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Regionalization of Taiwanese Post-Confucian TV Dramas: A Case Study of Tsai Yueh-hsun’s White Tower and Black & White

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Asian Cultural Flows

Part of the book series: Creative Economy ((CRE))

Abstract

This essay explores the mediation of ideas and values of Taiwanese film and TV producer-director Tsai Yueh-hsun’s regionally oriented productions, in particular, White Tower and Black & White. Tsai’s career has been conditioned by the globalization and regionalization of film and TV consumption and production in Taiwan. His films and TV productions are not related to Taiwan’s national politics. They are set in non-discernible, hence, denationalized urban societies. They appeal to audiences in both the Taiwanese and East Asian markets, with their post-Confucian presentation of personal and social issues of urban subjects. These productions stage the problems of Confucian patriarchal authority and highlight the significance of democracy in modern capitalistic East Asia. They make use of star power and take advantage of specific national markets at different times (in particular, Taiwan, Japan and China).

Tsai’s earlier works were not approved by Chinese censors smoothly and relied financially on Japanese appreciation of the works. As he started making more adult-oriented dramas that engaged serious political issues, his markets multiplied. Yet these markets lacked consensual (geo-)political viewpoints; thus, Tsai altered the settings of his works to be more conceptual and abstract, so as to appeal to more diverse audiences. He removed the political viewpoint commonly perceived in Taiwan, but not to the agreement of Chinese officialdom in the works.

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Notes

  1. 1.

    The Japanese TV drama White Tower (2003) was adapted from the novel of the same name written by Yamasaki Toyoko. The novel was serialized in Japan in 1964 and adapted into movies and TV dramas five times in Japan between 1964 and 2003. The 2003 adaptation was highly popular in the Chinese-speaking countries of East Asia during 2003 and 2004 (Wu 2004). The Korean TV drama White Tower (2007) was based on the same novel (Liew 2011, p. 252). The Taiwanese TV drama White Tower was adapted from Taiwanese novelist Hou Wen-yong’s novel of the same name, published in 1999 (Lin 2006, p. 19).

  2. 2.

    In the forum of the 2012 National Taiwan University film festival on 21 Dec 2012, Tsai defended his strategy of targeting multinational East Asian markets, despite doubts from the audience about its feasibility, particularly concerning co-producing with the Chinese film industry for its investment. He claimed that his strategy, derived from his TV experience, was just one of various trajectories of the Taiwanese filmmakers in the twenty-first century. Further, he stated that he respected the value of the Taiwan New Cinema and auteur filmmaking movement, but he is the type of filmmaker who “earns money to sustain a family”. He believed that the two film strategies supplement and need each other. Finally, he wanted to accumulate capital and technology in Taiwan, while the Chinese film market is burgeoning, by making films that can integrate into the East Asian mainstream markets. He encouraged people to identify with his ideal.

  3. 3.

    The project is composed of the second prequel to Black & White, a TV adaptation of the Japanese manga Midnight Restaurant, and two TV dramas : In Love with Aisin Gioro, and Super Power (Wang 2012).

  4. 4.

    The first prequel earned NT$0.12 billion in Taiwan in contrast to a gross of nearly CNY0.1 billion in China; the second prequel only garnered NT$50 million in Taiwan in contrast to CNY0.2 billion in China (Maple 2015a; Yang 2012; Zhang 2012).

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Author information

Authors and Affiliations

  1. Fujian University of Technology, Fuzhou, People’s Republic of China

    Jocelyn Yi-hsuan Lai

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  1. Jocelyn Yi-hsuan Lai
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Editor information

Editors and Affiliations

  1. Faculty of Economics, Doshisha University, Kyoto, Kyoto, Japan

    Nobuko Kawashima

  2. Culture, Media and Creative Industries, King’s College London, London, Londonderry, UK

    Hye-Kyung Lee

Appendix

Appendix

1.1 Tsai Yueh-hsun’s Directing Filmography

  • Meteor Garden 流星花園 (2001)

  • Friends 名揚四海 (2003)

  • Mars 戰神 (2004)

  • White Tower 白色巨塔 (2006)

  • Black & White 痞子英雄 (2009)

  • Black & White Episode One: The Dawn of Assault 痞子英雄首部曲:全面開戰 (2012)

  • Black & White: The Dawn of Justice 痞子英雄:黎明再起 (2014)

  • Midnight Restaurant 深夜食堂 (2017)

1.2 Glossary

  • Beijing Hualubaina Film & TV Company Ltd. 北京華錄百納影視股份有限公司

  • Black & White 痞子英雄

  • Black & White Episode One: The Dawn of Assault 痞子英雄首部曲:全面開戰

  • Black & White: The Dawn of Justice 痞子英雄:黎明再起

  • Cape No.7 海角七號

  • Chu Yen-ping 朱延平

  • Current Regulations about Improving Film Co-operation across the Taiwan Strait 關於加強海峽兩岸電影合作管理的現行辦法

  • Economic Co-operation Framework Agreement (ECFA) 海峽兩岸經濟合作架構協議

  • Friends 名揚四海

  • Hou Wen-yong 侯文詠

  • In Love with Aisin Gioro 愛上愛新覺羅

  • Jerry Yan 言承旭

  • Mars 戰神

  • Meteor Garden 流星花園

  • Midnight Restaurant 深夜食堂

  • Super Power 超能

  • Tsai Yueh-hsun 蔡岳勳

  • Vic Chou 周渝民

  • White Tower 白色巨塔

  • Yamasaki Toyoko 山崎豊子

  • Ya Zhou Hua Yu Xin Ji Hua 亞洲華語新計劃

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Lai, J.Yh. (2018). Regionalization of Taiwanese Post-Confucian TV Dramas: A Case Study of Tsai Yueh-hsun’s White Tower and Black & White. In: Kawashima, N., Lee, HK. (eds) Asian Cultural Flows. Creative Economy. Springer, Singapore. https://doi.org/10.1007/978-981-10-0147-5_9

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