Origin of the Italian Fansubbing Phenomenon

Massidda, Serenella

doi:10.1057/9781137470379_6

Cited by 5 publications

(9 citation statements)

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“…Some non-professional translators have already been translating for a considerable amount of time, which can count as experience. Scholars have argued that non-professional translators actually improve as translators over time (Barra, 2009;Dwyer, 2012;Massidda, 2012) and also that expertise does not necessarily equal professionalism (Jääskeläinen, 2010).…”

Section: Professional and Non-professional Subtitlingmentioning

confidence: 99%

“…However, with the growth in the number of investigations, other studies have recognized that non-professional subtitles are by definition different from professional ones and that they do not necessarily need to abide by the same professional standards (Feitosa, 2009). Further, researchers have found that non-professional subtitles are not only different but they also relate these differences to the fact that the audiences are different (Barra, 2009;Casarini, 2014;Massidda, 2012). It is likely that people using non-professional subtitles have different needs from the people who watch the TV series on television or DVD.…”

Section: Research On Non-professional Subtitlingmentioning

confidence: 99%

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A reception study on non-professional subtitling: Do audiences notice any difference?

Orrego-Carmona¹

2016

Across Languages and Cultures

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The audience's reluctance to wait for the international release of audiovisual products, coupled with the easy access to audiovisual material and subtitling tools on the Internet, has triggered an increase in the production and use of non-professional subtitling. However, up to now, we know little of how people receive the subtitles and how much they understand when watching products with non-professional subtitles. This paper presents the results of a study that explores the audience reception of subtitled TV series using professional and non-professional subtitling. Fifty-two participants were shown three excerpts from The Big Bang Theory with three subtitle versions: the professional version extracted from the Spanish DVD and two non-professional versions produced by two different nonprofessional subtitling communities. Data were collected through questionnaires, eye-tracking and interviews. The results show that non-professional subtitles do not necessarily affect the audience reception negatively. Further, both eye-tracking and self-reported data yielded interesting insights into audience's reception. Based on the findings, it is possible to say that there are non-professional translations that are as good as their professional counterparts.

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Section: Professional and Non-professional Subtitlingmentioning

confidence: 99%

Section: Research On Non-professional Subtitlingmentioning

confidence: 99%

A reception study on non-professional subtitling: Do audiences notice any difference?

Orrego-Carmona¹

2016

Across Languages and Cultures

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“…Throughout the second decade of the new millennium, fansubbing experienced a revival, shifting its focus to serialized TV shows (Askwith, 2007). The golden age of US TV shows, such as Lost (2004-2010), marked a significant change in the television landscape, paving the way for video streaming on demand (VoD) and binge-watching culture (Massidda, 2015). Furthermore, the rise of social media and online streaming platforms further accelerated the growth of fansubbing, allowing fans to engage with media content and collaborate on translation projects (Pérez-González, 2012).…”

Section: Global History Of Fansubbingmentioning

confidence: 99%

“…Collaborative translation, as described by Fan (2020), involves the joint efforts of translators and experts in related fields, with fansubbing being a notable example of such collaboration in the AVT domain. Fansubbing emerged as a response to censorship of Japanese audiovisual products in the US (Massidda, 2015) and continues to grow in popularity in Asia due to its efficiency and cost-effectiveness. Fansubbing communities adopt a decentralized, non-hierarchical structure, where participants specialize in various aspects of the translation process, such as proofreading, post-editing, art effects, and more (Lee, 2011; O'hagan, 2009).…”

Section: Collaboration and Fansubbingmentioning

confidence: 99%

From Niche to Mainstream: Tracing the Trajectory of Fansubbing in the Arab World

Abu-Rayyash

2024

IJLLT

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This study aims to examine the development of the Arab fansubbing phenomenon, focusing on the Arab fansubbers' demographic characteristics, registration patterns, and workflow styles between 2001 and 2023. Furthermore, it strives to comprehend the role of fansubbing in disseminating global content within the Arab world, emphasizing its potential as a means of promoting mutual understanding. Employing a mixed-methods approach, the study examines a corpus of 360 Arab fansubbers and their associated metadata primarily sourced from Subscene.com, a popular subtitle-sharing platform. Additionally, it explores digital interactions such as online forums, dialogues, and comment sections. Therefore, the findings indicate a significant increase in registered fansubbers, signaling a growing interest in fansubbing activities within the Arab world. Moreover, there have been noticeable shifts in the distribution of audiovisual fansubbed materials, signifying evolving preferences and practices. Finally, diverse collaborative practices have emerged within these communities, indicating a shift towards a more cooperative working style.

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“…The most usual topics discussed related to domestication/foreignization were identified. Ramière (2006), Massidda (2012), Tanase (2014), Cai (2015), Sadeghpour and Omar (2015), Gao (2017) and Boito and Caetano (2018) discussed humour. Nine studies worked with informal and localized registers and terminologies: Brazilian Portuguese slum ghetto slang (Espindola & Vasconcellos, 2006); vulgarisms and sexually-oriented language in Cantonese (Fong, 2009); culinary terms (Judickaité, 2009); Australian English use of expletives (Petillo, 2010); African-American vernacular English and verlan, slang used by the French youth (Mével, 2011); ethnolect Indian English (Minutella, 2012); swearing in Persian (Ameri & Ghazizadeh, 2014); military register and terminology in American English and Polish (Pirus, 2015); Nigerian languages, Yoruba, Igbo and Hausa (Babatunde, 2017); and Chinese political slogans (Chang, 2017).…”

Section: Overview Of Studiesmentioning

confidence: 99%

Domestication and foreignization in interlingual subtitling: A systematic review of contemporary research

Yonamine¹

2022

Trans-Int

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When faced with culturally anchored terms, subtitlers can render the translation closer to the foreign language and culture, adopting a strategy of foreignization, or closer to the domestic audience, thus adhering to a strategy of domestication (Venuti, 1995). The goal of this systematic review, based on the PRISMA framework (Moher et al., 2009) is to identify, via structured and extensive selection of studies, assess and summarize the academic literature on domestication and foreignization in interlingual subtitling. The thematic analysis of comprehensive contemporary literature aimed at understanding concepts, discussions, findings and research gaps, to inform future relevant and constructive contributions to the current body of research. The analysis of 33 studies published in English and Portuguese between 2004 and 2020 examined five themes: overview of studies, orientation towards foreignization or domestication, translation strategies continuums, linguistic features covered in the studies, and reception of subtitles. Limitations of previous studies and under-researched matters are then presented to support future research. Further empirical studies on the reception of interlingual subtitling are recommended to advance the understanding of subtitles as a product, using dedicated methods and technologies to develop objective metrics about their perception and processing by viewers and move the audiovisual translation field forward.

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Origin of the Italian Fansubbing Phenomenon

Cited by 5 publications

References 0 publications

A reception study on non-professional subtitling: Do audiences notice any difference?

A reception study on non-professional subtitling: Do audiences notice any difference?

From Niche to Mainstream: Tracing the Trajectory of Fansubbing in the Arab World

Domestication and foreignization in interlingual subtitling: A systematic review of contemporary research

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