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今年6月，我應(yīng)邀到上海參加了由中華人民共和國(guó)文化和旅游部外聯(lián)局、國(guó)家廣播電視總局國(guó)際合作司聯(lián)合主辦的2018年中外影視譯制合作高級(jí)研修班。

中外影視譯制合作研修班自2015年首次舉辦，旨在加深影視譯制領(lǐng)域的交流與合作，推動(dòng)知識(shí)共享和人才交流，不僅反映出中國(guó)對(duì)于生產(chǎn)中國(guó)文化、向世界輸出中國(guó)文化興趣十足，也體現(xiàn)了世界人民對(duì)中國(guó)語(yǔ)言和文化的興趣愈發(fā)濃厚。

全球范圍內(nèi)，視聽(tīng)行業(yè)正成氣候，世界人民對(duì)中國(guó)語(yǔ)言和文化的興趣愈發(fā)濃厚也便不足為奇。OTT業(yè)務(wù)改變了我們這個(gè)行業(yè)，其方式已被深入廣泛地討論并記錄下來(lái)：從所有市場(chǎng)均對(duì)高質(zhì)量連續(xù)劇不斷增長(zhǎng)的需求和消費(fèi)，到非英語(yǔ)影視節(jié)目制作和分銷(xiāo)的無(wú)窮機(jī)會(huì)。由于OTT業(yè)務(wù)沒(méi)有地理界限，對(duì)非英語(yǔ)內(nèi)容的消費(fèi)不斷增加，一個(gè)英語(yǔ)不再是王者的全球社區(qū)已然出現(xiàn)。

今天的市場(chǎng)中，任何源語(yǔ)言和任何播出時(shí)長(zhǎng)的音頻都有潛力成為一個(gè)熱門(mén)商品。

中國(guó)影視行業(yè)正風(fēng)起云涌。由于全球一半的互聯(lián)網(wǎng)用戶位于亞洲，漢語(yǔ)正逐漸成為網(wǎng)絡(luò)空間的主導(dǎo)語(yǔ)言，目前僅次于英語(yǔ)，因此漢語(yǔ)內(nèi)容的本地化有潛力在未來(lái)的翻譯行業(yè)中舉足輕重。

據(jù)在線統(tǒng)計(jì)數(shù)據(jù)門(mén)戶Statista估計(jì)，到2021年，全球娛樂(lè)市場(chǎng)的價(jià)值將達(dá)到2.2萬(wàn)億美元，到2020年，中國(guó)媒體和娛樂(lè)市場(chǎng)的價(jià)值將超過(guò)2500億美元。同時(shí)，根據(jù)分析公司Media Partners Asia的數(shù)據(jù)，到2022年，中國(guó)將占亞太地區(qū)視頻點(diǎn)播訂閱量的85%，其在線視頻收入將占整個(gè)在線視頻行業(yè)收入的78%。

這個(gè)行業(yè)將如何應(yīng)對(duì)潛在的井噴式源語(yǔ)言內(nèi)容翻譯的挑戰(zhàn)？答案在于云。正如DESG公司首席技術(shù)官艾倫·拉金（Allan Lamkin）所強(qiáng)調(diào)的，借助云平臺(tái)，服務(wù)提供商可以在全球范圍內(nèi)擴(kuò)大或縮小規(guī)模，以即時(shí)滿足需求。

但這并不是唯一的挑戰(zhàn)。如果將其他因素考慮在內(nèi)，例如縮短周轉(zhuǎn)時(shí)間、實(shí)時(shí)交付、新格式、安全性、諸如VR和AR之類(lèi)的新技術(shù)，當(dāng)然還有成本壓力，那么顯然語(yǔ)言服務(wù)提供商會(huì)有適合的工作。

因此，我們需要其他有創(chuàng)造性的解決方案。正如最近機(jī)器翻譯領(lǐng)域所取得的進(jìn)步所表明的，語(yǔ)言技術(shù)能夠幫助人們克服語(yǔ)言障礙，特別是對(duì)于在神經(jīng)方法學(xué)方面已經(jīng)取得了重大飛躍的漢語(yǔ)。

中國(guó)研究人員對(duì)機(jī)器翻譯十分精通，百度是其中的佼佼者，因此他們將人工智能運(yùn)用在翻譯中不足為奇。

此外，業(yè)界專(zhuān)業(yè)人士在拓寬視野思考地域復(fù)雜性的同時(shí)，應(yīng)該記住，粉絲一直是推廣特定文化產(chǎn)品最強(qiáng)的力量之一。

每個(gè)國(guó)家的粉絲團(tuán)體，都有他們自己的規(guī)則和行為準(zhǔn)則，控制著藝術(shù)過(guò)程和結(jié)果，打破字幕的規(guī)范，通過(guò)創(chuàng)新的技術(shù)，如網(wǎng)上博客、創(chuàng)造性的字幕位置、上下文釋義、非主流字體等，打破傳統(tǒng)視聽(tīng)翻譯的界限，這可能是能成功解決文化障礙問(wèn)題的新途徑。

我此次中國(guó)之行的重點(diǎn)之一是參觀第24屆上海電視節(jié)電視市場(chǎng)。中國(guó)生產(chǎn)的內(nèi)容，其數(shù)量之大、種類(lèi)之多，令人眼花繚亂，顯然這需要提高翻譯質(zhì)量，以更好地迎合外國(guó)觀眾，但內(nèi)容的高質(zhì)量藝術(shù)特征和有趣的敘事方式才能確保中國(guó)內(nèi)容在全世界廣受歡迎。

這是我的第一次中國(guó)之行，行程結(jié)束前，我登上了東方明珠廣播電視塔，站在離地面263米的玻璃底人行道上，這讓我想起了飛快前進(jìn)的感覺(jué)。上海是一個(gè)向著未來(lái)飛馳的城市，如果人們想了解中國(guó)的潛力，想了解未來(lái)中國(guó)將在世界中的作用，那它絕對(duì)是一個(gè)值得駐足的城市。

▲ 2018年中外影視譯制合作高級(jí)研修班（2018 SFTAD）

With OTT’s Audiovisual Localization Landscape, the New Silk Road is the Cloud

In June I spent a week in Shanghai as an invited speaker at the 2018 Sino-Foreign Audiovisual Translation & Dubbing Cooperation Workshop (SFTAD), hosted by the Bureau for External Cultural Relations of the Ministry of Culture and Tourism, and the International Cooperation Department of the State Administration of Radio and Television of China.

Kicked off in 2015, SFATD aims to strengthen communication and cooperation in the field of audiovisual translation and dubbing, support the sharing of knowledge and talent exchange, and reflects not only China’s interest in producing and exporting Chinese culture to the world, but also the world’s growing interest in Chinese language and culture.

The latter is no surprise given how the global audiovisual landscape is shaping. The way OTT has disrupted our industry has been discussed and documented far and wide: from an increased demand for — and consumption of — high-quality serial dramatic content in all markets, to endless opportunities in terms of production and distribution of non-English film and television content. As OTT knows no geographical boundaries, the increasing consumption of non-English language content has built a global community where English is no longer king.

The market today has evolved into one where any source audio language and any length in terms of programming time has the potential to become a hot commodity.

The Sino film and TV industry is riding the wave. With half of the world’s internet users located in Asia, Chinese is heading towards becoming the dominant language in cyberspace, currently second only to English, so localization of Chinese content has the potential to play a pivotal role in the future course of the translation industry.

Statista estimates the value of the global entertainment market to be 2.2 trillion US dollars by 2021, and the value of the media and entertainment market in China to be over 250 billion US dollars by 2020. Meanwhile according to Media Partners Asia, China will account for 85% video-on-demand subscriptions in the Asia Pacific region by 2022 and will contribute 78% of the online video sector revenues by the same date.

How will the industry deal with the challenge of translating this explosion of content in any potential source language? The answer lies in the cloud. As highlighted by Allan Lamkin, CTO at DESG, cloud platforms are allowing service providers to globally scale up/down to meet demand instantaneously.

But this is not the only challenge to solve. If one considers other parameters too, such as shortening turnaround times, live delivery, new formats, security, new technologies such as VR and AR, and of course cost pressures, it is clear that language service providers have their work cut out for them.

Other creative solutions are thus called for. Language technologies can help with the language barrier issue, as recent improvements in the machine translation field indicate, especially for the Chinese language, which has seen a major leap forward with neural methodologies.

The Chinese research community is well versed in the machine translation field, with Baidu a prominent player, and thus implementation of AI in translation workflows is the logical response.

Additionally, as industry professionals begin to broaden their view to think about regional intricacies they should keep in mind that fans are traditionally one of the most powerful forces in promoting specific cultural products.

Entire communities of fan-subbers in each country, with their own rules and code of conduct, maintain control of the artistic process and its results and break away from subtitling norms, pushing the boundaries of traditional audiovisual translation by innovative techniques such as blogging on-screen, creative placement of subtitles, contextual explanations, atypical font styles, just to mention a few, which could be a fresh way to more successfully address the culture barrier issue.

One of the highlights of my trip to China was the visit to the 24th Shanghai TV Festival TV market. The volume and variety of content coming out of China is dazzling and, while there is an obvious need for improvement in translation quality to better address foreign audiences, the otherwise high-quality artistic characteristics of the content and the interesting narratives explored will ensure Chinese content gains worldwide popularity.

At the end of my first trip to China, I brought back the feeling of moving fast forward as I climbed the Oriental Pearl Radio & Television Tower and stood on the glass-bottom walkway at 263 meters above ground. Shanghai is a city whizzing into the future and definitely one to go back to if one wants to understand not only China’s potential, but also its future role in the world.