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China

Could “Pleasant Goat” Be China’s Best Ambassador?

China’s efforts to put  its best face forward have ranged from  a large advertisement in New York’s Times Square to a documentary channel by state broadcaster China Central Television featuring films about historical Chinese sites. But Jonathan So, senior adviser at Imagi, the studio that owns the rights to “Pleasant Goat and the Big Big Wolf,” a popular Chinese animated television series that is now being distributed by Disney in 52 markets around the Asia Pacific region, said that showing red flags and images of the Great Wall may not the best way to win audiences over. Mr. So –- whose cartoon about a family of goats and their adventures escaping from a wolf is now showing in places such as Australia, New Zealand, Malaysia, the Philippines and India with voiceovers in many different languages and dialects –- said as many as half of the fans of “Pleasant Goat” may not even know the cartoon originated in China. But for those who do, animation shows there “really are not too many boundaries” between cultures, he said. “You really don’t have to put a Chinese story, or to have the Great Wall in the scenery, or to wear something red,” said Mr. So, who started out as a toy manufacturer. “Pleasant Goat,” created in 2005, has a “sense of humor,” he said. “We put a lot of family elements in there, representing the Chinese family and how the kids are thinking, how they live their lives.” Marketing experts say that independently created cultural content may help China gain global cultural influence better than government efforts. Earlier this year, Ogilvy & Mather Worldwide Chief Executive Miles Young said Beijing should promote things “which are happening culturally and spontaneously” within the country, such as its vibrant art scene—something South Korea and Japan have done more successfully. Still, Mr. So said he believes the animation industry faces challenges. While filmmakers can earn returns from TV stations and box-office sales in the U.S. and other markets, Chinese animators have limited choices of broadcasting partners and their earnings come from government-awarded bonuses and toy sales, leaving less incentive to create original content, he said. Mr. So said “Pleasant Goat” was originally intended only for the China market, which he estimates is 130 million people. According to Imagi, “Pleasant Goat” programs occupied five of the top 10 ratings for animation programs in China based on prime-time viewership by children in cities between the ages of 4 and 14. –Loretta Chao

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China’s efforts to put  its best face forward have ranged from  a large advertisement in New York’s Times Square to a documentary channel by state broadcaster China Central Television featuring films about historical Chinese sites. But Jonathan So, senior adviser at Imagi, the studio that owns the rights to “Pleasant Goat and the Big Big Wolf,” a popular Chinese animated television series that is now being distributed by Disney in 52 markets around the Asia Pacific region, said that showing red flags and images of the Great Wall may not the best way to win audiences over. Mr. So –- whose cartoon about a family of goats and their adventures escaping from a wolf is now showing in places such as Australia, New Zealand, Malaysia, the Philippines and India with voiceovers in many different languages and dialects –- said as many as half of the fans of “Pleasant Goat” may not even know the cartoon originated in China. But for those who do, animation shows there “really are not too many boundaries” between cultures, he said. “You really don’t have to put a Chinese story, or to have the Great Wall in the scenery, or to wear something red,” said Mr. So, who started out as a toy manufacturer. “Pleasant Goat,” created in 2005, has a “sense of humor,” he said. “We put a lot of family elements in there, representing the Chinese family and how the kids are thinking, how they live their lives.” Marketing experts say that independently created cultural content may help China gain global cultural influence better than government efforts. Earlier this year, Ogilvy & Mather Worldwide Chief Executive Miles Young said Beijing should promote things “which are happening culturally and spontaneously” within the country, such as its vibrant art scene—something South Korea and Japan have done more successfully. Still, Mr. So said he believes the animation industry faces challenges. While filmmakers can earn returns from TV stations and box-office sales in the U.S. and other markets, Chinese animators have limited choices of broadcasting partners and their earnings come from government-awarded bonuses and toy sales, leaving less incentive to create original content, he said. Mr. So said “Pleasant Goat” was originally intended only for the China market, which he estimates is 130 million people. According to Imagi, “Pleasant Goat” programs occupied five of the top 10 ratings for animation programs in China based on prime-time viewership by children in cities between the ages of 4 and 14. –Loretta Chao

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Could “Pleasant Goat” Be China’s Best Ambassador?

China

Q1 2024 Brief on Transfer Pricing in Asia

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Indonesia’s Ministry of Finance released Regulation No. 172 of 2023 on transfer pricing, consolidating various guidelines. The Directorate General of Taxes focuses on compliance, expanded arm’s length principle, and substance checks. Singapore’s Budget 2024 addresses economic challenges, operational costs, and sustainability, implementing global tax reforms like the Income Inclusion Rule and Domestic Top-up Tax.


Indonesia’s Ministry of Finance (MoF) has released Regulation No. 172 of 2023 (“PMK-172”), which prevails as a unified transfer pricing guideline. PMK-172 consolidates various transfer pricing matters that were previously covered under separate regulations, including the application of the arm’s length principle, transfer pricing documentation requirements, transfer pricing adjustments, Mutual Agreement Procedure (“MAP”), and Advance Pricing Agreements (“APA”).

The Indonesian Directorate General of Taxes (DGT) has continued to focus on compliance with the ex-ante principle, the expanded scope of transactions subject to the arm’s length principle, and the reinforcement of substance checks as part of the preliminary stage, indicating the DGT’s expectation of meticulous and well-supported transfer pricing analyses conducted by taxpayers.

In conclusion, PMK-172 reflects the Indonesian government’s commitment to addressing some of the most controversial transfer pricing issues and promoting clarity and certainty. While it brings new opportunities, it also presents challenges. Taxpayers are strongly advised to evaluate the implications of these new guidelines on their businesses in Indonesia to navigate this transformative regulatory landscape successfully.

In a significant move to bolster economic resilience and sustainability, Singapore’s Deputy Prime Minister and Minister for Finance, Mr. Lawrence Wong, unveiled the ambitious Singapore Budget 2024 on February 16, 2024. Amidst global economic fluctuations and a pressing climate crisis, the Budget strategically addresses the dual challenges of rising operational costs and the imperative for sustainable development, marking a pivotal step towards fortifying Singapore’s position as a competitive and green economy.

In anticipation of global tax reforms, Singapore’s proactive steps to implement the Income Inclusion Rule (IIR) and Domestic Top-up Tax (DTT) under the BEPS 2.0 framework demonstrate a forward-looking approach to ensure tax compliance and fairness. These measures reaffirm Singapore’s commitment to international tax standards while safeguarding its economic interests.

Transfer pricing highlights from the Singapore Budget 2024 include:

This article is republished from China Briefing. Read the rest of the original article.

China Briefing is written and produced by Dezan Shira & Associates. The practice assists foreign investors into China and has done since 1992 through offices in Beijing, Tianjin, Dalian, Qingdao, Shanghai, Hangzhou, Ningbo, Suzhou, Guangzhou, Dongguan, Zhongshan, Shenzhen, and Hong Kong. Please contact the firm for assistance in China at china@dezshira.com.

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New Report from Dezan Shira & Associates: China Takes the Lead in Emerging Asia Manufacturing Index 2024

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China has been the world’s largest manufacturer for 14 years, producing one-third of global manufacturing output. In the Emerging Asia Manufacturing Index 2024, China ranks highest among eight emerging countries in the region. Challenges for these countries include global demand disparities affecting industrial output and export orders.


Known as the “World’s Factory”, China has held the title of the world’s largest manufacturer for 14 consecutive years, starting from 2010. Its factories churn out approximately one-third of the global manufacturing output, a testament to its industrial might and capacity.

China’s dominant role as the world’s sole manufacturing power is reaffirmed in Dezan Shira & Associates’ Emerging Asia Manufacturing Index 2024 report (“EAMI 2024”), in which China secures the top spot among eight emerging countries in the Asia-Pacific region. The other seven economies are India, Indonesia, Malaysia, the Philippines, Thailand, Vietnam, and Bangladesh.

The EAMI 2024 aims to assess the potential of these eight economies, navigate the risks, and pinpoint specific factors affecting the manufacturing landscape.

In this article, we delve into the key findings of the EAMI 2024 report and navigate China’s advantages and disadvantages in the manufacturing sector, placing them within the Asia-Pacific comparative context.

Emerging Asia countries face various challenges, especially in the current phase of increased volatility, uncertainty, complexity, and ambiguity (VUCA). One notable challenge is the impact of global demand disparities on the manufacturing sector, affecting industrial output and export orders.

This article is republished from China Briefing. Read the rest of the original article.

China Briefing is written and produced by Dezan Shira & Associates. The practice assists foreign investors into China and has done since 1992 through offices in Beijing, Tianjin, Dalian, Qingdao, Shanghai, Hangzhou, Ningbo, Suzhou, Guangzhou, Dongguan, Zhongshan, Shenzhen, and Hong Kong. Please contact the firm for assistance in China at china@dezshira.com.

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Is journalist Vicky Xu preparing to return to China?

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Chinese social media influencers have recently claimed that prominent Chinese-born Australian journalist Vicky Xu had posted a message saying she planned to return to China.

There is no evidence for this. The source did not provide evidence to support the claim, and Xu herself later confirmed to AFCL that she has no such plans.

Currently working as an analyst at the Australian Strategic Policy Institute, or ASPI, Xu has previously written for both the Australian Broadcasting Corporation, or ABC, and The New York Times.

A Chinese language netizen on X initially claimed on March 31 that the changing geopolitical relations between Sydney and Beijing had caused Xu to become an expendable asset and that she had posted a message expressing a strong desire to return to China. An illegible, blurred photo of the supposed message accompanied the post. 

This claim was retweeted by a widely followed influencer on the popular Chinese social media site Weibo one day later, who additionally commented that Xu was a “traitor” who had been abandoned by Australian media. 

Rumors surfaced on X and Weibo at the end of March that Vicky Xu – a Chinese-born Australian journalist who exposed forced labor in Xinjiang – was returning to China after becoming an “outcast” in Australia. (Screenshots / X & Weibo)

Following the publication of an ASPI article in 2021 which exposed forced labor conditions in Xinjiang co-authored by Xu, the journalist was labeled “morally bankrupt” and “anti-China” by the Chinese state owned media outlet Global Times and subjected to an influx of threatening messages and digital abuse, eventually forcing her to temporarily close several of her social media accounts.

AFCL found that neither Xu’s active X nor LinkedIn account has any mention of her supposed return to China, and received the following response from Xu herself about the rumor:

“I can confirm that I don’t have plans to go back to China. I think if I do go back I’ll most definitely be detained or imprisoned – so the only career I’ll be having is probably going to be prison labor or something like that, which wouldn’t be ideal.”

Neither a keyword search nor reverse image search on the photo attached to the original X post turned up any text from Xu supporting the netizens’ claims.

Translated by Shen Ke. Edited by Shen Ke and Malcolm Foster.

Asia Fact Check Lab (AFCL) was established to counter disinformation in today’s complex media environment. We publish fact-checks, media-watches and in-depth reports that aim to sharpen and deepen our readers’ understanding of current affairs and public issues. If you like our content, you can also follow us on Facebook, Instagram and X.

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