李立婷 | Lily Kostrzewa

中文 | English

台灣散文式短劇：在 AI 時代重建影像的個人風格與文化生態

隨著短劇在全球爆炸式成長，台灣正面臨一個關鍵選擇：是要追隨中國與韓國的工業化公式，還是重新找回長久以來塑造台灣文化身份的創作力量？

台灣短劇的未來不在於模仿中國的工業化工廠爽感模式，也不在於複製韓國的精品敘事，而在於重新激發台灣文化最擅長的「散文式語氣」與「個人創作能量」。在 UGC（User Generated Content 使用者自製內容) 與 AI 工具普及的時代，台灣具備獨特條件，有機會打造一種新的影像類型 – 台灣散文式短劇。此類短劇以生活觀察、語氣、細節與情緒為核心，並以低成本、高自由度的創作方式，形成類似校園民歌時代的「百家齊放」文化生態。本文從文化、技術、產業三個層面分析其可行性，並提出具體策略。

短劇不是一陣子就會退流行的潮流，而是一種能承載文化、表達生活、說出一代人感受的創作方式。所以短劇在全球迅速崛起：

  • 中國走的是工廠模式，拍得又快又多。
  • 韓國走的是精品模式，拍得精緻、故事完整。
  • 美國靠的是平台和錢，把短劇當成一門生意來做。

然而，台灣的影視文化基因與上述三者不同。若台灣想在短劇世界中建立獨特位置，就必須從這些文化基礎出發，而不是追逐為更大市場設計的模式。台灣從來不是靠規模或奇觀取勝。台灣的創作 DNA (基因特質)建立在完全不同的基礎：

  • 個人風格
  • 日常感受力
  • 散文式敘事
  • 低預算創作
  • 社群驅動文化

因此，台灣短劇若要建立自身定位，應回到台灣文化的核心能力，而非追逐外部模式。台灣的文學、影像與網路文化長期以「散文性」為特色：強調語氣、觀察、細節、情緒，而非劇情密度或戲劇衝突。若台灣想在短劇世界中建立獨特位置，就必須從這些文化基礎出發，而不是追逐為更大市場設計的模式。

散文式微短劇的崛起：
「散文式微短劇」正成為台灣對全球短影音浪潮的獨特回應。這類作品不依賴劇情反轉或懸念，而是專注於語氣、細節與情緒 – 那些構成日常生活的小瞬間。典型的散文式微短劇包含：

  • 瞬間而非劇情：30–60 秒捕捉一種感受或觀察
  • 語氣而非反轉：創作者的聲音成為作品的標誌
  • 日常而非公式：通勤、租屋、家庭張力、城市孤獨
  • 真誠而非奇觀：追求共鳴，而非刺激

這種敘事方式自然貼合台灣的文化感受，也與全球短影音平台的節奏完美契合。

AI 與UGC (使用者自製內容)：數位時代的新「民歌運動」
1970年代的台灣校園民歌之所以蓬勃，是來自於低門檻工具(譬如一把吉他)、場域充足(譬如很多人聚在一起、創作或交流)。如今，AI 與手機影像在更大規模上重現了這些條件。AI 降低技術門檻: AI 寫腳本、剪輯、配樂、字幕，如今都能像寫散文一樣輕鬆完成。UGC (使用者自製內容)平台形成新的創作社群: YouTube、Instagram、TikTok 成為現代的「民歌咖啡館」，創作者與觀眾在其中共同塑造意義。

個人風格成為競爭核心: 當 AI 讓技術品質趨於一致，真正突出的，是語氣、視角與個性 – 而這正是台灣的強項。

這些條件共同孕育出一波新的影像創作浪潮：個人化、低成本、高自由度。

符合台灣規模的策略：

  • 中國的量產模式 依賴龐大的流量生態，台灣無法複製。
  • 韓國的精品模式 需要高預算與全球發行管道，台灣難以長期支撐。

台灣可行的道路是：小規模製作、強烈個人語氣、深刻日常性。散文式微短劇成本低、更新速度快、易於跨平台傳播，同時能承載高度的文化密度。

打造生態系，而非單一作品：
若要讓散文式微短劇成為文化力量，台灣需要政府、平台與創作者的協作。

1. 文化部：提供土壤

  • AI × 影像工具補助
  • 校園短劇競賽
  • 台灣短劇影展
  • 國際推廣與 IP(智慧財產) 保護

2. 平台：提供舞台

  • 設立「台灣短劇專區」
  • 創作者孵化計畫
  • 數據儀表板 (把所有重要數據整理在同一個畫面, 創作者容易得到回饋。)
  • 原生短劇廣告格式 (觀眾看起廣告來像在看短劇，但同時也接收到品牌資訊。)

3. 創作者：提供語氣

  • 建立個人敘事風格
  • 以生活觀察為核心
  • 善用 AI 降低成本
  • 與社群共創（社群可以共同改寫結局、二創、共用世界觀）

在全球短劇競爭激烈的時代，台灣最具優勢的不是資本、不是平台，而是文化。散文式短劇讓台灣能以最小成本、最大文化密度，打造一種新的影像語言。它不是模仿，而是回到台灣文化的本質。它不是一下子紅起來的風口熱潮，而是大家未來創作的日常方式。它不是產業的附屬，而是文化的延伸。

如果校園民歌時代是台灣的聲音，那麼散文式短劇，有機會成為台灣的影像的象徵。

(介紹一部短片, 虎尾 (本文作者從小生長的故鄉), by Alan Yang)
https://youtu.be/i8lp_eI78ZM?si=gAGKxZSF1POoKsLi )

<2026-04-28>

中文 | English

Taiwan’s Essayistic Microdrama: Reclaiming Personal Style and Cultural Space in the Age of AI

Abstract

This paper argues that the future of Taiwanese short-form drama does not lie in imitating China’s industrialized “instant‑gratification” model, nor in replicating Korea’s premium narrative approach. Instead, Taiwan’s opportunity lies in reactivating what its culture does best: the essayistic tone and the energy of personal creation. In an era shaped by UGC (User Generated Content) and the widespread adoption of AI tools, Taiwan possesses unique conditions to develop a new audiovisual form—the Taiwanese essayistic microdrama. These works center on everyday observation, tone, detail, and emotion, and rely on low‑cost, high‑freedom creative processes that can foster a “hundred flowers blooming” ecosystem reminiscent of Taiwan’s folk‑song movement. This paper examines the feasibility of this form through cultural, technological, and industrial lenses and proposes concrete strategies.

I. Introduction: Short‑form drama is not a trend—it is a cultural medium

Short‑form drama has risen rapidly worldwide: China dominates through industrial mass production, Korea enters through premium storytelling, and the United States advances through platform‑capital dynamics.

Taiwan’s audiovisual DNA, however, differs from all three. Taiwan’s cultural strengths have never been large‑scale industrialization, but rather:

  • Personal style
  • Everyday sensibility
  • Essayistic narration
  • Low‑budget creativity
  • Community‑driven culture

Thus, if Taiwanese short‑form drama is to establish its own identity, it must return to these cultural foundations rather than chase external models.

II. Essayistic Microdrama: A Natural Extension of Taiwanese Culture

Taiwan’s literary, cinematic, and online cultures have long been defined by essayistic qualities -tone, observation, detail, and emotion rather than plot density or dramatic conflict.

The essayistic microdrama embodies this through:

  1. Moments instead of plots: 30-60 seconds capturing a feeling or observation.
  2. Tone instead of twists: the creator’s voice becomes the brand.
  3. Everyday life instead of formula: renting, commuting, family, work, urban solitude.
  4. Sincerity instead of exaggeration: seeking resonance rather than shock value.

This narrative mode aligns closely with Taiwanese cultural sensibilities and fits naturally within global short‑video platforms.

III. AI and UGC (User Generated Content): A New Folk‑Song Era of Image‑Making

The creative explosion of 1970s Taiwan’s folk‑song era emerged from low‑barrier tools + high‑density venues.
AI and mobile phone videos now recreate these conditions.

1. AI lowers technical barriers
AI‑assisted scripting, storyboarding, editing, scoring, and subtitling reduce the threshold of filmmaking to something akin to writing an essay.

2. UGC (User Generated Content) forms creative communities
Platforms such as YouTube, Instagram, and TikTok function as new “folk‑song cafés,” where creators and audiences interact and co‑shape meaning.

3. Personal style becomes the core competitive edge
As AI standardizes technical execution, what truly differentiates creators is tone and perspective.

Taiwan, therefore, possesses the cultural conditions for a new “folk‑song movement” in audiovisual form.

IV. Industrial Perspective: Taiwan’s Differentiated Strategy

To establish a sustainable industrial position, Taiwan must avoid direct competition with China, Korea, and the United States and instead pursue a third path.

1. Do not compete with China on volume
Taiwan’s small market and weaker platforms cannot support large‑scale paid‑traffic ecosystems or industrialized “instant‑gratification” production.

2. Do not compete with Korea on premium production
Premium short‑form dramas require high budgets and slow returns, making them unsustainable for Taiwan’s scale.

3. Taiwan’s viable path: small‑scale, strong tone, deep everydayness
Essayistic microdramas can be produced at low cost, iterated quickly, branded through style, and spread across platforms with high cultural density.

V. Policy and Platform Recommendations: Build an Ecosystem, Not Just Works

For essayistic microdramas to become a cultural phenomenon, collaboration across three sectors is essential.

1. Ministry of Culture: Provide the soil

  • Subsidies for AI × video creation tools
  • Campus short‑drama competitions
  • A Taiwan Short‑Drama Festival
  • International promotion and IP protection

2. Platforms: Provide the stage

  • A dedicated “Taiwan Short Drama” section
  • Creator incubation programs
  • Analytics dashboards
  • Native short‑drama advertising formats

3. Creators: Provide voice

  • Develop personal narrative styles
  • Center storytelling on everyday observation
  • Use AI to reduce production cost
  • Co‑create with online communities (alternate endings as a group, remixes, shared universes)

VI. Conclusion: The Future of Taiwanese Short Drama Is Essayistic Cinema

Taiwan’s strongest asset in the increasingly competitive global short‑drama arena is not capital or platforms, but culture. Essayistic microdramas offer Taiwan a way to craft a new audiovisual language—one that achieves maximum cultural density with minimal production cost. They represent not imitation, but a return to Taiwan’s own creative essence; not a passing fad, but a generational form of expression; not an industrial afterthought, but a natural extension of Taiwan’s cultural imagination.

If the campus folk‑song era was the voice of Taiwan, then essayistic microdramas may well become its image.

(Recommended short film: Tigertail — set in Huwei, the author’s hometown — by Alan Yang) https://youtu.be/i8lp_eI78ZM?si=GAGKxZSF1POoKsLi

<2026-04-28>