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Table 1 shows Cannes Lions totals for selected Asian nations over the last five years.

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2004

2005

2006

2007

2008

Total

¤é¥»Japan

18

11

13

21

26

89

·s¥[©YSingapore

13

13

12

19

9

66

®õ°êThailand 

7

12

9

12

15

55

¤j°¨Malaysia

4

4

11

12

11

42

µáThe Philippines 

0

1

3

4

1

9

´äHong Kong

0

1

1

1

2

5

«nÁúKorea

1

1

0

1

1

4

¦L¥§Indonesia

0

0

0

2

1

3

¶V«nVietnam 

0

0

0

1

2

3

Table 2 shows Cannes Lions totals for selected Asian nations over the last ten years. 

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Japan     

99

Singapore   

94

Thailand      

72

Malaysia     

44

Hong Kong    

14

The Philippines   

10

Korea      

8

Vietnam       

4

Indonesia     

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¡´ Pic. left is the logo of Taiwan government, since 11-9-1993, next 3 are logo of Canadian Pacific Rail, since 1968.

In addition to cheap-copy suspect, Taiwan's official document states their logo "easy to identify and associate with Taiwan's brand ... a simple shape and modernized & internationalized, aesthetic design " ; but, exactly on the contrary, it's neither modernized, nor as aesthetical simple as CPR's logo... 

¡´ Taiwan's college paper and tourism leader both advised : ¡§culture is absolute an added-value & critical element in Taiwan Tourism industry¡¨.  TVBS (7-14-2015, 9-15-2015) : scholars and official advised Taiwanese cultural creativity cooperating with tourism, and  enhancing soft power to save Taiwan tourism.

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    (2)³Ð§@¤W¥Îº©µe¦¡ªºªí²{¤âªk  ―  µL½×¬Oº©µe¤Hª«µeªk¡B»y·J¡B³sÀôº©µeªº¤À®æµe­±¡Bº©µe¦¡½u±ø¤Ä°Ç³y«¬¡Bº©µe¦¡¼J§Ë¤âªk ......

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(¤G)  cartoon in art  vs  art in cartoon

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comic strip

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 originally, and still, a full-size sketch or drawing used as a pattern for a tapestry, painting, mosaic, or other graphic art form, but also, since the early 1840s, a pictorial parody utilizing caricature, satire, and usually humour. Cartoons are used today primarily for conveying political commentary and editorial opinion in newspapers and for social comedy and visual wit in magazines.

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Series of drawings that read as a narrative, arranged together on the page of a newspaper, magazine, or book.

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is the tendency of particular cognitive experiences to provoke laughter and provide amusement.

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¡@¡@¡]¤@¡^¡B¡u¥¢¿Ó¡v²z½×¡]incongruity theory¡^¡G

                  
Nerhardt(1970)¥D±i¦b¤@­Ó¦w¥þ¡BµL«Â¯ÙªºÀô¹Ò¤U¡A¹w´Á»P¹ê»Úªºª¾Ä±¥X²{¥Ù¬Þ¡]¥¢¿Ó¡^®É«K·|²£¥Í«ÕÀq¡C¨Ò¦p ¤@°¦¯S§O¤jªºª¯»P°¦¯S§O³S¬Ãªºª¯¦b¤@°_(Beard, 2008)  ¡C McGhee, (1979) »{¬°¡u«ÕÀqµ²ºc¡v¤¤¡u¥¢¿Ó¡v¯S½è¦³¥|¡G   1.¥¼¹w´Áµo¥Í¡B2.»P¥|©PÀô¹Ò¬Û¸ûÅã±o¬ð¥X¡B3.¤£¦XÅÞ¿è©Î¤£¯à°¨¤W²z¸Ñ¡B4.¤Ó¹L¸Ø±i¡C

      ¡]¤G¡^¡B¡u¥¢¿Ó ¡Ð¸Ñ´b¡v²z½×¡]incongruity resolution theory¡^

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  Humor theories, mechanisms and typologies, Fred Beard phD., Univ. Oklahoma, 2008

Typologies Incongruity/ Incongruity-Resolution(¥¢¿Ó/¥¢¿Ó-¸Ñ´b) Arousal-Safety(±¡ºüÄÀ©ñ) Disparagement(»´µø¡B¶S§í¡B½Ä¬ð)
Speck comic wit(¸Ù¿Ó¾÷´¼), resonant wit(·P©Ê¾÷´¼), full comedy(¥þ¥»³ß¼@), satire(¿Ø¨ë)  resonant wit(·P©Ê¾÷´¼), full comedy(¥þ¥»³ß¼@)  satire(¿Ø¨ë), full comedy(¥þ¥»³ß¼@)
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McCullough and Taylor nonsense(µL·N¸q), pun(ÂùÃö), humor(«ÕÀq) sexual(©Ê), warm humor(·ÅÄÉ«ÕÀq) aggressive(§ðÀ»)
Cho negativity(§_©w), subtle(ºë¥©±Ó¾U), complexity(¿ùºî½ÆÂø), perceptual interest negativity(§_©w), slice-of-life(¥Í¬¡¤ù¬q), subtle(ºë¥©±Ó¾U), complexity(¿ùºî½ÆÂø), miniaturization(ÁY¤pÁY¼v) negativity(§_©w), ludicrousness(·Æ½]¥i¯º), slice-of-life(¥Í¬¡¤ù¬q), perceptual interest, miniaturization(ÁY¤pÁY¼v)
Stern verbal comedy(»y¤åªº³ß¼@), satiric comedy(¿Ø¨ë³ß¼@) romantic comedy(®öº©³ß¼@) satiric comedy(¿Ø¨ë³ß¼@),physical comedy (ªÏÅé°Ê§@³ß¼@)
Catanescu and Tom comparison(¤ñ¸û), personification(ÀÀ¤H¤Æ) ,exaggeration (¸Ø±i), pun(ÂùÃö), silliness(²Â©å), surprise(Åå³Y) ¡@ sarcasm(»´½°©Î¹½´c¤§ÃÕ¿Ø)
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Buijzen and Valkenburg Slapstick(¯º¾x¼@), clownish(¤p¤¡), humor,surprise (Åå³Y), misunderstanding(»~¸Ñ), parody(½ì¨ý¼Ò§Ï) slapstick(¯º¾x¼@) slapstick(¯º¾x¼@), satire(¿Ø¨ë), irony(¿Ø¨ë¤åÅé)

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Huseyin Cakmak, Cyprus  http://Courageworld.ch/nw00.htm
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°ê»Úª¾¦Wªº³Ð·N¤èªk¡A¤ñ¦pEdward de Bonoªº¾î¦V«ä±©¡]¤ô¥­«ä¦Ò¡^ ¡BJ.P. Guifordªº Â÷´²«ä±©¡B   Bruce G VandenÁp·Q«ä±© ¡B  Bergh and Helen Katz(1999, 2006 )Ãþ¤ñ«ä±© µ¥À³¸Ó³£¥i§@¬°º©µe³Ð·Nªº¤èªk¡C¥H¤U¥u½Í½×¥xÆW§{¶¡¾Ç³N®ÑÄy¬Û¹ï¸û¤Ö°Q½×ªº¤èªk¡C

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(1) ¡u¶ÂµVµV¬°¬Æ»ò»ó¤Õ¨º»ò¤j?gorillas have such big nostrils?   ¡v (
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¥»«h½d¨ÒºK¦ÛOklahoma¤j¾Ç Fred Beard PhD±Ð±ÂµÛ§@<Humor in the Advertising Business>)
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ÅÞ¿è«ä¦Ò³y¦¨¤j»ó¤Õªº¦¨¦]¤£¦h¡AŪªÌ«Ü®e©ö·Q¨ì¤â«ü¡A¦]¦¹¹w´Á»Pµ²§½®t¶Z¤£¤j¡F¦ÓªøÀV³ÀªºÂI¤l ¬° «D±`³W«ä¦ÒÅÞ¿è¤ñ¸û¥X¤H·N®Æ¡A¦¹¬°¤ñ¸û«ÕÀqªº¦]¯À¤§¤@¡FBeard ±Ð±Âµû½×¶ÂµVµV¯º¸Ü¬O  "this playground joke shows how the incongruity resolution works", ¦ý¬O¦pªGŪªÌÁp·Q¨ì¤ñ¤è­Y¤z«D¬w¤Hªº¤j»ó¤Õ¡A¨º¤]¬Odisparagement / superiority theory«¬ºAªº«ÕÀq¡C

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1. ¦è¤è ¾ú¥v±y¤[ªº¬¡°Ê¥]¬A²üÄõº©µe¸`¡B¤ñ§Q®ÉKnokke-Heistº©µe¸`¡B«O¥[§Q¨ÈGabrovo¿Ø¨ë»P«ÕÀq¸`  ―  °£º©µe±¾ÀYµPÁÙ¥]¬AÀJ¶ì¡B¬ü³N¡B¥­­±³]­pµ¥ÄvÁÉÃþ§Oµ¥¡C   ¥xÆW¤@«×©ÚÁÜ¥H¡u¥DÃD°ê¡v¤è¦¡°Ñ®i¦Ó¤Þµo­·ªiªºªk°ê¡u¦w¥jÄõ¡v(Angouleme)º©µe¸`¡A¥H¤Î¡u­»¨©¨½¡v(Chambery)º©µe¸`¡A³£¬O³sÀô¹Ï¬°¥Dªº®iÄý ; ªk°êªºSalon St Just De Martel«h¬O³Qº©µe±M®aµû¬°"great"ªº¡uº©µe(cartoon)¡v¸`¡C


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¥H«e¼Ú¬wº©µe®aÁp·ù¥D®u¡B²{¥ô¥@¬Éº©µe®aÁp·ù¥D®uPeter Nieuwendijk¥H¤Î¬ü°ê¹q¼v»P¶Ç¼½¾ÇªÌTemple¤j¾Ç±Ð±Â John LentªºÆ[ÂI§@¬°¥»¤åµ²»y¡A¥L­Ì¦b¼Ú¨È¬w¦h°ê¾á¥ôº©µe¥D¼fªº¸gÅçÂ×´I¡C

   (1)  ¡u³o½gÀu²§ªº¤å³¹¹ïº©µe¥@¬É´£¨Ñ¤F²M´·ªºµû½×»P¸ÑªR¡A¤å¹Ï¨Ã­Z¤]¦³§U²z¸Ñ¤º®e¡C

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       ¥¿¦p¦¹¤å©Ò½×­z¡Aº©µe§@¬°°ê»Ú»y¨¥¸ó¶V¤F°ê»ÚÿÂ÷¡A¥H«ÕÀqÂç²M¤j²³Ãöª`ªº¨Æ¥ó¡A§Ú¬°¥»¤åªº«Ø³]©ÊÆ[ÂI·P¨ìªY³ß¡C

       ¦¹¥~¡A¤µ«á¦¶§g©Î³\¥i¥H¸É¥R¤@¨Çº©µe¹ï¤HÃþªÀ·|²£¥Í¦p¦ó¼vÅTªº¬ã¨s¡C  

        º©µe¦pªG¯à¤ÞµoÁp·Q  ―  ¤H©Ê©Î¦a²y§ø¤j®a¦@¦Pªº¼ô±xªº¨Æª«¡A·íµM±a¨Ó·|¤ß¤@¯º©Î±Òµo     ¡C      

       ¦¹¤å¹ï©ó³Ð·NªºÃ@¹@¤Jùظѻ¡¬O²M´·¥B®e©ö¤F¸Ñªº¡C º©µe·íµM¬O¡uÃÀ³N¡v(¦³¦pthe drawing stand-up-comedian)¡F¡u«ÕÀq¡v¥H»y¨¥¡B°Ê§@¬°¤§¡Aº©µe¥ç´_¦p¦¹¡AÂÇ«ÕÀq®T¼Ö¡B»¡©ú¡B¨Ã¸ÑªR¤@­Ó°T®§¡C

       ¶¶¯¬¦¨¥\!¡v

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by

 Peter Nieuwendijk

President General, federation Cartoonists Organisations
Editor in Chief FECONEWS Magazine

Secretary Dutch Cartoonassociation
Chairman Art Collective BIB
chairman Culture Centre Hillegom Holland
¡@
¡@
(2)
The paper is well organized and carefully thought out. It benefits from having these characteristics:

1. Theoretical with a few important theories given. If you had more time, I would say you should include Asian humor theorists  and comics theorists ...
¡@
2. Comprehensiveness, including filmic and print cartooning.
¡@
3. Critical. You are certainly critical of Taiwan cartooning, and also of cartoons everywhere that lack humor and wit.
¡@
4. Comparative. I like the way you compare Taiwan cartooning with that elsewhere and also examples of good and bad cartooning globally.
¡@
5. Explanatory. Your paper is important because you take time to explain cartooning, using many examples.

6. Instructive. Your paper would make a good primary source for young people who aspire to be cartoonists.
¡@
7. Entertaining. Cartoons selected are entertaining, as is your light-hearted approach at times.

All in all, this is a well structured, comprehensive, and instructive paper based on your extensive cartooning experience, mixed with theories and works of others worldwide...
¡@

by

John A. Lent, Ph.D.
Professor, Temple University
Chairperson, Asian & Pacific Animation and Comic Association



¡@

¡@ °Ñ ¦Ò ®Ñ Äy »P ½× ¤å
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<Eerste Nederlandse Cartoonfestival>, ²üÄõº©µe¨ó·|, 1983-

<Chinese Satire and Humour>, Hua Junwu,New World Press Beijing, 1984

<Artoons, the hystery of art>, Jim Unger, Kevin Reeves, 1985

<The New Yorker> album 1925-1950, Perennial Library, 1986

<¤¤°êº©µe¥v>, µØ§J©x¡A¥_¨Ê·sµØ®Ñ©±¡B¤å¤ÆÃÀ³N¥Xª©(¤¤囯)¡A1986

<Humor & Satire>¡A¤é¥»Åª½æ·s»D¥Xª©(¤é¥»), 1990 - 1999

<Comics : Ideology, Power, and the Critics>, Martin Barker, Manchester Univ. Press, 1989

<¶Â¦â«ÕÀq>¡A«ÕÀq¤å¾Ç¥Xª©¡A1990

<The Complete Book of caricature>¡A(¬ü°ê)¥]§B«ä¶ð§JµÛ¡A(¤¤囯)¤Ñ¬z¤H¥Á¬ü³N¥Xª©¡A1991

<¡u«ÕÀq²z¸Ñ¡vªº»{ª¾¾úµ{>¡A¥x¤j¤ß²z¾Ç°|³Õ¤h½×¤å¡A³¯¾Ç§Ó¡A1991

<Understanding Comics>, Scott McCloud, Harper Collins, 1993

<«ÕÀq»P¿Ø¨ëÃÀ³N>¡A°Ó¹©¥Xª©¡A¸U®Ñ¤¸¡A1993

<±q¡uÅ¥¯º¸Ü¡v¨ì¡u¾x¯º¸Ü¡v>¡A»²¤¯¾Ç§Ó#261¡A³¯¾Ç§Ó

<Cartoon & Art, Kunst Met Een Knipoog>, ²üÄõº©µe¨ó·|, 1997

<Sanatta Karikatur, Cartoon in Art>, Turkey, 1997

<¥~°êº©µe¤j¤ý>¡A¾G¨¯»»¡A¤W®ü»·ªF¥Xª©(¤¤囯)¡A1997

<Visual Persuasion>¡APaul Messaris¡ASage Publication¡A1997

<¤¤°ê²{¥N¬ü³N¥þ¶°  ―  º©µe>¡A·sµØ®Ñ©±Á`©±¡B¤Ñ¬z¤H¥Á¬ü³N¥Xª©(¤¤囯)¡A1998

<º©µe¬ü¾Ç>¡A§õÄÄ¡A¸s¬y¥Xª©¡A1998

<¹Ï»¡º©µeªº¾ú¥v>¡A²M¤ô¾±¡Aªe¥X®Ñ©Ð·sªÀ(¤é¥»)¡A1999

<Themes and Issues in Asian Cartooning>, John A. Lent, Popular Press, 1999

<¶Â¦â«ÕÀq>¡A¤¤°ê¯¼Â´¥Xª©ªÀ(¤¤囯)¡A1999

<The World encyclopedia Cartoons>¡A¤¤°êÀ¸¼@¥Xª©ªÀ(¤¤囯)¡A1999

"¸Õ½×¤H¥Á¤é³øº©µe¼W¥Z―<¿Ø¨ë»P«ÕÀq>"¡A(¤¤°ê)ªÀ·|¬ì¾Ç°|ºÓ¤h½×¤å¡A¤ý¹@ªø¡A 2000

<Art, a crash course>, Julian Freeman, Coordinator, Eastbourne College of Arts & tech.  ¡A ­»´ä¤TÁp®Ñ©±Ä¶(­»´ä)¡A 2000

<Karikatur ve siyaset, Cartoon and Politics>, 2001

<¹Ï¹³¦¡¨ë¿E»P»y¤å°T®§ªº«ÕÀq²z¸Ñ¾úµ{>, ¤¤­ì¤j¾Ç¤ß²z¾ÇºÓ¤h½×¤å¡A³\®m»¨¡A2002

<¸Ñºc¬y¦æ¤å¤ÆªºÅv¤O­y¸ñ¸ÕªR¥xÆWº©µe¤å¤Æ¤§¬ã¨s>¡A¼B¥­§g¡A¬Fªv¤j¾Ç³Õ¤h½×¤å¡A2004

<ÃÀ³N+º©µe=?>¡A§d«­¼z¡A¤µÃÀ³N¡A2004

<¤¤°ê¤j³°º©µeµo®i¤§¬ã¨s>¡A§d°¶¥ß¡A²H¦¿¤j¾ÇºÓ¤h½×¤å¡A2004

<À³¥Î¤ß²z¬ã¨s>¡A ¤G¤»´Á ¡A³¯¾Ç§Ó¡B¤ý¼y¤¤µ¥¡A2005

<What good are the arts>, John Carey PhD , Toby Eady Assoiates Ltd,  2005

<Creative Advertising>, Mario Pricken, Verlag Hermann Schmidt, Germany, 2005

<Making Comics>, Scott McCloud, HarperCollins,  2006

<¶W¶V©Ê«äºû>¡A´_¥¹¤j¾Ç¥Xª©(¤¤囯)¡A¤ý°·¡A2006

<¥d³q²£«~³]­p>¡AªF«n¤j¾Ç¥Xª©ªÀ(¤¤囯)¡A§f¦¿¡A2006

<¥H¿Ø¨ë¤âªkÀ³¥Î©ó3Dµu½g°Êµe¤§³Ð§@¬ã¨s>¡A¨Lªä¦p¡A°ê¥ß¶³ªL¬ì§Þ¤j¾ÇºÓ¤h½×¤å¡A2006

<¤é¥»Áú°ê°ê®a§Î¶Hªº®Ò³y»P§Î¦¨>¡A ¥~¤å¥Xª©ªÀ(¤¤囯)¡A2007¡A¤ý²³¤@¡B¦µ¥ú®ü

<¥´³y¥xÆW«~µP>¡A¾G¦Û¶©¡A´­´¼¥Xª©¡A2007

<¾Ôª§©ó°Êµe¤§±´°Q>¡A81´Á¡AÃÀ³N¾Ç³ø¡A2007

<¥xÆWÃÀ³N§@«~¤¤ªºº©µe¹Ï¹³ªí²{>  ¡A½²©s¯è  ³¯·ç¤å¡A°ê¥ß°ª¶¯®v½d¤j¾Ç ¬ü³N¾ÇºÓ¤h½×¤å¡A2007

<¬G®c¤å¤Æ³Ð·N°Ó«~¤§²Å¸¹¬ã¨s>¡A°ê¥ß°ª¶¯®v½d¤j¾ÇºÓ¤h½×¤å¡A®}¹Å²ú¡B§õ»õ¾±±Ð±Â¡A  2007

<Black Humor Image and its Application in Product Design>¡A ¤j¦P¤j¾ÇºÓ¤h½×¤å¡AZi-Hui Zhen¡A2007

<¦h´CÅé°Êµe¦b¤å¤Æ²£«~¤Wªº±´°Q»PÀ³¥Î>¡A  Á¤åÅï¡B¤ý¶®­Û±Ð±Â¡A±X¤s¬ì§Þ¤j¾ÇºÓ¤h½×¤å¡A2008

<Humor in the Advertising Business>, Fred Beard, Rowman & littlefield, 2008

<¯º½|°¨«ó¡A©u«CÁp¦X³øº©µeºë¿ï¶°>¡AÁp¦X³ø¥Xª©¡A2008

<º©µe¦¡¹Ï¹³¦bµøıÃÀ³Nªí²{¤Wªº³Ð§@> ¡A¬I´¼¤¯¡A°ê¥ß¥xÆW®v½d¤j¾Ç ³]­p¬ã¨s©ÒºÓ¤h½×¤å¡A2008

<¥xÆW¥»¤gº©µe²£·~¤£®¶­ì¦]¤§±´°Q> ¡A§õ°ßºÓ¡A°ê¥ß¬Fªv¤j¾Ç ¥øºÞ©ÒºÓ¤h½×¤å¡A2008

<¼ç·NÃѼs§i¬ã¨s>¡A (¤¤囯) ·Hªù¤j¾Ç¥Xª©¡A  ªL¥Í±ç¡B·Hªù¤j¾Ç³Õ¤h¡A  2009

<Milestone AYACC - Best Works of China>¡A¤ý¤»¤@¡A(¤¤°ê)¤T¨°¥Xª©¡A2009

<Kuso - ¶Ã³]­p >¡A¼Bºû¤½¡B±i§Ó¦¨¡A¹ê½î¤j¾ÇºÓ¤h½×¤å¡A2009

<°Êµe·§½×>¡A²MµØ¤j¾Ç¥Xª©(¤¤囯)¡A¤ý¥i¡A2010

etc - omitted

ªþ¹Ï¨ú¦Û  Courage World Cartoon Contest

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scholarly paper : Cartoon in Cultural Creativity,  Cultural Creativity in Cartoon comment Taiwan's cultural & creative industries   Summer, 2011

ps: ¡u¬F©²ªºÅº¨à¡v- ¤¤®É2009¡F¥sªº¡uº©¤Ñ¥EÅT¡v- Áp¦X³ø2011  ¬Ò¾ÇªÌ»y