當印尼作家傑希 蘇丹託（Jesse Q Sutanto）將自己的小說 《A Dials for Aunties》簽約出版商時，她萬萬沒想到，這本書的電影版權不久後將被 Netflix 搶購買下。
When Indonesian author Jesse Q Sutanto landed a book deal for her novel, Dial A for Aunties, she hadn't anticipated the film rights immediately being snapped up by Netflix.
這位來自雅加達的作家，將她的處女作描述為《瘋狂亞洲富豪》與《老闆度假去》（Crazy Rich Asians meets Weekend at Bernies）混合體。
The Jakarta-based author describes her debut as 'Crazy Rich Asians meets Weekend at Bernies'.
她又說，這個故事，恰好在適當的時機出現：劇情是一位婚禮攝影師意外地殺死了她的初次約會對象，然後將屍體藏在婚禮。
She says the tale - about a wedding photographer who accidentally kills off her blind date and then hides the body during an Indonesian society wedding - came along at just the right time.
「新冠疫情封鎖下，每個人都需要振作精神。誇張的故事情節，屍體和大型婚禮的荒謬性可以讓人逃避現實。其中，印尼華人婚禮令人驚嘆，平均可以有 2,000名賓客。而我小說中的女主角必須在媽媽和阿姨的幫助下將屍體藏起來。」
"Everyone was in need to cheering up, because of lockdown. The over-the-top plot, and the ridiculousness of a dead body and a big wedding is such great escapism. Chinese-Indonesian weddings are amazing, they can have an average of 2,000 guests - my heroine has to hide the body with the help of her mum and aunties."
蘇丹託將是影片監製， 導演是娜奇卡·可汗（Nahnatchka Khan），後者作品有美國電視劇《菜鳥新移民》（ Fresh Off the Boat ），一套有關臺灣移民如何適應美國生活的劇集。
Sutanto will executive produce the film, which is directed by Nahnatchka Khan, who made Fresh off the Boat, a TV series about Taiwanese immigrants adjusting to life in the US.
但是她認為，如果沒有《瘋狂亞洲富豪》（Crazy Rich Asians）的成功，這筆電影交易就不會發生。
But she believes the film deal would not have happened "without the success of Crazy Rich Asians".
根據關凱文（Kevin Kwan）小說改編的《瘋狂亞洲富豪》是第一部全亞洲演員的好萊塢大片,全球收入約2億英鎊。
Crazy Rich Asians, based on a novel by Kevin Kwan, was the first US blockbuster with an all-Asian cast. It made just under £200m worldwide.
緊隨其後的是韓國電影《寄生蟲》（Parasite）的歷史性勝利，該片在今年早些時候獲得了奧斯卡最佳影片獎。
Hot on its heels came the historic win for South Korean film Parasite, which was named best picture at the Oscars earlier this year.
這股文化力量的轉移，也會回過頭來改變東方影壇嗎？
So is the shift of cultural power finally moving East?
亞洲影視文化蓄勢待發
澳門國際電影節藝術總監古裡奇（Mike Goodridge）解釋說：「2020年許多問題匯流成了今年這場完美風暴」。該電影節於2020年12月舉行。
"Lots of issues are coming together in a perfect storm in 2020," explains Mike Goodridge, artistic director of Macao's International Film Festival and Awards, which holds its fifth edition in December.
「現在，中國成為世界上最大的電影市場。那裡有13億人口，相比之下，遠勝於美國市場。如今中國出產好多大片，光本地市場便能賺上近10億美元。」
"China is now officially the biggest film market in the world - there are 1.3 billion people there and that wipes out the US market by comparison. You're looking at gigantic-sized hits coming out of China - films coming close to making $1bn in China alone.
古裡奇認為：「亞洲發生了翻天覆地的變化。在過去，我們一直被籠罩在人們所說的 『美國文化帝國主義』 裡。每個人都習慣去戲院看部好萊塢大片，而好萊塢主宰電影製作及全球放映。」
"But there's also a sea change. In the past, we've been at the mercy of what you could call American cultural imperialism - we all used to wait for the next Hollywood blockbuster. They made the movies and showed them throughout the world.
「但是像Netflix和Amazon這樣的串流媒體出現，任務是要在每個國家及地區吸引訂閲者。因此，你不能只向這些觀眾播放《復仇者聯盟》等漫威電影就萬事大吉，還必須製作本地電影和電視。觀眾想要看自己的故事。」
"But streaming services like Netflix and Amazon are about getting subscribers in each country. You can't just throw Marvel movies at that audience - you have to make local films and TV. They want their own stories.
「於是，這些美國公司將資金投入整個亞洲，包括在新加坡設立亞洲總部。」
"And so these US companies are putting money into content creation all over Asia, including a hub in Singapore."
古裡奇又說，將來能突圍而出的亞洲熱片，可能性很大。
Goodridge thinks chances are high that there will be another crossover hit from Asia.
「這種轉變實則與新冠病毒大流行不謀而合。由於疫情，許多好萊塢電影延後上映，待在家的亞洲觀眾於是將注意力集中在很多我們從未看過、有趣的電視或電影上，」 他補充說：「人們對對待字幕影視作品的心態更開放了。」
"This shift has coincided with the pandemic. We're not seeing many Hollywood movies, as they have been delayed, so viewers who are at home are focused on a lot of TV or interesting foreign language stuff that we've never looked at before," he says, adding: "We're more open to subtitles."
韓國的音樂產業，成功地將防彈少年團（BTS）等韓國流行文化（K-Pop）出口到世界各地，吸引許多全球歌迷。之後繼《寄生上流》拿下奧斯卡最大獎的首部非英語電影，韓國在這潮流中繼續領先。
South Korea, whose music industry has already successfully exported K-Pop artists such as BTS to a worldwide fan base, is in pole position to take advantage, following the success of Parasite, the first non-English language film to take top prize at the Academy Awards.
《寄生上流》的字幕翻譯和電影網站「koreanfilm.org」創始人帕奎特（Darcy Paquet），協助策劃今年在倫敦舉辦的韓國電影節。該電影節於10月29日以韓國大賣電影《無價之寶》（Pawn）開幕。
Darcy Paquet, subtitle translator for Parasite and the founder of koreanfilm.org, helped programme this year's London Korean Film Festival, which opened on 29 October with Korean box office hit Pawn.
《寄生上流》在全球的成功，也讓奉俊昊導演過去的電影，包含1994年發行的《支離破碎》（Incoherence）和2004年的《流感》（Influenza）在該影展成為最賣座的電影。
Parasite's global success means two short films which made director Bong Joon-ho famous in his native Korea - 1994's Incoherence and 2004's Influenza - have received top-billing at the event.
帕奎特預測：「當然，奉俊昊現在受到全球關注，其電影風格使他吸引了眾多觀眾，但其他韓國導演，譬如樸讚鬱在國際上也擁有越來越多的追隨者。」
"Of course, everything Bong Joon-ho makes will now get worldwide attention," Paquet predicts. "It's Bong's style that allowed him to access such a huge audience - but other Korean directors, like Park Chan-wook, have a growing international following."
「韓國上電影院的平均人數是全球最多的。這是一個真正熱愛電影的社會，他們說故事的方法也很老練純熟。」
"Korea has the highest cinema attendance in the world, per capita. It's a society that really loves film and their storytelling is sophisticated.
「我們期待更多精彩的韓國電影，在全球產生影響，讓西方觀眾更願意接受這些電影。」
"We can expect other impressive Korean films to make an impact - and now Western audiences might be more willing to take a chance on them."
東方或西方？
這些電影將鏡頭對凖西方觀眾可能不熟悉的文化價值。
Such films are bringing into focus cultural values that may be unfamiliar to Western audiences.
帕奎特說：「人們非常重視家庭，或個人在家庭裡的角色，一直是亞洲電影人物吸引人的關鍵。
"There's a strong emphasis on the family - and an individual's part within the family is a key part on how to relate to the character," says Paquet.
在日韓或中國，教育，科學和技術也都受到重視，從電影中可略見一二。」
"Definitely in Korea - as well as in Japan and China - education, science and technology are really prized, and that's expressed in the films," she adds.
「而且，與好萊塢故事相比，亞洲電影諷刺的手法少得多，故事情感表達十分直截，並可能非常強烈。」
"And there's much less irony than in Hollywood stories - the emotions in their stories are expressed very directly and can be very intense."
但是，成功地將文化價值觀傳遞給西方觀眾，並不總是那麼容易。
But it is not always straightforward to export cultural values successfully to a Western audience.
古裡奇解釋：「中國的故事情節寫得很好。他們遵循社會規範：在一個故事中，無論什麼情況，如果您犯了謀殺罪，就鐵定要入獄。」
"In China, there's a great sense of storylines," says Mike Goodridge. "They follow rules in society: in a story, if you commit a murder - no matter what the scenario - you'll have to serve your time.
「但如果您習慣了好萊塢講故事的節奏，看到一些中國電影時就會想：「他們根本不可能入獄！」，因為中國電影對道德價值更具反思性。」
"If you're used to the beats of Hollywood storytelling, you watch it thinking, 'there's no way they should be in prison!'. Their moral values are more reflective."
「這種誤解可以是相互性的。」 譬如，古德裡奇指出：「《瘋狂亞洲富豪》在中國就票房慘敗。」
And that the misunderstanding can be mutual. "Crazy Rich Asians bombed in China," Goodridge points out.
然而，考慮到《瘋狂亞洲富豪》在其他地方的成功，以及導演王璐璐（Lulu Wang）的《告別》（The Farewell）等電影的受歡迎程度，好萊塢似乎開始相信亞裔美國人的故事有潛力吸引更多觀眾。
Nevertheless, given the success of Crazy Rich Asians elsewhere, as well as the popular appeal of films such as Lulu Wang's The Farewell, Hollywood seems convinced Asian American stories have potential for a wider audience.
最近宣佈，「追殺夏娃」（Killing Eve）的演員吳珊卓（Sandra Oh）和另名演員奧卡菲娜（Awkwafina）就將出演Neflix一部關於姐妹互鬥的喜劇。
It was recently announced that Killing Eve's Sandra Oh and Awkwafina will star in a Netflix comedy about warring sisters, while Adele Lim - who co-wrote Crazy Rich Asians - will work with the Japanese producer-director Hikari on the Richard Curtis romantic drama Lost for Words.
而《亞洲超級富豪》的其中一名製作人林黛兒（Adele Lim 音譯）將與日本製片希卡裡（Hikari）及柯蒂斯（Richard Curtis）共同製作一部浪漫愛情劇《迷失》（Lost for）。林黛兒之前還請奧卡菲娜和越裔演員凱莉·瑪麗·陳（Kelly Marie Tran 音譯）共同為迪士尼的新動畫《 Raya and the Last Dragon》配音。
Lim has also co-written Disney's new animation, Raya and the Last Dragon, using the voices of Awkwafina and Kelly Marie Tran.
But does Asia even need Hollywood anymore?
但是亞洲還需要好萊塢嗎？ 黎先生是本月夏威夷國際電影節的藝術總監，創立了電影製片廠東方（East），該電影製片廠的故事來自越南和東南亞。
Le is artistic director of this month's Hawaii international Film Festival, and co-founded the film studio East, which makes stories from across Vietnam and South East Asia.
他解釋說：「這些國家一半的人口不到40歲。」
"Half the population is under the age of 40," he explains.
「（疫情間）電影院開放，票房很好。由於沒有好萊塢電影的競爭，觀眾們開始觀看一些精彩的本土電影。」
"The cinemas are open, ticket sales are good, and because there are no competing films coming from Hollywood, audiences are watching some really good local films.
「我認為越南，中國和韓國等國家，如今甚至不需要理會美國電影。他們就像印度的寶萊塢電影工業一樣，在自己的國家就已攀上顛峰；其他地方取得的成功，則是錦上添花。」
'I don't think countries like Vietnam, China and Korea even need to think about America now. They're like the Bollywood film industry in India, in that they want to reach their own first. Any other success elsewhere is just gravy to them."
但黎先生同意，亞洲確實希望在奧斯卡大放異彩。希望來自自己家鄉，有關自己文化底蘊的作品能在好萊塢獲獎。
But the area where Asia does want to make an impression, Le agrees, is at the Oscars - seizing the cultural cachet that a Hollywood award gives a homegrown film.
2021年的奧斯卡頒獎典禮，我們可能又會看到亞洲電影人在奧斯卡發光。
And in 2021, as long as the Academy Awards actually take place, Asia will once again have a significant stake.
奧斯卡女主角得主法蘭西絲·麥朵曼（Frances McDormand）主演的一部新片《遊牧人生》（Nomadland），背景是在美國。導演趙婷（Chloe Zhao）來自中國，她可能會成為奧斯卡第二位拿下最佳導演大獎的女性。
The film Nomadland, starring Frances McDormand, is the current favourite for best picture. It's set entirely in the US - but its maker, Chloe Zhao, who may become only the second woman to win best director, was born and raised - in China.
上圖：第77屆威尼斯影展頒獎禮於香港時間於9月13日凌晨舉行，當中曾執導《永恆族》（Eternals）的趙婷（Chloe Zhao），憑荷李活電影《Nomadland》奪得最高榮譽金獅獎，成為史上首名捧走此獎的華裔女導演，也是威尼斯影展相隔10年，再有女導演得此榮譽。
Edit｜Sibian
Illustration & Graphic ｜Cheung
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