Innovative translation adds quality

Beautiful Daughter-in-law and Jin Tailang's Happy Life are translated, dubbed and produced by the China Radio International Dubbing Center.

As center director Wang Gangjian explains, the center was established last October. It employs international dubbing teams in more than 60 languages, and caters to the international demand for dubbing films and television programs. Before the center was established, Wang had begun dubbing Beautiful Daughter-in-law into Swahili, and after a year of preparation, the series made its first broadcast in October 2011. When the center was set up, it took on further projects from the General Administration of Press and Publication, Radio, Film and Television in the second half of last year.

Wang Gangjian says that in terms of dubbing quality, these films and television series "are absolutely capable of competing in the marketplace". China Radio International has its own translation teams and hires foreign experts to revise and finalize a manuscript, and the scripts are in accordance with African language customs. It also uses African voice casts.

Help foreigners to distinguish Fan Bingbing from Zhang Ziyi

"To some foreigners, Chinese actresses actually look alike – for example they have difficulty distinguishing between Fan Bingbing and Zhang Ziyi," Zhang Lin says with a smile. "This is because there isn't enough promotion of our series and we lack the skills to create stars in the way that countries like Japan or Korea do. As a result, charismatic celebrities do not make sufficient impact and lack international profile."

In Zhang Lin's view, Chinese films and television programs must still overcome problems in the export market. "Our key products are still costume dramas and martial arts dramas. While South Korean soap operas are internationally competitive, the influence of our domestic soaps is still confined to the Chinese market." She suggests that: "Chinese films and television products should change their image, modify their scripting, and adjust to the tastes of overseas audiences." For example, European drama series tend to be from three to five episodes in length, and only one episode is broadcast each week, while Chinese dramas often have thirty to fifty episodes. They need to be modified when they are exported to Europe and America. Furthermore, she hopes that domestic TV series will attach more importance to overseas market considerations, include provisions for overseas market promotion in their production budgets, and be willing to make a greater commitment to overseas marketing.

Sui Yan, a professor from the Communication University of China, thinks that our film and television output needs to change not only in terms of technology, but also conceptually in terms of acquiring an overseas identity He points out that some domestic series portray deviations from family affection and human nature which are unacceptable to foreign audiences, and that there is often a focus on grandiose and ostentatious themes. "In reality we should reveal greatness through trivia, presenting the power of our nation and our people's spiritual state through simplicity and touching details. Therefore, we need to modify some of our traditional ideas on how to communicate."

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