Academic literature on the topic 'Fansubbing'
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Journal articles on the topic "Fansubbing"
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Park, Joseph Sung-Yul. "Digital media communication, intellectual property, and the commodification of language." Language, Culture and Society 1, no. 2 (October 22, 2019): 244–66. http://dx.doi.org/10.1075/lcs.19001.par.
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Abstract Focusing on fansubbing, the production of unauthorized subtitles by fans of audiovisual media content, this paper calls for a more serious sociolinguistic analysis of the political economy of digital media communication. It argues that fansubbing’s contentious position within regimes of intellectual property and copyright makes it a useful context for considering the crucial role of language ideology in global capitalism’s expanding reach over communicative activity. Through a critical analysis of Korean discourses about fansubbing, this paper considers how tensions between competing ideological conceptions of fansub work shed light on the process by which regimes of intellectual property incorporate digital media communication as a site for profit. Based on this analysis, the paper argues for the need to look beyond the affordances of digital media in terms of translingual, hybrid, and creative linguistic form, to extend our investigations towards language ideologies as a constitutive element in the political economy.
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Wang, Dingkun, and Xiaochun Zhang. "Fansubbing in China." Target. International Journal of Translation Studies 29, no. 2 (June 29, 2017): 301–18. http://dx.doi.org/10.1075/target.29.2.06wan.
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This paper seeks to explore the socio-political tensions between freedom and constraints in the Chinese fansubbing networks. It approaches the development of fansubbing in China as a process of technology democratisation with the potential to liberate ordinary citizens from authoritarian and commercial imperatives, enabling them to contest official state domination. The paper draws on the strategies adopted by fansubbing groups to organise their working practices and interactive social activities with a view to engaging target audiences. Both facets complement each other and bring to the fore the ‘gamified’ system of fansubbing networks. Gamification enables ordinary citizens to translate, distribute and consume foreign audiovisual products in a strategic move that pits collective activism against government dominance.
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De los santos Contreras, Alondra. "El fansubbing en contraste con la traducción profesional." Ciencia Latina Revista Científica Multidisciplinar 7, no. 4 (September 12, 2023): 7553–68. http://dx.doi.org/10.37811/cl_rcm.v7i4.7489.
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El presente estudio cualitativo tiene como objetivo analizar de forma contrastada el fansubbing y la traducción profesional, sus connotaciones en las técnicas y herramientas, su conocimiento y aplicación en los aspectos traductológicos y culturales, así como sus similitudes y diferencias, a través de tablas de observación en la que se comparan los tratados de ambos tipos de traducción. El fansubbing, es la práctica de la traducción informal de contenidos hecha por los fans, el nombre de dicha técnica proviene de fan admirador y subbing subtitulado o traslación. En un mundo globalizado la aceptación de la traducción de diferentes productos multimedia ha cobrado popularidad, lamentablemente su disponibilidad en diferentes idiomas es poco e incluso nulo en algunos casos, de ahí la importancia del fansubbing para la traducción profesional. Como resultado, se revela que el fansubbing no representa una amenaza para la traducción profesional sino un impulso para mejorar el traslado de productos audiovisuales.
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Pedersen, Jan. "Fansubbing in subtitling land." Target. International Journal of Translation Studies 31, no. 1 (October 31, 2018): 50–76. http://dx.doi.org/10.1075/target.18017.ped.
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AbstractFansubs (subtitles made by fans for fans) have become a global practice, and it is by now a fairly well-described phenomenon, particularly for fansubs of Japaneseanime. However, for Sweden, which has a long and strong tradition of prosubs (commissioned professional subtitles), there have hardly been any studies of this increasingly prolific phenomenon. This paper seeks to remedy this situation by investigating 16 subtitled versions of ten English-language films. The analysis uses the FAR model of quality assessment and also investigates other aspects, such as creativity. The results show that there is great variety between the various fansubbed versions. On average, Swedish fansubs are found to be of lower quality, less adhering to norms and also more abusively faithful than prosubs. Moreover, the fansubs in this study are hardly creative at all. This could be due to fansubbing being a rather marginal phenomenon in Sweden, the land of subtitling.
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Korpi, Suvi. "Generic Fluency in Fansubbing." Mikael: Kääntämisen ja tulkkauksen tutkimuksen aikakauslehti 15 (April 1, 2022): 42–57. http://dx.doi.org/10.61200/mikael.129257.
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This study analyses the genre-specific features in the non-professional subtitling (fansubbing) of audiovisual science fiction (SF). Considered as one of the most important linguistic elements in SF, neologies create the cognitive estrangement from reality that is characteristic of the SF genre, cognitively estranging the reader from reality. Evaluating the translation of neologies is thus used as a tool to evaluate the transfer of the source text (ST) genre to the target text (TT). When the neologies are retained as genre-specific features of SF, the TT genre is regarded as generically fluent and the ST genre is accessible for the TT viewer. The study material reveals that the non-professional translations have retained the neologies with greater percentage than the professional translations of the same TV series translations resulting in a more fluent SF genre. This can be due to the tendency of fansubs to use foreignizing translation strategies. The material of the study consists of the neologies in non-professional and professional subtitles of contemporary Anglo-American SF series, which were analysed to determine whether they retain or recreate the SF generic fluency.
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Lee, Tzu-yi Elaine. "English as a lingua franca (ELF) in Chinese fansubbers’ practices." Babel. Revue internationale de la traduction / International Journal of Translation 66, no. 3 (September 4, 2019): 365–80. http://dx.doi.org/10.1075/babel.00108.lee.
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Abstract As a global phenomenon, English as a lingua franca (ELF) has been rigorously researched in many fields but completely ignored in translation studies. Based on a previous study, this study accordingly sets out to investigate the ELF phenomenon in the fansubbing culture with a specific focus on the notes and comments by fansubbers, arguing that fansubbing as a practice creates a space for dialogue between fan translators and their viewers that leads to the ‘empowerment’ of fansubbers as linguistic and cultural mediators. By examining specific screenshots of headnotes and comments by amateur translators with regard to six seasons of the TV series Rizzoli & Isles, this paper discusses background reasons for ELF applied by fansubbers, the implications of the ELF phenomenon in fansubbing culture, and the potential effects of fansubbing upon the audience in contradistinction to the effects of commercial subtitling and upon the translation profession as a whole. Finally, this article hopes to shed light on Chinese fansubbers who in fact blur the traditional distinction between professional and amateur subtitling, and concludes that the specific language practices fansubbers are engaged in show – as both fans and translators – an unlimited degree of latitude from mainstream subtitling.
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Liu, Xia. "Fan Translation: A Look into the Chinese Fansubbing Group Beverly Fansub on Bilibili." Journal of Education and Educational Research 5, no. 1 (September 14, 2023): 103–6. http://dx.doi.org/10.54097/jeer.v5i1.11790.
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The rapid development of information and technology has led to the emergence of numerous video platforms sharing. In parallel, Fansubbing groups have thrived, serving as influential channels for cross-cultural exchanges. This paper examines the contextual factors driving the expansion of Chinese Fan Translation, using Beverly Fansub as a case study. It explores the distinctive attributes of this Fansubbing group and investigates the significance and potential drawbacks associated with fan translation.
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Abu-Rayyash, Hussein. "From Niche to Mainstream: Tracing the Trajectory of Fansubbing in the Arab World." International Journal of Linguistics, Literature and Translation 7, no. 2 (February 9, 2024): 54–66. http://dx.doi.org/10.32996/ijllt.2024.7.2.8.
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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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Lee, Hye-Kyung. "Participatory media fandom: A case study of anime fansubbing." Media, Culture & Society 33, no. 8 (November 2011): 1131–47. http://dx.doi.org/10.1177/0163443711418271.
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Recent years have seen the rise of consumers’ voluntary translation and distribution of foreign cultural products on a global scale. Such a practice not only facilitates the grassroots globalization of culture but also questions the cultural industries’ current model of global distribution. This article explores the nature and implications of fan-translation and distribution of cultural commodities through a case study of English fansubbing of anime (subtitling of Japanese animation in English). Anime fansubbing is situated at the disjuncture of the global mediascape, which intensifies with the increasing public access to means to copy and share, the expansion of collective knowledge and the rise of fans’ voluntary labour coordinated on a global scale. It exemplifies participatory media fandom whose globalization exceeds that of cultural industries in terms of extent and velocity. The article argues that fansubbing, pursued as a hobby, can unsettle the global mediascape by allowing multiple mediations of cultural text and presenting a new model of content distribution and its organization based on consumers’ voluntary work.
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Henthorn, Jamie. "International Fan Professionalization on Viki." Television & New Media 20, no. 5 (April 21, 2018): 525–38. http://dx.doi.org/10.1177/1527476418770742.
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Global economies and digital diasporas have led to a rise in fansubbing sites, one of the largest being Viki. Viki uses amateur expert fans to translate media from around the world into over two hundred languages. Global markets and for-profit fansubbing companies encourage volunteers to establish their own work practices. In examining the posts to one large segmenting forum, this article identifies ways Viki segmenters adapt workplace practices to online fan communities as well as ways that volunteers adapt localized community practices to online spaces. Specifically, volunteers adopted localized professional work etiquette to online leisure activities. This research expands understandings of global fan communities, referencing ways localized community practices continue to intersect with understandings of online work and leisure.
Dissertations / Theses on the topic "Fansubbing"
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Frisinghelli, Lara. "Webserie e fansubbing: la nuova frontiera della traduzione audiovisiva." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amslaurea.unibo.it/12077/.
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L'obiettivo di questo elaborato è quello di compiere una ricerca sul fenomeno webseriale, che da pochi anni ha preso piede su internet e che con il suo carattere sperimentale e innovativo sta riscuotendo sempre più successo, contribuendo a rivoluzionare il panorama televisivo internazionale. L'elaborato è strutturato in quattro capitoli. Nel primo, si introduce il genere della webserie, in particolare nel panorama italiano e spagnolo, e si descrivono le caratteristiche che accomunano questo tipo di produzioni, facendo un paragone con le serie televisive. Nel secondo capitolo viene messo a confronto il sottotitolaggio professionale con quello amatoriale: per quel che riguarda il primo, si accenna alla sua storia e si analizzano in modo approfondito le restrizioni a cui deve sottostare, così come le tecniche e le strategie che ne stanno alla base; rispetto al fansubbing, dopo averne presentato le origini e le principali caratteristiche, ci si concentra sul panorama italiano, descrivendo la metodologia di lavoro e l'approccio traduttivo delle due community più famose in Italia: ItaSA e Subsfactory. Il terzo capitolo è dedicato alla webserie Malviviendo, di cui si analizzano i sottotitoli forniti da ItaSA e i problemi di traduzione riscontrati, sia dal punto di vista linguistico-culturale che sul piano delle tecniche del sottotitolaggio. Nel quarto capitolo si presenta infine la webserie Qué vida más triste, e si introduce la mia proposta di sottotitolaggio del primo episodio andato in onda in televisione, descrivendo le strategie e le tecniche adottate per riuscire a preservare i tratti dell'oralità che lo contraddistinguono, e al tempo stesso i rimandi extralinguistici e intertestuali che lo radicano fortemente nella cultura spagnola, pur tuttavia rendendolo comprensibile al pubblico italiano.
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Tantussi, Francesca <1988>. "Fansubbing and TV series: an example of subtitling hybrid proposal." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6314.
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The first and basic idea about my dissertation came into my mind long time ago, during my not really conventional and standard study path.
In the first year of my Master’s Degree at Ca’ Foscari University of Venice, I was actually in Australia and I did something completely different from what I was supposed to do; nevertheless, over there (or better say “Down Under”) I had the possibility to attend some RMIT University lessons of the Master of Translating and Interpreting, with a specific focus on Media and Audiovisual Translation (AVT). Since that moment, I started to “investigate” the vast and fascinating world of AVT just out of personal curiosity, both from the perspective of a student of Interpreting and Translation who simply wants to acquire new knowledge in an interesting and constantly developing field of study , and also from the side of an amateur and passionate lover of movies and TV series. As a matter of fact, the term “translation” is quite immediately associated with “words” rather than “images”; however, even if it is true that all translation takes shape thanks to and by means of words, the scenario is continuously changing and AVT has evolved to the point where it is now, as a discipline, one of the most vibrant and vigorous fields within Translation Studies (Gottlieb 2004: 88).
Starting from these premises, I literally stumbled upon the fansubbing phenomenon (becoming funsubber for a while) and on the lack of comprehensive and complete works on audiovisual translation (in Italian, for instance). Hence, my thesis would like to offer some possible suggestions for further paths and future investigations and the main aim is to present a research study with a multidisciplinary and bottom-up approach, not mainly focused on linguistic and translational issues. It is necessary, in fact, to be aware of the existence of aspects of audiovisual translation that are different, inescapable and complementary and it is essential to start to analyze them in a systematic way and on different levels (Perego and Taylor 2012: 12). This is the reason why a part of this dissertation has been written in English.
After a general overview on AVT, briefly analyzing dubbing, subtitling and voice-over as the three main modalities, I will introduce the European situation, focusing on the new challenges and on what is presently changing in some countries; then I will deepen the subtitling topics giving a quick glance to the essential features of professional subtitles and dedicating a special paragraph to the TV series. Consequently, I will examine the fansubbing phenomenon, centering my research on the Italian scenario to highlight the characteristics of amateur subtitles. Afterward, my proposal of a hybrid subtitle between the professional and the amateur ones will be shown by an example, namely the subtitling of the pilot of a new American TV series, followed by a translation analysis and a cinematographic sequences analysis of the most important scenes.
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Vettori, Giulia. "Alla scoperta di ItaSA: analisi di una community italiana di fansubbing." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/9112/.
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Questa tesi presenta un'analisi della community italiana di fansubbing di Italian Subs Addicted, nota come ItaSA. Dopo un'introduzione generale sul fenomeno del fansubbing, ovvero la traduzione amatoriale di sottotitoli, si passa a un'analisi della community stessa, della sua organizzazione interna e del test per diventare traduttori.
Nel capitolo 4 vengono presentate le regole per la traduzione e la creazione di sottotitoli, con il supporto di screenshot di varie serie TV, e si ha la descrizione della traduzione di una puntata della serie TV "True Detective" in tempo reale.
Il capitolo 5 tratta il rapporto tra gli utenti e lo staff della community, un elemento peculiare che contraddistingue il fansubbing dalla produzione di sottotitoli tradizionali.
Il capitolo 6 analizza brevemente il controverso tema della legalità dei sottotitoli.
Infine, nella conclusione ho inserito una questione che negli ultimi mesi è stata molto dibattuta nella community, ovvero le conseguenze dell’imminente avvento di Netflix, un servizio di TV online, sul futuro del fansubbing.
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Durante, Sara. "Song of the sea: proposta di sottotitolaggio e fansubbing a confronto." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/9534/.
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The aim of this thesis is to subtitle and analyze the subtitles of the animation movie directed by the Tomm Moore, Song of the Sea. It deals with the adventures of Saoirse, the last of the selkies, the mythological women who turned into seals, and his brother Ben to save the fairies and send them home. Although Italy is a “dubbing country”, I decided to subtitle the film not to affect the original audio track, as the Irish accent and Celtic melodies are a fundamental element in Song of the Sea. I chose this movie because it is a quality product (nominated in 2015 for "The Best Animation Movie”) which deserves to be commercialized outside film festivals. In a second phase, I analyzed my subtitles and compared them to amateur subtitles, created by the SRT Project group, to understand the strategies adopted and the basic differences between the two types of subtitling.
My dissertation consists of three chapters. The first provides a general overview of audiovisual translation and language transfer methods, focusing on subtitling. The second chapter introduces the movie in an Irish context, and then analyzes the subtitling process, from the software used, to the translation strategies adopted. Finally, the third chapter describes the phenomenon of amateur subtitling, and the most important Italian communities of the current years. Moreover, I analyzed SRT Project fan translation, and asked them a set of questions about amateur subtitling and the translation of Song of the Sea, in order to understand this world and the fansubbing process. The Appendix includes my subtitles, as well as the questionnaire.
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Napolitano, Claudio. "Analisi del fansubbing di Gomorra, la serie. Dal napoletano allo spagnolo." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/16024/.
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Il presente elaborato analizza i processi traduttivi legati al fansubbing spagnolo di "Gomorra, la serie". I fansubber sono traduttori amatoriali che si dedicano alla traduzione dei sottotitoli delle loro serie preferite per soddisfare le necessità degli altri fan presenti in rete. In particolare, sono stati esaminati i sottotitoli del primo, del secondo, del terzo e dell'ultimo episodio della prima stagione, prodotti dai fansubber della comunità spagnola Subdivx. La serie “Gomorra” presenta numerose peculiarità linguistiche appartenenti alla variante diatopica dell’italiano regionale di Napoli. Infatti, i personaggi della serie si esprimono quasi esclusivamente in lingua napoletana aumentando il grado di difficoltà per i traduttori. L’analisi è stata sviluppata in modo da mettere in luce i principali problemi linguistico-traduttivi incontrati dai fansubber. In concreto, i principali errori riscontrati sono stati calchi, interferenze linguistiche e problemi di decodifica del testo originale. In seguito, è stato esaminato il trattamento di toponimi e antroponimi e dei tratti, non sempre traducibili, tipici della variante diatopica. Nonostante alcuni errori, il lavoro portato a termine dai membri di Subdivx è stato più che positivo, presentando molte delle caratteristiche che contraddistinguono un prodotto realizzato da traduttori professionisti, esperti del settore audiovisivo. Infatti, sono state evidenziate anche le migliori proposte traduttive dei fansubber, sottolineandone le abilità traduttive alla luce della complessità abbastanza elevata del prodotto audiovisivo oggetto della presente analisi.
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Silva, Diego Goulart Machado. "“Qualidade é insubstituível!” Ideologias linguísticas em manuais de legenders independentes de equipes de fansubbing." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8341.
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Ce travail a pour but d’analyser les idéologies langagières manifestées dans les discours métapragmatiques dans des guides de sous-titrage d’équipes brésiliennes de fansubbing – le sous-titrage amateur de films, séries et animations faits par et pour les fans. Dans ce contexte contemporain de pratiques langagières, surtout de la production de sous-titres pour des films et séries faites par des legenders indépendants d’équipes brésiliennes, le thème principal de ce travail consiste aux évaluations de langue et de traduction faites par ces equipes et aux manières comment elles construisent la légitimité de leurs traductions au travers de leurs évaluations et orientations d’usage de la langue. Nous avons l’objectif d’identifier les idéologies langagières qui constituent, structurent et orientent la pratique de sous-titrage indépendante en équipe. Cette étude contribue avec l’approche ethnographique du numérique intéressée à la manière comment les pratiques en ligne influencent les pratiques hors ligne ; avec le domaine des idéologies langagières, intéressée à la manière comment les discours hégémoniques sur langue, surtout ceux issus d’un projet moderne, se soutiennent au Brésil ; finalement, avec le domaine d’études en traduction, intéressée à la manière comment les idéologies langagières fonctionnent dans la traduction. Nous avons donc deux catégories théorico-analytiques. Les idéologies langagières, que nous entendons comme les croyances et notions que des groupes de personnes partagent sur ce qui est une langue ; et les métapragmatiques de la langue en usage. Ces deux catégories nous ont fourni la possibilité d’analyser les idéologies langagières manifestées dans des commentaires qui rationalisent sur l’usage de la langue et/ou qui font fonctionnerles énoncées dans leurs contextes. Nos données et analyses indiquent um paradoxe où des idéologies langagières hégémoniques et non hégémoniques cohabitent. Les notions hégémoniques de langue qui suggèrent l’usage d’une variété standardisée et de prestige de langue, et l’obéissance aux règles grammaticales, sont soutenues. En même temps, la multimodalité constitutive des productions audiovisuelles (images, sons et textes) déstabilisent la linéarité du texte standard et la stabilité des règles grammaticales.
Este trabalho tem como foco analisar ideologias linguísticas que se manifestam em discursos metapragmáticos em manuais de equipes brasileiras de fansubbing. Por fansubbing entende-se a legendagem amadora de filmes, séries e animações feita por e para fãs. Levando em conta este contexto digital contemporâneo de práticas linguísticas, especificamente a produção de legendas para séries e filmes feitas por legenders independentes de equipes brasileiras, o tema central de interesse deste trabalho é como língua e tradução são avaliadas por estas equipes e em como estas equipes constroem a legitimidade de suas traduções através de suas avaliações e orientações de uso da língua. Mais especificamente, nosso objetivo está em identificar as ideologias linguísticas que constituem, estruturam e orientam a prática de legendagem independente em equipe. Este estudo contribui com uma abordagem etnográfica digital, interessada em práticas online e/ou em como práticas online afetam práticas off-line; com o campo das ideologias linguísticas, interessada em como discursos hegemônicos sobre língua, principalmente aqueles advindos de um projeto moderno, se sustentam no Brasil; e finalmente com o campo de estudos em tradução, interessado em como as ideologias linguísticas funcionam especificamente na tradução. Toma-se como categorias teórico-analíticas as ideologias linguísticas, aqui entendidas como as crenças e as noções que grupos de pessoas compartilham sobre o que é língua; e as metapragmáticas da língua em uso, que fornecem a possibilidade de analisar as ideologias linguísticas manifestadas em comentários que racionalizam sobre o uso da língua e/ou que fazem funcionar enunciados em seus contextos. Nossos dados e análises apontam um paradoxo onde ideologias linguísticas hegemônicas e não hegemônicas convivem ao mesmo tempo. Noções hegemônicas de língua que sugerem o uso de variedade padrão de prestígio da língua e a obediência às regras gramaticais são sustentadas ao mesmo tempo em que a multimodalidade constituinte de produções audiovisuais como imagens, sons e textos, desestabilizam e desafiam a linearidade do texto padrão e a estabilidade das regras gramaticais.
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Vanelli, Coralli Bianca. "Skam, adolescenti in balia dei sentimenti: proposta di analisi e fansubbing della serie Skam España." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21292/.
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L’obiettivo del presente elaborato è proporre un adattamento di due scene tratte dalla webserie Skam España, incentrata sulle vicende di un gruppo di adolescenti di Madrid. Il focus principale della proposta di traduzione sono gli elementi dell’oralità e del linguaggio colloquiale, i quali spesso vengono eliminati in fase di adattamento (doppiaggio e/o sottotitolaggio) e sono invece fondamentali per un prodotto di questo genere.
Il primo capitolo presenta la serie, concentrandosi inizialmente sulla webserie norvegese Skam, andata in onda tra il 2015 e il 2017, i cui diritti sono poi stati acquistati da numerose reti televisive europee e internazionali. Verrà fatta una breve sintesi della prima e della terza stagione, con accenni ai personaggi e ai temi principali, per poi passare a Skam España, il remake prodotto da Zeppelin TV a partire dal 2018. Anche in questo caso verrà fatta una breve sintesi delle tre stagioni che la compongono, concentrandosi maggiormente sulla seconda (da cui sono tratte le clip che verranno adattate), e una spiegazione di temi e personaggi. Infine, verranno illustrate le caratteristiche del format di Skam, che lo rendono un prodotto audiovisivo particolarmente innovativo e unico.
Il secondo capitolo dell’elaborato propone un’analisi e una spiegazione del fansubbing, il fenomeno del sottotitolaggio amatoriale ad opera dai fan, parlando inizialmente delle caratteristiche tecniche che lo distinguono dal sottotitolaggio professionale e a seguire della storia e dell’evoluzione di questo fenomeno.
Il terzo e ultimo capitolo propone due esempi di adattamento di scene della serie, preceduti da un breve riassunto accompagnato da un’analisi linguistica del testo originale e seguiti da un commento in cui si illustrano e si motivano le scelte di traduzione impiegate nella realizzazione dei sottotitoli.
Infine, l’elaborato si conclude con un riepilogo del lavoro svolto e con la proposta di una serie di possibili approfondimenti futuri.
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Barberi, Roberta <1992>. "As Bright as the Moon e il chuanyue xiaoshuo. Proposta di fansubbing e commento traduttologico." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21030.
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L’elaborato è una proposta di traduzione dei primi due episodi della serie tv cinese Jiǎo ruò yún jiān yuè皎若云间月 o Bright as the moon. Si tratta di una serie relativamente nuova, composta da 40 episodi, il cui primo episodio è andato in onda in Cina il 4 Ottobre del 2021 sulla piattaforma Youku. Questa serie è tratta da una serie di romanzi della scrittrice cinese Xi Ziqing, intitolati Wánkù shìzi fēi纨绔世子妃 o La concubina del principe. I temi principali di questi romanzi sono la reincarnazione e i viaggi nel tempo, tipico del genere chiamato chuanyue xiaoshuo穿越小说, molto in voga negli ultimi anni in Cina, soprattutto nelle web fiction.
La protagonista della serie è la dispotica e arrogante Yun Qianyue, membro della famiglia imperiale Yun, perdutamente innamorata dell’erede della famiglia Rong, Rong Jing. I due si innamorarono quando erano molto giovani, ma l’imperatore aveva già decretato che il destino di Qianyue sarebbe stato quello di sposare il principe ereditario dell’impero. In più, Rong Jing fu colpito da una grave malattia che lo costrinse a rimanere in casa per dieci lunghi anni. Lei, disperata, decise di fare un rituale in cui avrebbe rinunciato ai suoi ricordi pur di poter passare la vita col suo amato.
Nel primo capitolo verrà spiegata la storia del fansubbing in Italia e in Cina. Nel secondo capitolo verrà presentata la proposta di traduzione dei primi due episodi della serie tv sopracitata e nel terzo capitolo il commento traduttologico.
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Orlo, Alessandra. "Tradurre YouTube: tra sottotitolaggio professionale e fansubbing Sottotitolaggio del cortometraggio "Lanceur d'alerte" del collettivo Les Parasites." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/15102/.
Full textAbstract:
È impossibile oggi non aver mai sentito parlare di YouTube ed è altrettanto impossibile aver già navigato in rete senza aver mai visitato il sito. Che sia per guardare videoclip musicali, servizi del telegiornale, documentari, interviste, provini dei talent show o addirittura intere trasmissioni televisive, oggi è possibile trovare di tutto su YouTube. È per questo motivo, e per tanti altri ancora, che per molti è diventato un sito insostituibile e unico nel suo genere: per tanti la piattaforma è ormai indispensabile, per altri è diventata un passatempo giornaliero, per altri ancora YouTube è diventato un vero e proprio mestiere. Questa tesi si concentrerà sulla traduzione e sottotitolaggio di teaser, film e making of di Lanceur d’alerte del collettivo Les Parasites, oltre all’evoluzione della piattaforma e la differenza fra sottotitolaggio professionale e fansubbing.
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Cardona, Umberto <1994>. "Subtitling and Fansubbing Mr.Church in Italian: a proposed translation and critical analysis of the fansubbed version." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21002.
Full textAbstract:
This thesis proposes an Italian subtitled version of the film Mr. Church (2016, directed by Bruce Beresford) and a critical analysis of the Italian subtitled version produced by the fansubbers of the SRT project. The thesis includes three chapters. Chapter 1 provides a general overview of subtitling. Its most relevant features are described as well as the technical aspects, such as time and space constraints. In addition, the most important subtitling strategies are outlined to then conclude with the most prevalent translation issues subtitlers are likely to come across. Chapter 2 describes the film's main features, such as plot, main characters, and relationship with the source culture. In addition, a preliminary analysis of the film is conducted to determine the movie genre, target audience, style, and language. Finally, in Chapter 3, my Italian subtitled version and the fansubbed version of the film are analysed from a comparative perspective by discussing the most critical translation issues and various translation solutions. Translation choices related to vocabulary, syntax, culture, and register are illustrated and substantiated with supporting evidence using examples from the original dialogue and the Italian subtitles.
Books on the topic "Fansubbing"
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Massidda, Serenella. Audiovisual translation in the digital age: The Italian fansubbing phenomenon. Basingstoke: Palgrave Macmillan, 2015.
Find full textBook chapters on the topic "Fansubbing"
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Massidda, Serenella. "Fansubbing." In Audiovisual Translation in the Digital Age, 35–43. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137470379_4.
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Dwyer, Tessa. "Multilingual Publics: Fansubbing Global TV." In Contemporary Publics, 145–62. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-53324-1_10.
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Massidda, Serenella. "Origin of the Italian Fansubbing Phenomenon." In Audiovisual Translation in the Digital Age, 65–79. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137470379_6.
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Massidda, Serenella. "Fansubbing: Latest Trends and Future Prospects." In The Palgrave Handbook of Audiovisual Translation and Media Accessibility, 189–208. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42105-2_10.
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Chang, Pin-ling. "Patriotism and Nationalism in Chinese Fansubbing." In The Routledge Handbook of Language and Mind Engineering, 212–23. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003289746-18.
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Massidda, Serenella. "Subtitling and Fansubbing Standards: A Hybrid Proposal." In Audiovisual Translation in the Digital Age, 44–64. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137470379_5.
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Guo, Ting. "‘Love is Love’ and ‘Love is Equal’, Fansubbing and Queer Feminism in China." In Translating Feminism, 199–226. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-79245-9_8.
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Dwyer, Tessa. "Fansubbing and Abuse: Anime and Beyond." In Speaking in Subtitles. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474410946.003.0006.
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This chapter focuses on the emergent, participatory practice of fansubbing (‘fan subtitling’), examining its origins within anime subculture and its ongoing evolution. Fansubbing is examined as an informal translation practice that emerged as a subset of media piracy with its own ethical standards and rules of conduct. Much early anime fansubbing focused on redressing the domesticating tendencies of professional services, and in this sense highlighted the gatekeeping, controlling function of translation. Hence, this case study further demonstrates links between piracy, censorship and subversion introduced in the previous chapter. It also demonstrates how fansubbing’s intervention into screen media points to the growing significance of translation as a mode of cultural participation responsive to the intensifying multilingualism of global media and technologies. Fans are discussed as ‘lead-users’ of new technologies that trial functionality and uncover emergent uses, demands and desires along the way—exemplifying the increasingly active and unruly ways in which people currently consume and engage with media. Proposing that fansubbing’s communal, errant tendencies are vital to its re-evaluative function, this chapter identifies a point of difference between the reconceptual program of this book and the notion of ‘abusive subtitling’ (Nornes 1999).
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Dwyer, Tessa. "Streaming, Subbing, Sharing: Viki Global TV." In Speaking in Subtitles. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474410946.003.0007.
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This chapter presents a case study of global TV site Viki (www.viki.com), which offers amateur subtitling in around 200 languages for media from around the world. It focuses on the ways in which fansubbing and fan repurposing of technology has been adopted in the corporate and media industries via crowdsourcing, underscoring the commerce/community tensions that characterise ‘participatory culture’. In its aim to overcome the geopolitical constraints that limit the availability of media in many parts of the globe, Viki deploys a legal, business framework that overrides the national and linguistic biases of professional subtitling and dubbing via the ‘chaos’ of fan agency and interventionist practice. It also pinpoints the critical role played by language and multilingual publics within the evolving dynamics of convergence. Finally, this case study explores claims that fansubbing and other forms of community translation may be contributing to the ongoing marginalisation of linguistically diverse publics by enabling industry players to continue to underserve minor language communities.
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"5 Fansubbing and Abuse: Anime and Beyond." In Speaking in Subtitles, 135–63. Edinburgh University Press, 2017. http://dx.doi.org/10.1515/9781474410953-008.
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