Audiovisual translation and fandom

Fansubbing as a Locus of Experimentation and Subversion: A Case Study of Amateur Arabic Subtitles of Selected English Movies

“…The academic focus has steered more toward exploring the dynamics of amateur audiovisual translation practices, such as the subtitling of Japanese anime and manga by ardent fans of their own volition. The dissatisfaction of anime fans with official corporate subtitles that obliterate the cultural nuances of anime was the driving force behind the rise of the fansubbing movement in the 1980s (Dwyer, 2019;Pérez-González, 2007a;Pérez-González, 2020). Moreover, it rose as a backlash against the dubbing of Japanese anime for English-speaking audiences (O'Sullivan, 2011) and was propelled by the desire to overcome language hurdles and the limited dissemination of Japanese animations (Díaz Cintas & Remael, 2007).…”

“…The practice of fansubbing is marked by proactivity; fansubbers bow out of the role of passive users of cultural products and instead take on the role of agents (Vazquez-Calvo et al, 2019). Accordingly, fansubbing epitomizes the burgeoning culture of prosumption (Dwyer, 2019). Since amateur subtitlers not only consume audiovisual materials but also play an active role in producing subtitles for them, these amateurs can be regarded as prosumers whose subtitling practices are characterized by a transformative timbre (O'Hagan, 2009;Pérez-González, 2014).…”

The impact of TV series consumption on cultural knowledge: An empirical study based on gratification–cultivation theory

“…Readers create communities to share and exchange information and achieve a common understanding of cultural products ( Tian and Adorjan, 2016 ). The fandom of readers can be considered a vital transmitter in expanding information and knowledge ( Dwyer, 2019 ). Their base of trust is important in the percentage of the global gross domestic product that creative and cultural industries generate annually as they are willing to translate and share content with community members voluntarily ( Shim et al, 2020 ).…”

Insights into Iranian younger audience of Persian amateur subtitling: a reception study

“…A long time has passed since the introduction of professional subtitling as an effective means for rendering foreign cinematic products across languages and cultures, and almost three decades since the American society of the early 1980s witnessed a resistant form of subtitling called fansubbing (Dwyer, 2019;Leonard, 2005). A pivotal factor in the emergence of fansubbing can easily be attributable to the democratization of technology that puts the act of subtitling "in the hands of the general public" (Guillot, 2019: 31).…”

“…A pivotal factor in the emergence of fansubbing can easily be attributable to the democratization of technology that puts the act of subtitling "in the hands of the general public" (Guillot, 2019: 31). Both professional subtitling and amateur subtitling have been the focus of numerous studies over the past two decades, and there are several encyclopedia entries revolving around the two topics (e.g., Díaz Cintas, 2020; Dwyer, 2019;Guillot, 2019;Massidda, 2020), highlighting its importance in academia. While admitted as an underexplored area of investigation as early as the 1990s or still up until the mid-2000s (Gambier, 2003), subtitling reception has gained researchers' attention in recent years (Orrego-Carmona, 2019;Perego, 2016) and scholars have started to write state-of-the-art observations on subtitling reception and perception (e.g., Di Giovanni, 2020;Nikolić, 2018).…”