Taiwan Audience Study Highlights Cross-Platform IP Opportunities as AI Raises New Risks for Content Industry

Taiwanese audiences are consuming entertainment across film, television, music, publishing and gaming, creating opportunities for cross-platform IP development, according to research presented by the Taiwan Creative Content Agency (TAICCA) at Taiwan Creative Content Fest (TCCF) in Taipei on Friday.

At the “Exclusive Insights Report: Taiwan Cross-Platform Audience Data × AI Application Evaluation” session, TAICCA research analyst Joy Lin presented findings from the agency’s annual cultural consumption survey and a 2026 cross-platform genre study incorporating Nielsen television ratings data and online questionnaires.

The annual survey, which collects approximately 2,000 valid responses each year, found that 96% of respondents watched audiovisual content in 2025, while 75% read published works and 75% played video games. Audiovisual content and music showed particularly strong audience overlap, with 90% of respondents engaging with both.

The separate cross-platform study surveyed 2,018 people aged 15 to 69. Among the 1,242 respondents who had watched Taiwanese audiovisual productions in the previous year, 40% had also watched Taiwanese screen adaptations.

Genre preferences revealed differences between local and imported content. Taiwanese productions were more closely associated with everyday life, family relationships and romance, while foreign productions showed greater strength in action, fantasy and suspense.

Romance emerged as a promising genre for cross-platform development, with the research identifying connections between romance, school-life stories, comics, popular music and mobile games. Among viewers of Taiwanese romantic dramas, 84% also watched foreign series, 63% watched foreign films and 58% watched foreign animation.

In the second presentation, TAICCA research analyst Chhoa Hiok-chong examined AI adoption in audiovisual production, highlighting potential cost savings alongside legal uncertainty and technical limitations.

Broader industry estimates cited in the presentation, rather than Taiwan-specific figures, placed AI adoption in post-production and visual effects at 70% to 85%, compared with 60% to 75% in pre-production and 15% to 25% in on-set production.

International examples included Netflix’s Argentine science-fiction series “The Eternaut” and South Korean entertainment company CJ ENM’s AI-assisted productions, illustrating potential savings in production costs and visual-effects workflows.

However, technical obstacles remain, including visual consistency across shots, camera control, narrative continuity and integration into established production pipelines.

Citing the Database of AI Litigation, the presentation identified 489 AI-related legal cases through August 2026, including 153 involving cultural and creative industries. The presentation also examined AI-related protections negotiated by Hollywood unions, including SAG-AFTRA, the Writers Guild of America (WGA), the Directors Guild of America (DGA) and the International Alliance of Theatrical Stage Employees (IATSE), covering digital replicas, consent, compensation and creative control.

Consumer resistance presents another challenge. According to a November 2025 survey by entertainment research firm Luminate, 51% of U.S. respondents rejected fully synthetic virtual performers. A Japanese consumer survey published by English Hub and GRAS Group in September 2026 found that 44.7% would be less willing to purchase content once they knew it was AI-generated.

In South Korea, a survey published by Embrain Trend Monitor in January 2026 found that 81.6% supported advance disclosure of AI-generated content, while 80.3% favored mandatory AI labeling.

During the Q&A session, attendees questioned whether reported AI production savings adequately accounted for the upfront costs of adopting new workflows, including experimentation, revisions and trial-and-error processes. Others asked about the lack of Taiwan-specific production examples illustrating copyright disputes and legal responsibilities, given the presentation’s reliance on international cases.

Responding to questions about Taiwan’s regulatory framework, Chhoa pointed to the Ministry of Culture’s existing guidelines on generative AI in arts and culture.