2. Literature Review
2.2 A Brief Introduction of Taiwanese Animated Film
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2.2 A Brief Introduction of Taiwanese Animated Films
Taiwanese animated film industry has experienced a dynamic change till nowadays. In 1970s and 1980s, as Japanese animation company such as TOEI animation company and U.S. animation company began to seek for Original Equipment Manufacturer (OEM) of animation overseas, Taiwan becomes the priority choice (Hwang & Yu, 1997, p.196)18. During this period, Taiwan had become the largest animation production center that even produced the amount of one third animation work in the world. Wang Film Productions(宏廣公司) was mainly in charge of OEM production for American animation such as Walt Disney and Hanna Barbera. In the peak of Wang Film Productions, it produced over 250 animation per year (Zhou, 2006).19
However, there were still creators trying to produce original animation in Taiwan at the same time. For instance, Chinese Cartoon Production Company ( 中 華卡通公 司 ) produced animated film such as Journey to the West (西遊記，1971) and Investiture of the Gods (封神榜，1973) and Three Kingdoms (三國演義，1979). The theme of original animated films in this period was mainly taken from folktales; nevertheless, it emphasized much more on the special effects or grand spectacle than cultural meaning itself. At that time, it was still not able to create animated film that was equipped with both artistic and commercial feature (Shih, 2005).20
18 黃玉珊、余為政（1997）。《動畫電影探索》。臺北市：遠流出版事業股份有限公司。
19 卓文惠（2006.09.28）。＜華人世界的迪士尼，宏廣公司為我們創造＞。取自「台灣電影網」網頁
http://www.taiwancinema.com/Articles/ArticlesContent/?ContentUrl=52670
20 石昌杰（2005.07.07）。＜台灣動畫創造力＞。取自http://maa.ntua.edu.tw/labs/animation_center/in_content.htm
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With the rapid growth of economy in 1990s, the wages in Taiwan raised and caused the increased production costs of the OEM in animation industry. In order to save costs, animation factories in Taiwan were forced to be relocated to other places with cheaper labor such as China and Southeast Asia (Huang, 2006).21 Losing superiority in the global market of OEM of animation and the lack of enough funds, the animation industry in Taiwan turned to look new way out in original theme of local. Government Information Office (GIO) provided funds to assist Taiwanese animation companies (Chang & Shih, 2017).22 With the financial assistance from government and the transformation in animation industry, there are several animated works that focus on local culture such as Grandma and her ghosts (魔法阿媽，1998), Ka Va Lan (少年噶 瑪蘭，1999) and Mazu (海之傳說：媽祖，2007). Even though these films also used local culture, folktales and beliefs as their themes, it conveys deeper significance and reveals current social development in Taiwan.
The followings are the brief summary of those animated film.
Grandma and Her Ghosts (1998) (魔法阿媽)
Grandma and Her Ghosts can be considered as one of representative Taiwanese animated films in recent years. It is directed by Wang Shau-di (王小棣) who founded Rice Film Company (稻田電影工作室) in 1992. Variety commented on the film that
“it creates lively vibe and reverses the traditional customs understandable by the youth”
21 黃貞維（2006）。＜臺灣動畫產業背景解析＞，《新社會政策》，48：10-14。
22 張晏榕、石昌杰（2017）。〈台灣動畫十年〉。《給下一輪台灣數位藝術的文件：2006-2016》。台北市：典藏藝術家庭。
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(Wang, 2006, p.205).23 This film described a story between a little boy Dou Dou and his grandmother who has the magical power to communicate with ghosts. He made a trade with the evil spirit to sell his grandmother by collecting three tears, but after experienced a series of mysterious incidents, he started to change his mind and emotions toward his grandmother. In the end, he grew up and altered his attitude toward his grandmother (Wang, 2006, p.198).
Grandma and her Ghosts is based on the background of Taiwanese local customs and religious beliefs to introduce the Ghost Festival(中元節) by offering foods toward the ancestors and opening gate to underworld so that the ghosts can wander around in living world. The theme of this film is very diverse which depicted ghosts and folktale in Taiwanese religion. It also combined the interaction of family members, friendship and adventure of a naughty boy growing up into a brave hero.
Also, from the contrast of the city and countryside at the beginning of this film, it reveals the modernization process of Taiwan in different areas (Wang, 2006, p.200).
The evil ghost used its power to swallow up other weak spirits which can also be seen as an allegory of the selfishness in the human world. The battle of Dou Dou and the evil ghost can be regarded as purity against evil. The film was well-received by many Taiwanese audience to further create resonance for the family, Taiwanese people and their community (Wang, 2006, p.200).
23 王小棣（2006）。《魔法阿媽，我把阿媽變卡通了》。臺北市：麥田出版股份有限公司。
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Ka Va Lan (1999) (少年噶瑪蘭)
Ka Va Lan was produced by Hong Kong Animation Company in 1999, which was also co-founded by director Kang Jin-ho(康進和) and PTS. It is adapted by Lee Tung’s(李 潼) novel which described an adventurous time travel of a teenager based on the culture of indigenous tribe Ka Va Lan. From the confrontation and the interaction between different generations, he finally realized the belief of his ancestors and his tribe that hold the respect toward the nature and keep protecting the environment (Shih, 2010).24
The animated film Ka Va Lan attempted to make the connection with the past 200 years of Taiwanese history, the relationship with local people and culture of Ka Va Lan tribe.
In this film, it reveals the ecological crisis created by modern society from the change of the past to current northern-east of Taiwan. It also discussed the issue of preservation of cultural authenticity.
Mazu (2007) (海之傳說：媽祖)
In 2000s, animation production had changed from hand-painting to 3D painting. It created content in digital way which is also a turning point of Taiwanese animated film.
Mazu is produced by director Lin Shi-ren( 林 世 仁 ) and the Chinese Production Company (中華卡通公司) in 2007. It utilized the technology of both 2D and 3D painting of animation and adapted by the traditional folktale of the Chinese goddess of
24 石昌杰（2010）。《逐格造夢：台灣動畫歷史、記錄與論述》。臺北市：臺北市政府文化局。
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sea Mazu and was released in English, Spanish, Mandarin and Taiwanese version. This film mainly depicted the adventurous story of Mazu turned from the mortal to become the goddess of sea. It links the origin of Mazu with the local religion and folktale in Taiwanese society (Deng, 2007).25
In the process of promoting this animated film, it also cooperated with the Dajia Jenn-Lann Temple(大甲鎮瀾宮) in Taichung County which is the most renowned Mazu temple in Taiwan to market several film-related products such as T-shirt, stamps and dolls. Moreover, the statue of Mazu also participated in the screening of film and created a special event of the Taiwanese animation industry and local religion (Sung, 2007).26
Overall, as the above-mentioned animated film, there is already several animated film in Taiwanese animation industry that has presented certain socio-cultural aspects of Taiwan. Taiwanese animators are devoted to integrating the core value of people’s relationship, folk tradition and cultural heritage with local to create the intimacy with the audience. But they seldom involved with the economic and political aspect in their animation creation which reflected the depoliticization of Taiwanese animation. Since the international status of Taiwan is continuously marginalized by the oppression of
25 鄧亞剛 （2007）。《「海之傳說－媽祖」動畫製作流程》。臺北市：中華卡通製作有限公司。
26 宋秉忠（2007.04.19）。＜靠大甲媽做生意 千萬鈔票入袋＞。取自「今周刊」網頁
https://www.businesstoday.com.tw/article/category/80408/post/200704190019/%E9%9D%A0%E5%A4%A7%E7%94%B2%E5%AA%
BD%E5%81%9A%E7%94%9F%E6%84%8F%20%20%E5%8D%83%E8%90%AC%E9%88%94%E7%A5%A8%E5%85%A5%E8%A 2%8B%20P.112
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China, Taiwan is excluded from the international community. It resulted in the fact that Taiwanese lack of clear national identity. The government, politicians, media, and the public only putting enthusiasm of political affairs inside island, whereas Taiwanese are self-forgotten or self-exiled outside the world. This situation is rooted in Taiwan's specific historical and socio-political context. Also, it may be the reason that the Taiwanese animated film neglect the political description of situation in Taiwan and had the condition of depoliticization.
At the same time, when it comes to animation, Taiwanese audience only brought out the image of entertaining American and Japanese animation in their mind. People underestimate the potential of this new genre of animation. Even though this kind of animation are more considered to be released in film festival and strengthen its artistic feature than commercial. However, it even can break the limitation of live-action feature film. Thus, in this research, I would like to discuss On the Happiness Road which differed from the past Taiwanese animated films and figure out the its socio-cultural meaning.
On the Happiness Road (2018) (幸福路上)
On Happiness Road is a story produced by director Sung Hsin-yin (宋欣穎) based on her own life experience. It is also a story for the epitome of a generation about 30 years in Taiwan. Through a female main character Lin Shu-chi(林淑琪) who was born in 1975, the film represented Chi's growth under various changes of the times. With Chi's
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self-searching, she experienced the process of pursuing self-identity and the struggling of trying to figure out what is the real happiness for her.
The animated film On the Happiness Road won three prizes in 2018 Taipei Film Festival as well as the Best Animation Award in 55th Taipei Golden Horse Film Festival. It is released in many countries and has been awarded in at least 12 international film festivals and received recognition overseas. Although On the Happiness Road is widely acclaimed, the box office is only NT 12.5 million.27 It seems that it is more likely to be an art-oriented animation and it is harder for ordinary audience to accept.
Nevertheless, the French newspaper La Croix (2018) commented On the Happiness Road “through a Taiwanese female's questioning of identity, it is extended to the question of the political evolution of the country.”28 Also, Los Angeles Times (2018) gave the feedback of this film that “at a time when viewers are calling for greater diversity in film, On Happiness Road marks the introduction of a promising new female voice in animation.”29 It still made its milestone as Taiwanese animated film to contain political consciousness and brought out the perspective of female.
27 Details of Box Office of On the Happiness Road, retrieved from https://news.ltn.com.tw/news/life/breakingnews/2363396
28 Charles, S. (2018/11/14). Reviews: Ansel Elgort in Jonathan, plus animation, indies and world cinema. Los Angeles Times.
Retrieved from https://www.latimes.com/entertainment/movies/la-et-mn- capsule-feature-string-20181114-story.html
29 Dreyfus, S. (2018/07/31). Happiness Road, If Taiwan Told Me. La Croix.
Retrieved from https://www.la-croix.com/Culture/Cinema/Happiness-Road-Taiwan-metait-conte-2018-07-31-1200958923