MDDI 演講稿 · 2025-12-03
高階政務部長陳杰豪在2025年12月3日新加坡亞洲電視論壇暨市場的開幕致辭
要點
- • 新加坡政府通過人才加速計劃（TAP）在未來三年投入2億新元，為媒體專業人士提供從創意開發、內容製作到進入國際市場的全程支援。
- • 2025年全國勞動力調查顯示，四分之三的受訪員工已使用AI工具，85%表示這些工具有助於節省時間、提升生產力和改善工作質量。
- • 政府今年承諾通過"企業勞動力轉型配套"撥出4億新元，並額外撥出2億新元用於職工總會企業培訓委員會補助金，以支援企業崗位轉型。
- • 新加坡的版權法規定，只有在人類付出實質性創作貢獻的前提下，相關作品才受到保護；國家AI治理框架亦要求企業在使用生成式AI時須負責任地處理資料。
- • 新加坡影片《Renoir》入圍2025年戛納電影節主競賽單元，《A Useful Ghost》榮獲戛納影評人週大獎，彰顯了聯合制作模式的國際突破力。
- • 新加坡媒體發展管理局（IMDA）正與微軟等科技商合作，將Copilot等企業AI工具引入內容製作流程，本屆ATF新加坡館亦設有AI實訓及AI Pitch Jam等動手工作坊。
完整譯文（繁體中文）
MDDI 英文原文譯文 · 翻譯日期: 2026-06-21
早上好。很高興出席今年的亞洲電視論壇暨市場（Asia TV Forum and Market），簡稱ATF。
熱烈歡迎來自世界各地的業界朋友、製作人、委託方及合作伙伴。
ATF是創意、人才與機遇匯聚之地。
我們在此交流洞見、締結新的合作關係，共同塑造亞洲娛樂業的未來。
昨日的ATF領袖對話聚焦於"重構敘事：跨屏成功的新支柱"這一主題，深刻反映了行業變革之迅速。
當今觀眾擁有前所未有的多元選擇。
他們在各類螢幕上享受故事——從院線和電視，到流媒體平臺、移動應用程式，再到短影片豎屏格式。
技術與新形式正在重塑故事的創作方式，也在重塑觀眾的觀看體驗。
微短劇的興起便是其中一例。
在整個亞洲，這一形式增長迅速，背後的驅動力是移動優先的觀看習慣，以及喜歡隨時隨地觀看簡短、引人入勝故事的年輕受眾。
在新加坡，我們一直密切關注這一趨勢。
去年，IMDA組織了一批本地製作人赴海外考察，深入瞭解微短劇背後的生態系統與創作思路。他們研究了微短劇如何實現規模化開發與製作。此行所學在國內引發了強烈興趣。
此後，業界已邁出清晰的前進步伐。新傳媒（Mediacorp）的"SG60 First Frame"計劃吸引了逾130份提案，多個專案已陸續上線。
新加坡獨立製作人協會（AIPRO）推出了"Our Singapore, Our Stories"，這是另一項SG60倡議。該專案匯聚獨立製作人，共同創作以新加坡日常生活為靈感的短小故事。
這些努力表明，業界正開始以富有實質意義的方式探索和適應這一形式。
我們正密切關注這些動態，以瞭解新加坡創作者如何把握這一快速成長領域的機遇。
我們也看到技術對整個行業的深遠影響。
人工智慧，尤其是生成式人工智慧（Gen AI），正幫助企業最佳化工作流程、加速製作任務、將創意概念視覺化。
許多製片公司告訴我們，AI工具幫助他們更快速地準備提案材料、測試創意構思，並處理過去耗時更長的日常事務。
然而，這些變化也帶來了切實的憂慮。
我在與企業和創作者交流時，聽到了種種焦慮：
AI會取代工作崗位嗎？
某些職位會消失嗎？
這對創意專業人士意味著什麼？
這些都是合理的擔憂，我對此深感理解。
我們的應對思路很簡單：在新加坡，我們的重點是幫助勞動者在格局變遷中保持競爭力。這是我們"以人為本"理念的組成部分。作為一個小型開放經濟體，我們無法將各行業部門與技術變革隔絕開來。
相反，我們專注於能力建設，使我們的勞動力能夠保持競爭力，抓住全球新機遇。
從我們最新的全國勞動力調查來看，AI的廣泛應用已初見端倪。
在我們2025年打造"AI流利勞動力"的推進計劃下，四分之三的受訪勞動者表示已在使用AI工具；85%的受訪者表示，這些工具幫助他們節省了時間、提升了生產力並改善了工作質量。
政府將採取更多措施，支援我們的企業和勞動者。
今年早些時候，政府在企業勞動力轉型配套（Enterprise Workforce Transformation Package）下承諾撥款4億新元，並另撥2億新元用於NTUC企業培訓委員會補助金。
這些舉措幫助企業轉型職能，使工人能夠轉向更高價值的工作。
在媒體領域，我們同樣致力於為技術類和非技術類媒體專業人士——從製作團隊到編劇與編輯——提供技能培訓，使他們能夠自信地與AI協作。
IMDA正與微軟（Microsoft）等科技供應商合作，將Copilot等企業工具引入內容製作工作流程。
重點在於實際應用——不是為了實驗而實驗，而是能夠解決真實製作問題的工具。
本週在新加坡館，我們正通過與業界開展的實操生成式AI專案，將這一工作推向深入。
今天稍後，微軟（Microsoft）將與精選製作公司舉行小組會議。每家公司帶來一個真實的業務難題——從工作流程和預算到排期與開發——屆時將現場運用生成式AI工具協助解決這些問題。
明天，我們將展示生成式AI如何在不同階段支援內容創作。其中一場將演示AI如何在開發階段測試受眾反應和情感影響。
另一場將展示AI生成的影片，以及創作者如何運用這些工具塑造視覺效果與敘事。
我們還設有AI Pitch Jam環節，各團隊在數小時內運用生成式AI——從劇本創作和影像生成到音效與剪輯——完成短片預告的提案展示。
這些環節讓我們的創作者親身體驗生成式AI如何提升效率、打磨創意並支援更優決策，同時也為他們在新加坡以外的競爭做好準備。
與此同時，我們也在採取措施保護創作者及其智慧財產權。
正因如此，新加坡已制定明確的負責任AI使用指引，涵蓋透明度、問責制以及訓練資料合規使用等方面的規範。
根據新加坡《國家人工智慧治理框架》及資料保護法律，使用生成式AI的企業必須負責任地處理資料並保護個人資訊。
根據我國版權法，當創作作品中存在有意義的人工投入時，該作品受到保護。這意味著真實的人必須構建創意、作出創作抉擇並引導最終成果。AI可在過程中提供輔助，但所有權歸屬於創作者。這保護了原創理念，並確保權利留存於人類手中。
這些規定讓創作者、製片公司和企業確信，AI的採用可以是安全、公平且符合法律規範的。
簡而言之，我們希望藉助AI使媒體行業保持關聯性與競爭力。但更重要的是，我們希望以一種惠及並壯大媒體專業人士的方式來實現這一目標。
即便格式與技術工具不斷演進，有一點始終不變——強大的夥伴關係讓更優質的故事得以呈現，並觸達更廣泛的受眾。
多年來，在國際與本地業界夥伴的積極參與下，新加坡已發展成為一個值得信賴的聯合制作樞紐。駐新企業如今與亞洲、歐洲及更廣泛地區的夥伴合作。這使我們的人才得以進入更大的市場、獲得更雄厚的融資和全球發行渠道——同時在每個專案中保持鮮明的新加坡元素。
我們正看到良好且令人鼓舞的成果。
《Renoir》由Akanga Film Asia與來自日本、法國、菲律賓和印度尼西亞的合作方聯合制作，今年入選戛納主競賽單元。這是"新加坡製造"（Made-with-Singapore）影片第二次躋身這一階段。上一次是17年前，郭修篆（Eric Khoo）執導的《My Magic》。
《A Useful Ghost》是另一個有力例證。該片由新加坡Momo Film Co與泰國、法國和德國的合作方聯合制作，今年榮獲戛納影評人週大獎（Grand Prix）。
這些獲獎成果彰顯了聯合制作的力量，助力我們的企業走向世界。
在我們拓展全球合作伙伴關係的同時，本土數字創作者也在嶄露頭角——Viddsee的《Viola Isn't Like Us》上週五榮獲第30屆亞洲電視大獎（Asian Television Awards）最佳短影片獎，表明新加坡故事如今已能與亞洲最優秀的作品並駕齊驅。
這些成功展示了我們行業今日所能取得的成就，也為下一階段加強人才梯隊和夥伴關係的計劃奠定了堅實基礎。
今天，我很高興推出人才加速計劃（Talent Accelerator Programme，簡稱TAP）。TAP是一項全新舉措，為我們的媒體專業人士提供端到端的支援，涵蓋從孕育優質創意、製作內容到推向國際市場的全過程。
政府將在未來三年內向TAP投入2億新元。這是一項重大承諾，旨在培育創意人才、深化聯合制作夥伴關係，並建設一個更具韌性的媒體行業。
重點十分明確——從一開始就幫助我們的人才孕育具有全球抱負的故事。
在TAP框架下，我們採取清晰的循序漸進方式，幫助人才和企業在媒體全鏈條上持續進階——從創意、到熒幕、再到受眾。該計劃共分三個階段，每個階段均旨在同步提升創作技藝與商業實力。
第一階段為開發階段。這是優質創意的起點。IMDA將協助我們的媒體專業人士和企業與全球買家及委託方的需求對接，並提供故事開發、提案呈現和商業談判方面的導師輔導及大師課程。
這有助於我們的團隊打磨故事、塑造從一開始就面向國際市場的創意。與此同時，他們也能建立更堅實的專案基礎——從融資計劃和發行策略，到清晰的IP所有權結構。
我們還將深化與全球流媒體平臺、國際製作公司及節目主創的對接渠道。這使我們的人才和企業能夠直接進入全球市場，提升在新加坡以外取得成功的機會。
第二，製作階段。IMDA將聯合資助區域及全球範圍內的影視聯合制作——包括劇情類和非劇情類——以及IP的影視改編專案。
這使我們的企業能夠與強大的國際合作夥伴攜手，共擔風險、整合優勢，並規模化地製作內容。隨著時間推移，這將鞏固新加坡作為區域聯合制作中心的地位。
第三，發行階段。我們將幫助"新加坡製造"內容走向世界。IMDA將通過專屬內部營銷團隊，提升我們內容、人才和企業的國際知名度。我們還將為特定專案提供營銷資金支援，以擴大曝光度和國際影響力。
我們希望扶持那些大膽獨特、能夠跨越國界傳播的創意，同時保持根植於我們自身聲音與身份認同的底色。
TAP將我們對人才和企業的所有扶持整合為一個統一的計劃。
它涵蓋完整價值鏈——從開發、到製作、再到發行——使有潛力的創意擁有更清晰的路徑觸達全球觀眾。
它也充分認識到電影與電視在創作和商業層面存在不同的現實，並專門設計來幫助我們的團隊從兩者中獲取最大價值。
藉助TAP，我們致力於打造更強大的全球吸引力故事儲備，鞏固新加坡作為聯合制作中心的地位，並進一步強化我們作為區域內值得信賴的創意合作伙伴的角色。
我們的行業建立在合作的基礎之上。新加坡歷來是區域與全球創作者相聚、學習、締結合作關係並聯合製作的地方。
ATF和新加坡媒體節持續作為促成這些合作的重要平臺。
通過投資人才、扶持企業、培育新形式和IP，我們能夠打造一個具有韌性、面向未來的行業。
一個在擁抱創新的同時，始終將創造力置於核心的行業。
感謝我們的合作伙伴、節展組織者、行業領袖以及臺前幕後的人才——感謝你們多年來的大力支援。
同樣感謝那些不斷突破邊界、活躍於各類熒幕的創作者、製作人和故事講述者。
祝大家在ATF度過充實而富有啟發的一週。
願你們在這裡發現新創意、激發新合作，持續創作出打動亞洲及全球觀眾的故事。
謝謝。
英文原文
MDDI 官網原始記錄 · 抓取日期: 2026-06-21
Good morning. I am happy to be here at this year’s Asia TV Forum and Market, or ATF in short.
A warm welcome to our industry friends, producers, commissioners, and partners from around the world.
ATF is where ideas, talent, and opportunities come together.
It is where we exchange insights and forge new partnerships that shape the future of entertainment across Asia.
At yesterday’s ATF Leaders Dialogue, the focus was on “Re-Framing the Narrative: New Pillars of Success Across Screens”. This theme reflects how quickly our industry is changing.
Audiences today have more choices than ever.
They enjoy stories on every screen — from cinema and TV, to streaming platforms, mobile apps, and short-form vertical formats.
Technology and new formats are reshaping how stories are made, and how they are experienced.
One example is the rise of microdramas.
Across Asia, this format has grown rapidly, driven by mobile-first viewing and younger audiences who enjoy short, compelling stories on the go.
Here in Singapore, we have been studying this trend closely.
Last year, IMDA brought a group of our producers overseas to understand the ecosystem and creative approaches behind these formats. They studied how microdramas are developed and produced at scale. What we learnt there sparked strong interest back home.
Since then, we have seen our industry take clear steps forward. Mediacorp’s “SG60 First Frame” initiative attracted over 130 proposals and several projects are already in release.
The Association of Independent Producers in Singapore, also known as AIPRO, launched “Our Singapore, Our Stories” another SG60 initiative. This project brought independent producers together to create bite-sized stories inspired by everyday Singapore life.
These efforts show how our industry is beginning to experiment and adapt this format in meaningful ways.
We are watching these developments closely, to understand how Singapore creators can harness the opportunities in this fast-growing space.
We are also seeing the impact of technology across the industry.
AI, particularly Generative AI (Gen AI) is helping companies improve workflow, speed up production tasks, and visualise creative concepts.
Many studios tell us that AI tools help them prepare pitch materials more quickly, test creative ideas, and manage routine work that used to take much longer.
But with these changes come real concerns.
I hear anxieties when I speak with companies and creators:
Will AI replace jobs?
Will certain roles disappear?
What does this mean for creative professionals?
These are valid concerns and I appreciate them.
Our approach is simple: In Singapore, our focus is to help workers stay relevant as the landscape changes. This is part of our people-first approach. As a small open economy, we cannot insulate our industry sectors from technological changes.
Instead, we focus on building capabilities, so our workforce can stay competitive and seize new global opportunities.
From our latest nationwide workforce surveys, we are already seeing how widely AI is being used.
Under our 2025 drive to build an “AI-fluent workforce”, three in four workers surveyed say they already use AI tools. And 85 per cent say these tools help them save time, lift productivity, and improve work quality.
The Government will do more to support our enterprises and workers.
Earlier this year, the Government committed S$400 million under the Enterprise Workforce Transformation Package, together with another S$200 million for the NTUC Company Training Committee Grant.
These efforts help companies transform job roles and enable workers to move into higher-value tasks.
For the media sector, we are likewise aiming to equip both tech and non-tech media professionals, from production crews to writers and editors, to build their skills so they can work confidently with AI.
IMDA is partnering with technology providers such as Microsoft to introduce enterprise tools such as Copilot into content production workflow.
The focus is on practical use — not experiments for their own sake, but tools that solve real production problems.
Here at the Singapore Pavilion this week, we are taking this work further through hands-on Gen AI programmes with our industry.
Later today, Microsoft is running small-group sessions with selected production companies. Each company brings a real business problem — from workflow and budgeting to scheduling and development — and Gen AI tools will be applied live to help them solve these problems.
Tomorrow, we show how Gen AI supports content creation at different stages. One session demonstrates how AI can test audience responses and emotional impact during development.
Another showcases AI-generated films and how creators are using these tools to shape visuals and storytelling.
We also have an AI Pitch Jam, where teams pitch short trailers using Gen AI — from script and image creation, to sound and editing — all within a few hours.
These sessions give our creators hands-on experience on how Gen AI can improve efficiency, sharpen ideas, and support better decisions. They also prepare our creators to compete beyond Singapore.
At the same time, we are also taking steps to protect our creators and their intellectual property.
That is why Singapore has put in place clear guidance on responsible AI use. These include rules on transparency, accountability, and the proper use of training data.
Under Singapore’s National AI Governance Framework and data protection laws, companies using Gen AI must handle data responsibly and protect personal information.
Under our copyright law, creative works are protected when there is meaningful human input. This means a real person must shape the idea, make creative choices, and guide the final outcome. AI can assist in the process, but ownership stays with the creator. This protects original ideas and ensures that rights remain in human hands.
These give creators, studios, and companies assurance that adoption of AI can be safe, fair, and legally sound.
In short, we want to harness AI for our media sector to remain relevant and competitive. But importantly, we want to do so in a way that benefits and strengthens our media professionals.
Even as formats and technological tools evolve, one thing remains constant – strong partnerships enable better stories to be told and for those stories to reach out to a wider audience.
Over the years, with the active involvement of international and local industry partners, Singapore has developed into a trusted co-production hub. Singapore-based companies now work with partners across Asia, Europe, and beyond. This gives our talent access to larger markets, stronger financing, and global distribution — while keeping a strong Singapore element in each project.
We are seeing good, encouraging results.
Renoir, co-produced by Akanga Film Asia with partners from Japan, France, the Philippines and Indonesia, was selected for the Cannes Main Competition this year. It is only the second time a Made-with-Singapore film has reached this stage. The first was 17 years ago, with Eric Khoo’s My Magic.
A Useful Ghost is another strong example. It was co-produced by Singapore’s Momo Film Co with partners in Thailand, France and Germany. The film won the Grand Prix at Cannes Critics’ Week this year.
These wins reflect the power of co-production in helping our companies reach the world.
Even as we partner globally, our homegrown digital creators are also breaking through — Viddsee’s Viola Isn’t Like Us won Best Short-Form Video at the 30th Asian Television Awards last Friday, showing that Singapore stories now stand shoulder to shoulder with the best in the region.
These successes show what our industry can achieve today. They form a solid foundation for the next phase of our plans to strengthen our talent pipeline and partnerships.
Today, I am pleased to launch the Talent Accelerator Programme, or TAP. TAP is a new initiative that provides end-to-end support for our media professionals, from developing strong ideas, to producing content, and taking it to international markets.
The Government will invest S$200 million in TAP over the next three years. This is a major commitment to grow our creative talent, strengthen co-production partnerships, and build a more resilient media industry.
The focus is clear — to help our talent develop stories with global ambition from the very start.
Under TAP, we take a clear, step-by-step approach to help our talent and companies progress across the full media journey. From idea, to screen, to audience. There are three stages in this programme, and each stage is designed to strengthen both creative craft and commercial strength.
First, the development stage . This is where strong ideas begin. IMDA will match our media professionals and companies with what global buyers and commissioners are looking for. We will provide access to mentorships and masterclasses in story development, pitching, and deal-making.
This helps our teams sharpen their stories and shape ideas that are ready for the international market from the outset. At the same time, they build stronger project foundations — from financing plans and distribution strategies, to clear IP ownership structures.
We will also deepen access to global streamers, platforms, international production houses and showrunners. This allows our talent and companies to engage directly with the global market and increase their chances of success beyond Singapore.
Second , the production stage . IMDA will co-fund regional and global co-productions across film and television — scripted and unscripted — as well as screen adaptations of IP.
This allows our companies to work with strong international partners, share risk, combine strengths, and produce content at scale. Over time, this strengthens Singapore’s position as a coproduction hub in the region.
Third , the distribution stage . We will help Made-with-Singapore content reach the world. IMDA will elevate the profile of our content, talent and companies through a dedicated in-house marketing team. We will also support selected projects with marketing funding to boost visibility and international reach.
We want to support bold, distinctive ideas that can travel, while staying grounded in our voice and identity.
TAP brings all our support for talent and companies into a single, unified programme.
It covers the full value chain — from development, to production, to distribution — so that promising ideas have a clearer pathway to reach global audiences.
It also recognises that film and television have different creative and commercial realities, and it is designed to help our teams capture the best value from both.
With TAP, we aim to build a stronger pipeline of stories with global appeal, strengthen Singapore’s position as a co-production hub , and reinforce our role as a trusted creative partner in the region.
Our industry is built on collaboration. Singapore has always been a place where regional and global creators meet, learn, forge partnerships and co-produce.
ATF and the Singapore Media Festival continue to be an important platform for these partnerships to be forged.
By investing in talent, supporting companies, and nurturing new formats and IP, we can build a resilient, future-ready industry.
One that embraces innovation while keeping creativity at the centre of what we do.
Thank you to our partners, festival organisers, industry leaders, and talents – on screen and off screen – for your strong support over the past years.
Thank you also to the creators, producers, and storytellers who continue to push boundaries across every screen.
I wish all of you a meaningful and inspiring week at ATF.
May you discover new ideas, spark new collaborations, and continue shaping stories that move audiences across Asia and beyond.
Thank you.