade as real‑time live‑streaming, imposed an indefinite ban on its live‑streaming and audience connection rights. The plaintiff argued that even if the account had committed the relevant violations, they were merely general violations, and that the platform’s imposition of a permanent ban was clearly excessive; it therefore filed a lawsuit with the Beijing Internet Court, seeking the lifting of the live‑streaming restrictions and compensation for economic losses of RMB 50,000. The defendant contended that the account involved did not commit occasional violations, but repeatedly masqueraded recorded content as live‑streaming through means such as recording, audio processing and editing and splicing, and had previously been subject to short‑term bans for similar issues and had been repeatedly reported by users; the platform’s corresponding measures thus had factual and rule‑based grounds.
Upon trial, the Beijing Internet Court held that multiple live‑streams involved in the case exhibited abnormal characteristics such as sudden start and end, lack of normal opening and closing remarks, picture lagging, audio switching and obvious traces of editing and splicing. In conjunction with the account’s history of violations and user reports, it was sufficient to determine that the account had repeatedly used pre‑recorded videos to masquerade as real‑time live‑streaming. Such conduct falls within cheating and disruption of the normal order of the platform as prohibited by the platform rules, and violates the user agreement between the parties and the provisions of the Live‑Streaming Code of Conduct and other agreed rules. As the operator of the live‑streaming platform, the defendant is entitled to take necessary measures to maintain the authenticity of live‑streaming, consumer trust and the platform’s operational order.
The court further pointed out that the measures taken by the platform against violating accounts shall be commensurate with the circumstances of the violations, the subjective fault and the harmful consequences. The plaintiff had previously been subject to short‑term bans for similar issues, but thereafter still repeatedly used recorded content to masquerade as live‑streaming and triggered user complaints, demonstrating obvious subjective fault and causing adverse impact on the normal operational ecosystem of the platform. Therefore, based on platform rules that had been publicly disclosed and confirmed by both parties, the defendant upgraded the measures from short‑term bans to indefinite bans, which had factual and contractual grounds, complied with the requirements of the Interim Measures for the Administration of Online Live‑Streaming Marketing regarding platforms formulating and implementing live‑streaming marketing management rules, and did not constitute clearly excessive measures. Ultimately, the court dismissed all of the plaintiff’s claims. Neither party appealed, and the judgment has now become effective.
Source: Beijing Internet Court
News
Source: China Internet Information Center
Source: National Copyright Administration
Source: China Audio‑Video Copyright Association
Source: Sensor Tower
Source: DataEye
Source: Shanghai Observer
Cases
Image source: CCTV News
Source: Hongkou Procuratorate
