Taiwan Creative Content Agency Chief Pushes IP Commercialization and Sustainable Business Models

The head of Taiwan's state-backed content development body says local media companies must focus on building strong business models rather than relying only on new funding. Sue Wang, chair of the Taiwan Creative Content Agency, or TAICCA, points out that the core test is turning creative concepts into steady revenue and reaching buyers globally. She speaks as the Taiwan Creative Content Fest, known as TCCF, opens in Taipei, running from Nov. 6 to 9.

Investments and Partnerships

Wang states that investment risks remain high without proven market potential. As of Oct. 30, TAICCA has put roughly NT$560 million, or about $17.1 million, into 24 international co-production projects spanning feature films, series, and animation with partners across 15 territories. One example is the Taiwan-Japan film "Arrested Memory," which secured spots at both the Venice and Toronto film festivals. Meanwhile, the festival market hosts 107 exhibitors from seven territories, showing a 13% rise in IP categories like publishing and comics compared to last year. The event also features its first Spotlight Screenings, showing titles like "April" and the Taiwan-Singapore series "See You at 11pm" to help raise the profile of local actors.

Funds and AI Stance

Two specific funds, the Taiwan-Korea Entertainment and Cultural Content Fund and the Far EasTone Creative Entertainment Fund's Enjoy Entertainment Limited Partnership, have backed 12 projects. This effort mobilizes around NT$600 million, or $18.3 million, in private capital. Backed projects include music festivals, concert intellectual property, and films like "Lonely Together" and "The Rope Curse 4: Kuntilanak." On technology, TAICCA treats artificial intelligence mainly as a support tool for technical tasks like animation and post-production. Wang warns against using generative AI for core creative work like writing scripts or composing music, stating the agency wants to avoid a future where human creators merely work as assistants to software.

Context

Taiwan's creative agencies actively work to build a self-sustaining entertainment economy that can compete on the global stage alongside regional neighbors like South Korea and Japan. Government bodies often use co-financing and festival platforms to help local production houses bridge the gap between domestic art and international distribution.