Early this year, the Presidential Office of Taiwan promulgated the Organizational Act of the Taiwan Creative Content Agency, which then leads to the official establishment of the Taiwan Creative Content Agency(TAICCA). Regarding itself as a “national team”, TAICCA aims to expand the creative market and facilitate local production and international cooperation of cultural content industries, such as film and television, popular music, physical and digital publication, game, fashion design, interdisciplinary art, and technology applications on culture.
TAICCA’s first chairperson is Ting Hsiao-Ching, former deputy minister of Culture; while the first president of TAICCA is the renowned novelist and essayist, Hu Ching-Fang. According to the five-year plan that TAICCA has proposed, its objective is to prepare and enhance the contents industry support system and to establish an effective facilitation mechanism within one year; to increase the quantity and quality of productions within three years; and to establish a national brand for Taiwanese contents and build up a solid international marketing network by the end of the 5th year. The key objective is to fulfill its professional role as an intermediary organization and build a complete ecosystem for the industry through the integration of various resources, interdisciplinary cooperation, and investments.
Many developed countries have been actively seeking transformation from manufacturing economy to cultural content economy in the hope of keeping social and industrial development in balance, such as Japan, South Korea, France, and the UK. Economic efficiency is all that matters to industrial development in the past. Nevertheless, the future momentum for innovation and development lies in the cultural power. Governments around the world have been trying to combine the industrial strength with cultural power to enhance production values with national brandings.
Cheng Li-chiun, Taiwan’s minister of Culture, expressed her gratification on the establishment of the long-expected agency. The legislation of the Development of the Cultural and Creative Industries Act has been completed years ago with an aim to establish a content-related agency, but relevant regulations have not been enacted. As South Korea celebrates the success of KOCCA, Taiwan now has its own professional intermediary organization to integrate cultural energies and to boost cultural content industry development. Ting Hsiao-Ching, the Chairperson, also stated that the institution of TAICCA has built a whole-new model for governmental systems of promotion and facilitation. The vision of the agency is to promote Taiwan as a solid member of the free and democratic world and to formulate policies that build a professional support system for cultural content industry. With TAICCA as the engine, the Taiwan’s cultural content industry is expected to take off and prosper in its cultural diversities, creating a bright future for relevant industries.
As for future missions of TAICCA, Ting has emphasized the multiplicity of professional talents in Taiwan. Devotion by Red Candle Games, the Taiwanese band EggPlantEgg, the animation On Happiness Road, the TV series The Teenage Psychic and The World Between Us, and La Camera Insabbiata, the virtual reality project by artist Huang Hsin-Chien are strong proofs of Taiwan’s cultural power. In the past, the ]cultural content industry and productions are unintegrated, with gaps and fragments in between. The establishment of TAICCA has brought an end to that. “With systematic efforts from the government and the public, we now have concrete goals and innovative methods to combine industrial and cross-departmental collaboration and to reshape the branding of Taiwan’s cultural content,” she states.
張玉音（Yu-Yin Chang）( 341篇 )現為恆成紙業內容品牌野点（nodate）總監，從藝文網路媒體再度回返紙質與內容生產的實驗。熟悉台灣藝文生態產業結構，並關注跨文化圈的共通困境，致力編輯感官內容的閱讀體驗。近期埋首爬梳台灣刺青產業歷史，前中年的興趣是步行、茶道和花藝。
策畫專題〈為何我們逃不出過勞？藝術行政職災自救手冊〉曾獲金鼎獎專題報導獎。曾任「典藏ARTouch」總編輯、Podcast節目「ARTbience藝術環境音」製作統籌。