"Poorly made productions with inappropriate content and negative values will not be able to go online," Yang promises.
Ge Xufeng, a manager of online films with iQiyi, adds that at least 500 films were turned down by the platform in 2017 due to being "unqualified", as opposed to the handful that were rejected in 2015 and 2016.
In the past, online operators did not take enough time to evaluate content before offering space on their servers to miscellaneous filmmakers.
"We used to be undecided as to whether we set a high threshold to allow only high-quality products online," Yang says. "In the end, we gave the green light to a greater number of films, because many films are not able to be screened in cinemas.
"On online platforms, if only very few people watch a production, that at least means some feedback for its makers. However, we're rethinking whether this is the right policy."
As a result, Yang confesses, there are large swathes of erotic, overwhelmingly violent and improper content, as well those employing other eye-catching gimmicks, available online.
He observes that some filmmakers were producing work that was just on the edge of crossing the line of what is allowed.
"Their productions are based on where the bottom line of current regulation is," Yang notes. "And they sometimes crossed that line, which is why we had to keep withdrawing uploaded films."
To avoid such problems in the future, Yang says a new committee will be established to evaluate new projects from the beginning of their creation, rather than simply appraising them when the films are complete.
Then committee members will include many experienced scriptwriters drawn from the industry and external to iQiyi.
"If some topics have been repeated far too many times, or will create risk, we will suggest that the filmmaker puts the project on hold in case their efforts end up being in vain," Yang says.
Wang Hongwei, a director and an associate professor with Beijing Film Academy, observes: "Young filmmakers need more practice before taking on big projects for cinema. Online films give them a good platform to hone their craft, and they need to listen to advice."
Wang says online movies can be a channel to nurture a love of film within the new generations who are growing up in the internet era.
"Online platforms cannot be low-end copies of cinemas," he says. "Instead, they should be places for new formats, aesthetics and content to manifest, thrive and develop."
Increasing investment may be another solution to some quality issues.
According to Zhang, the total investment in online films in China reached 2.7 billion yuan last year, increasing 74 percent since 2016.
About 50 percent of the films produced have secured investment of 1 million yuan or more, while in 2016, that figure was closer to 20 percent.
"Bigger investments will gradually fill the gap between online films and those made for cinemas," Zhang believes.
The industry will take a more scientific approach as well.
Zhang says online films attracted about 8 billion clicks in China in 2017, 61 percent fewer than in 2016.
"That doesn't mean the market is shrinking," he explains. "That is because the major media-streaming platforms have made efforts to regulate their statistics and get rid of bubbles and traffic manipulation."
However, he also points out more works need to be done because iQiyi, Youku and Tencent - China's biggest three media-streaming platforms - have still not created a uniform standard to calculate traffic.
"If Hollywood is leading trends for commercial blockbusters," Zhang says, "then China is a pioneer for online film, which is in a position to establish standards for other countries around the world to follow."
