Chinese animated productions, such as Rainbow Chicks and The Floating Planet, which have sold their distribution rights to overseas markets, show improved quality and are more popular in the West than before. [Photo provided to China Daily]

Josh Selig, founder of the New York-based TV-program producer Little Airplane Productions, says the content has a unique characteristic in that it can cross borders easily.

"Animation is a very visual medium and is typically based on characters that any culture can identify with. It has a much better chance of traveling from one country to another."

As for Little Airplane's work in China, the company has two animated series－Super Wing and P. King Duckling－coproduced with Guangzhou-based Alpha Animation & Culture Co Ltd and Suzhou-based Uyoung Culture & Media Co Ltd, respectively.

Selig says the scriptwriting and voice-overs of the two works were done in the U.S., while the animation work was done in China.

He says China is yet to mature when it comes to scriptwriters, but the quality of design and animation is very high in the country.

"Also, in China, you often have directors in charge of the writing. That is very uncommon outside," he adds.

The 53-year-old, who first visited China around 20 years ago and has close business links with Chinese animators, says, "Many Chinese animated series are beautifully done, but unfortunately the stories do not work."

Selig says that language barriers are not a challenge when it comes to working with the Chinese, but the time difference between the two regions is.

"We often have production meetings lasting two hours, early in the morning or late at night. Usually when one side wakes up, the other side falls asleep," he says, laughing.

Selig also says that humor can often be a sticking point in coproductions as the Chinese like slapstick comedy, something the U.S. producers shun.

But despite these differences, Chinese industry sources say China has enough appeal to lure foreign producers and storytellers.

Li Lian, founder of the Hangzhou company Versatile Media Co Ltd, says the country's huge market is a major attraction.

At the Hangzhou event, Versatile, which has been taking part in the Cannes' MIP events since 2008, established links with companies from the UK, France, India and Italy.

Li says, "Earlier, Chinese animated productions were criticized for their quality and stories. I'm happy to see the improvements."

Versatile's The Floating Planet, an animated movie about three teen heroes on an alien planet, sold its distribution rights to two countries in Cannes earlier this year.

As for the future, China's market is more than just television and theater screens.

More than half of its population－or 700 million people－use the internet, and the number is expected to grow.

The potential in China is great as the younger generation gets used to watching content on the internet, says Geng Danhao, vice-president of iQiyi.

Ben Silverman, head of the Los Angeles-based studio Propagate Content and an award-winning producer, says China's traditional culture can be a good place to find appealing stories.

He also says the fast-changing country is fond of programs about women's struggles, dating and consumer behavior, which also work with Western audiences.