Pengnan is a P.h.D candidate at the University of Amsterdam. Prior to his P.h.D project, Pengnan worked as a social media marketing strategist in Shanghai. He also studied for a MA in film and media studies, with a focus on audio-visual communications at the University of Copenhagen.  Pengnan research project is about China’s systematic support of its ‘film going global.’ In the context of China’s increasing promotion of its global cultural influence and film’s emphasized role in state propaganda, films are an important part of the country’s ‘media going global’– the ‘national name card’ as the Publicity Department of the Central Committee calls it. In recent years, the state has actively supported film coproduction, film infrastructure building (e.g. the BRI theatre alliance, which provides screening equipment to African countries), film festivals (such as the Silk Road International Film festival), and international VOD platforms. Although the Chinese state may look like a monolithic actor pushing forward a coherent, top-down globalization strategy, the project aim is to reveal the complexity of different actors and their agendas in the state-designed film globalization strategy. It first looks at Hollywood’s defect in China. How has the increasing nationalism and wishes of representing its own voice led to the Chinese audience rejecting films produced by Hollywood? Then, the project investigates coproduction films and the Silk Road International film festival supported by the Belt and Road Initiative. Those films and the film festival present China’s promises and efforts of building alternative globalization with the Global South. Last but not least, the project looks at the Chinese VOD platforms, the most and maybe only successful strategy of China’s cinematic content globalization. The success of VOD platforms is built on censored ‘boy love content,’ and pirating this content back to China, thereby showing a case of how ‘grassroots’ globalization negotiates with ‘top-down’ globalization in the boy love content that was forced to be made outside of China. With those cases, Pengnan present China’s film going global strategy as diminished, alternative, and exiled.