Taipei Takeaways: Collaboration, Coproduction and Cultural Diversity Shape the Taiwan Creative Content Fest

As a seasoned film enthusiast with over three decades of global cinema exploration under my belt, I must say that the Taiwan Creative Content Fest (TCCF) has truly outdone itself this year. The event has proven to be an invaluable platform not just for the creative industry in Taiwan, but also for Southeast Asia as a whole.

Wrapping up its fifth installment, the Taiwan Creative Content Fest (TCCF) once again underscores its importance as a prominent stage for the local creative sector – not just in Taiwan, but also across Southeast Asia.

2024’s TCCF (Taiwan Creative Content Festival) highlighted three significant tendencies, underscoring Taiwan’s transforming role within the international entertainment sphere, by emphasizing collaboration and cultural diversity.

International Cooperation Steals the Spotlight
One of the main topics at this year’s TCCF was the growing emphasis on international joint productions. Key figures in the industry came together to explore the logistics and benefits of cross-border collaborations, not just within Southeast Asia but also globally. For instance, Fabula, a Chilean production company that won an Oscar for “A Fantastic Woman” and is led by Pablo and Juan de Dios Larraín along with Tana Gilbert, who won the Venice Critics’ Week Grand Prize for “Malqueridas”, is developing a documentary series titled “Where Is Narumi?” This series will investigate the 2016 murder of Japanese student Kurosaki Narumi by her former partner Nicolás Zepeda. A Chilean-French co-production with strong connections to Japan, this project is seeking financial backing and potential creative contributions from Japan.

In a lively discussion focusing on the changing audiovisual scene in Latin America, possibilities for Taiwanese businesses to work alongside foreign creators were emphasized. This region’s market research revealed that an impressive 60% of its youth have watched at least one Korean drama or anime within the past year, and Asian content consumption has surged by 35% over the last two years.

Governments across Southeast Asia acknowledge the significance of the creative economy for job creation, indirect economic gains, boosting soft power, and enhancing national image. This understanding has prompted several governments to enhance or establish new sources of funding, particularly those that support collaborative projects across borders. Representatives from Thailand, Malaysia, the Philippines, and Taiwan shared their insights on this topic.

Creators in Taiwan are starting to understand the value of transforming local tales for global audiences. It was emphasized that these narratives should strike a chord globally while preserving their unique, local flavor. At the launch of this event, Dr. Lu Jiun Wei, CEO of Taiwan Creative Content Agency (TAICCA), explained to EbMaster, “We already have compelling stories and themes from our local community, but we need to enhance our storytelling techniques. We aim to learn international methods of storytelling so that we can publicize and boost Taiwanese local content in the global market. This is why we’re making efforts to draw in more international co-production and funding.

Creative Liberty Encourages Innovation in Taiwan’s Film Industry

Lu emphasized the creative advantages of democratically governed Taiwan, stating, “These talents stem from the narratives within Taiwan. Our subjects span a wide range, including BL and girls’ love, which are not permitted to be portrayed in China. We collaborate with our international counterparts because these distinctive themes can only be found here in Taiwan. This rich variety of topics and the liberty to express these stories make up the strengths of Taiwan.

The absence of significant content-related regulations, both at a corporate level, has played a crucial role in making Taiwan, rather than Mainland China or Hong Kong, a focal point for Chinese-language investments and commissioning of global content, including that from Netflix.

Hsiao Ya-Chuan, the director of ‘Old Fox’, stated this in an interview with EbMaster: ‘Freedom offers us a chance to express ourselves creatively in Taiwan, allowing us to delve into various narratives, genres, and storylines.’ The difficulty lies in our small domestic market. To broaden our reach, we must tap into international markets. By expanding our horizons to northeast Asia, southeast Asia, Europe, America, and more, we can attract diverse audiences worldwide, ultimately growing our market.

As a part of the worldwide coproduction and international commissioning trend, I’ve noticed that Taiwanese actors have been gaining more recognition on an international scale. At the TCCF event, I learned about their journeys into global markets, which not only boosted their profiles but also presented them with cultural obstacles and advantages.

At a prominent TCCF gathering, the charming J.C. Lin, recently concluded from a Taiwan-French joint project, emphasized the differences in communication manners that stem from cultural backgrounds. “In Taiwan,” Lin noted, “it’s customary to listen to others before sharing our thoughts.” Additionally, Lin shared an insightful tale from the Taiwan-India collaboration “Demon Hunters,” where a fellow actor from India taught him about the importance of respecting religious artifacts. Meanwhile, Kai Ko, another panelist, has faced career repercussions in mainland China due to past drug charges, which currently prohibit him from working there.

Actress Wu Ke-Xi expressed joy when she discovered that her agreement for the U.S. production “Blue Sun Palace,” directed by Constance Tsang and premiering at Cannes, contained a provision enabling her to withdraw from any intimate scenes up until the movie’s premiere date.

Currently, it’s Lee Kang-sheng, a seasoned Taiwanese actor, who is creating quite a stir. He has made a name for himself through a series of art films directed by Tsai Ming-liang based in Taiwan. Recently, he appeared in the Chinese-language U.S. film “Blue Sun Palace” and the Taiwanese-French-Singaporean production “Stranger Eyes,” which premiered in competition at Venice and is now the opening title for Taiwan’s esteemed Golden Horse Film Festival. His next role will be in another co-production, “Black Ox,” directed by Chinese auteur Qiu Jiongjiong.

2024-11-10 09:47

Taipei Takeaways: Collaboration, Coproduction and Cultural Diversity Shape the Taiwan Creative Content Fest

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