Updated: Sep 15, 2020
The Thing + Ju-On +Jinmengyo+ Tempura
Jinmengyo (人面魚) is one of Japanese Urban Legendary tales, not a Taiwanese stuff
Jinmengyo (人面魚) is a Japanese urban tale not a Taiwanese stuff at all. This proves that the cultural plagiarism frequently done by Taiwan KMT film groups, a common practice in both film and TV in the KMT island.
Jinmengyo is created by the famous main stream Japanese magazine 'FRIDAY' in 1990, they reported that there is some strange carp, Jinmengyo which face is man-like look swimming in a pond of Zenpoji（善宝寺）, in Tsuruoka-shi（鶴岡市）, Yamagata-ken（山形県）.
They prefer fake-Kimutaku, fake Kaneshiro, fake ARASHI, and fake Jinmengyo...all of them do not belong to any genuine Taiwanese culture. KMT is good at manipulating indigenous cultural achievements and features with its planted industrial puppet roles to control ideology of poor Taiwanese people.
I saw it at KMT run Taipei Golden Horse Film Festival in this year as a guest. And I still seriously mention a fact that 'A little Girl in Red Dress' (Hong Yi Xiao Nü Hai) was created by Gala Television (一段觀眾提供之靈異V8影片,該影片於1998年臺灣GTV電視台27台靈異節目神出鬼沒中公開播送) and the family who shot that V8 home video. Is there any respect for the original creators (copyright holders) of the urbon legend program?
Original Creators were disrespected by KMT film production
Copyright issue and plagiarism are always concerned in Taiwan film and TV industries in general. I never saw any original film or TV drama that free from plagiarism and imitations of US, Japan, Hong Kong and France stuff. For example, TV stations require writers to do imitation, and the so called 'indipendent writers' clame themselves to be critics of that kind of phenomenon, however they themselves are living in that kind of culture and legacies.
For its film content and quality, it's the same with other Taiwan made film stuffs including so called 'Hong Yi Xiao Nü Hai' series that I had to left the cinema within the first 5 minutes because it's extremely boring and meaningless. There is no insightful knowledge even about the topic they chose.
Distortion of several Taiwanese Legend Tales and Hidden Copyright Issues
I think they should solve the copyright issues first with the Gala Television and the family who shot that V8 home video. Then, should do more professional research about Taiwan legend tales that village people really think about the topic.
For instance, Mô-sîn-á is not a ghost like Taichung urban people think of, but it is a spiritually invisible shadow of the past especially in the Japanese colonial era (1895-1945), it is nether a monster nor a Ju-On-like evil spirit at all. It does not kill anybody, not evil, it just comes to a near mountain village to call children to bring them to the mountain for a few days. It is clear enough that Hong Yi Xiao Nü Hai is a fictional character which created by the Gala Television and the family who shot that V8 home video. Moreover, Mô-sîn-á is not an antagonist of traditional Taiwanese mountain village elders especially who had lived through the Japanese colonial era. KMT can't mix them up. This kind of distortion of genuine Taiwan culture is a common plactice. For example, both Healthy Realism and Taiwan New Wave were this kind of film policies to brainwash Taiwanese people.
In conclusion, I never saw any insightful social view and class consciousness in both Taiwan films and TV. And you should not forget that we actually already achieved our aim that making well made theatrical feature genre film you KMT bureaucrats hated politically.
Taiwan box office is bottom among the other developed countries without Hollywood blockbusters. It is obvious when you read top box office film per month since 2001 until 2018. They should know what is a ''frog in a well''. "Frog in the well" is used to describe an individual who cannot or refuses to see the big picture because of being sheltered and close-minded.
I sincerely hope Taiwan people really solve the KMT dominance in Taiwan media industries by dismantling KMT governmental subsidies (including both film and public TV) to KMT interest groups including film equipment companies, post production companies, theatres and KMT-related filmmaking groups, KMT trained star roles in industries and KMT run film festivals, KMT ideologues, KMT critics, KMT film commissioners and KMT educators' networks.
KMT's manipulation of entire media is done through camouflaged individual companies and industrial figures to dominate the leading roles of every industries and bureaucratical devices in Taiwan. Furthermore they buy ads, bots, awards and nominations at film festivals around the world by taxpayers' money. Thus it's not a fair competition for the purely individual unit. Ultimately it can't make their films quality works in this way.
Industrial, educational and bureaucratic control of media is ideological dominance of KMT personnels. This is why KMT is still so powerful even under The Democratic Progressive Party (DPP) regimes. They have not yet solved the major issue since 2011... For small interest groups of the establishment, the more difficult the Taiwanese film making environment is, the more beneficial for their personal interests. KMT idols learned that maximising personal interests and influences by exceptionally privileged bureaucratic dominance of leading roles of every industries of Taiwan under artificially created ''difficult environment.'' The more difficult the industrial environment is, the more severe bureaucratic dominance comes. Taiwan and its film/TV industry is the typical example.
Taiwan recently strategically renovate old Japanese-era factories into 'Cultural and Creative Outlet' throughout the island. However, it is a publicly-funded cheap rent shop space provider for local retail shops. Night markets and its shrine movie screening and 'creative outlets' are specific efforts for preserving film industries locally however it does not vitalise filmmaking dramatically...
Freedom of Expression should be respected. The marketing team of the KMT does not know what democracy is. And they chose the war.
Any part of this report may be disseminated without permission, provided attribution to the professional film writer Ryota Nakanishi as author and a link to www.ryotanakanishi.com is provided.
This film article is for educational purpose only.