Written by Jasmine Yu-Hsing Chen. October 22, 2022, outside the Sun Yat-sen Memorial Hall in Taipei, Taiwanese Opera performer Chen Ya-Lan (陳亞蘭) astonished audience members on the red carpet for the 57th Golden Bell Awards (GBA). This annual award honours excellence in television and radio programs created in Taiwan. As a female performer, Chen broke records with her Best Leading Actor Award nomination.
Written by Cheng-Cheng Li. My filmmaking story in Oceania started with the Re/presenting Oceania course at the University of Hawai‘i. My Kumu (professor) Tarcisius Kabutaulake, who comes from the Solomon Islands, has been teaching and researching across the region for decades. His course invites me to critically engage with and discuss how the Pacific Islands have been represented in scholarly and other mediums. He brings me onto the ‘voyage’ across the ‘storyscapes’ of scholars, artists, performers, poets, and filmmakers to understand the politics of representation. This article will first discuss my filmmaking experience in Hawai‘i with the Pacific Island community. In the second section, with an increasing number of Indigenous Taiwanese wishing to connect with Oceania, I will address the interconnection story between Taiwanese Indigenous filmmakers and the Oceanic community. The theme of ‘relationship’ as ‘Priority’ will be interwoven into the stories.
Written by Ti Wei. To solve the Taiwanese media problem, the first step is to recognise that the problem is unique and not like any other case in the world. Moreover, this problem could not be explained by any Western theories. Therefore, we need to carefully clarify and re-examine the nature of the problem and study society and the audiences thoroughly. Then, based on the re-acquainted knowledge, we may draw a new and reflective plan for rebuilding the media system. The only thing for sure is that it is neither commercial nor public in the Western sense. In addition, the latest development of media platformatisation and the new audience generation should be considered. The task is tough, but any endeavour to pay should be worthy when we think of how much hardship Taiwanese media have been through.
Written by Julia Marinaccio and Jens Damm. However, Taiwanese journalism also did its share. Like the political party system, Taiwan’s existing media landscape is ideologically divided over the question of how to fashion cross-Strait relations. Through their ideological orientation paired with a lack of investigative journalism, they act as mouthpieces of political parties. In doing so, they reinforce existing political cleavages rather than exercising their role as informants and watchdogs.
Written by Yu-peng Lin and Chang-de Liu. The development of over-the-top (OTT) media services is currently the main concern of Taiwan’s audiovisual industries. An OTT media service is an audiovisual streaming service provided directly to the audience by the Internet. The Taiwanese government wishes to strengthen this industry while also seeking balanced growth for international and local operators. For the latter, how to accelerate the production of their content in the face of global competition is the biggest concern. Furthermore, given the recent success of the Asian market, international operators are interested in co-producing content with Taiwanese companies.
Written by Ming-yeh T. Rawnsley; Yuan-hui Hu; Victoria Y. Chen; and Lihyun Lin. Crowdfunded journalism is no longer unfamiliar to Taiwanese people who care about the media ecosystem. Although journalism in Taiwan has been challenged by the powerful influences of political and business alliances in the news industry and the constant impact of ever-changing technological advances, crowdfunded journalism has provided a fresh possibility and lent financial assistance to independent media organisations and citizen journalism. All these undoubtedly positively affect the reconstruction of Taiwan’s news and media industry.
