Recent findings unveiled at the Taiwan Creative Content Fest (TCCF) in Taipei indicate a shifting landscape of entertainment consumption among Taiwanese audiences. The Taiwan Creative Content Agency (TAICCA) presented extensive research that highlights the potential for cross-platform intellectual property (IP) development across various entertainment mediums, including film, television, music, and gaming.
Survey Results Highlight Audiovisual Consumption
At the session titled “Exclusive Insights Report: Taiwan Cross-Platform Audience Data × AI Application Evaluation,” TAICCA’s research analyst Joy Lin shared key findings from the agency’s annual cultural consumption survey and a corresponding cross-platform genre study. The survey analyzed feedback from approximately 2,000 respondents, revealing that 96% of participants consumed audiovisual content in 2025. Furthermore, 75% reported reading published materials and playing video games, with a notable 90% of respondents engaging with both audiovisual content and music.
Cross-Platform Consumption Trends
The cross-platform genre study surveyed 2,018 individuals aged 15 to 69. Among the 1,242 respondents who viewed Taiwanese audiovisual productions in the previous year, 40% had also explored Taiwanese screen adaptations. The findings illuminated distinct genre preferences, indicating that Taiwanese productions often focus on themes related to everyday life, family dynamics, and romance, contrasting with foreign content, which showed more emphasis on action, fantasy, and suspense.
Romance emerged as a particularly promising genre for cross-platform opportunities. The research identified strong connections between romance narratives, school-life stories, comics, popular music, and mobile gaming. Impressively, 84% of viewers who enjoyed Taiwanese romantic dramas also watched foreign series, 63% explored foreign films, and 58% engaged with foreign animations.
AI’s Impact on Audiovisual Production
In a follow-up presentation, TAICCA analyst Chhoa Hiok-chong discussed the growing adoption of artificial intelligence (AI) in audiovisual production, emphasizing potential cost reductions and the legal uncertainties that accompany this technological shift. Broader industry estimates indicated that AI usage in post-production and visual effects ranges between 70% and 85%, whereas pre-production sits at 60% to 75%. On-set production shows a much lower adoption rate, between 15% to 25%.
International exemplifications included Netflix’s Argentine science-fiction series “The Eternaut” and productions by South Korean entertainment company CJ ENM that utilize AI to improve production efficiency and visual effects workflows. Despite the benefits, significant technical challenges persist, such as achieving visual consistency, maintaining narrative continuity, and effective integration into existing production processes.
Legal and Consumer Concerns
The presentation also highlighted the Database of AI Litigation, which recorded 489 AI-related legal cases by August 2026, including 153 related to the cultural and creative sectors. It examined AI protections negotiated by Hollywood unions such as SAG-AFTRA, WGA, DGA, and IATSE, focusing on issues of digital replicas, consent, compensation, and creative control.
Consumer resistance emerged as another significant challenge for the industry. A survey by entertainment research firm Luminate in November 2025 found that 51% of U.S. respondents would reject fully synthetic virtual performers. Correspondingly, a Japanese survey published by English Hub and GRAS Group in September 2026 revealed that 44.7% of respondents would be less inclined to purchase content known to be AI-generated. In South Korea, Embrain Trend Monitor reported in January 2026 that a strong majority—81.6%—favor the advance disclosure of AI-generated content, while 80.3% support mandatory labeling.
Future Considerations for Taiwan’s Regulatory Framework
During the Q&A session, attendees raised concerns regarding whether the calculated savings from AI production sufficiently accounted for the initial investments required to adapt new workflows involving trial-and-error and experimentation. Other inquiries focused on the absence of localized examples from Taiwan pertaining to copyright disputes and legal obligations, given the reliance on international illustrations in the presentation. In response, Chhoa pointed to the Ministry of Culture’s existing guidelines addressing generative AI in the arts and culture sector.
