Journal articles: '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.

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Taghavi, Morteza, and Mostafa Bahraman. "A diachronic corpus-driven study of fansubbing." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 20, no. 1 (June 15, 2022): 134–57. http://dx.doi.org/10.1075/forum.21004.tag.

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Abstract What is of interest here is whether subtitling community in a country changes over time. Particularly, by taking a diachronic approach to AVT, the present paper attempts to investigate the degree of conformity of Iranian fansubbers to professional subtitle presentation standards to see if any change has happened in the behavior and characteristics of Iranian fansubbing community over time. To this end, we developed a diachronic corpus of subtitles consisting of 50 films belonging to 2008 and 2018, a decade later, to gauge variations (violations) from a set of standards. The findings suggest that generally fansubbers, although possibly unconsciously, show a higher degree of conformity to professional subtitle presentation standards over time. Concludingly, the fan AVT in Iran, in the corpus under investigation, has evolved in terms of professionalism. Finally, the changes seen in the community can call for some possible modifications required to update or revise the present standards.

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Wongseree, Thandao. "Understanding Thai fansubbing practices in the digital era: a network of fans and online technologies in fansubbing communities." Perspectives 28, no. 4 (July 19, 2019): 539–53. http://dx.doi.org/10.1080/0907676x.2019.1639779.

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Luczaj, Kamil, and Magdalena Holy-Luczaj. "Those who help us understand our favourite global TV series in a local language." Babel. Revue internationale de la traduction / International Journal of Translation 63, no. 2 (August 31, 2017): 153–73. http://dx.doi.org/10.1075/babel.63.2.01luc.

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Abstract The main aim of this article is to critically analyse and systematise the debate concerning non-professional subtitling of TV series and movies in some non-English-speaking countries. Most of the studies on fansubbing deal with a specific problem, and they are based on various theoretical frameworks. This paper attempts to merge them into one coherent framework that can serve as a basis for subsequent research. The article addresses the issue of non-professional translation as a solution to the lack of official translations, but also as an alternative strategy for translating the texts of popular culture. The paper is divided into four parts. The first defines the phenomenon of fansubbing. The second shows how professional and non-professional translations differ. The following two parts, based on different national case studies, answer the questions: who are fansubbers, and what are their motivations?

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Ferreira, Gabrielle Camille. "The role of online fan communities in the popularization of Turkish TV dramas in Brazil." International Communication Gazette 85, no. 3-4 (April 2023): 216–32. http://dx.doi.org/10.1177/17480485221151115.

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In just over a decade, the transnational expansion of Turkish media industry reached regions geographically and culturally distant from Turkey, thus establishing Turkish dramas as a prominent media contra-flow. In Brazil, the rise of Turkish dramas is supported by informal distribution: many online fan communities translate, add subtitles, and distribute episodes without monetary profit, which is a practice known as fansubbing. In this research, I focus on the biggest Brazilian fansubbing community of Turkish dramas to investigate the complexity behind this practice from the perspectives of distribution and reception. Through online questionnaires, a virtual ethnography, and in-depth interviews, I explore how these communities operate and impact the daily lives of audiences. Findings point out that by making Turkish content more accessible, they are reshaping media practices taking the place of national broadcasters and subscription video-on-demand (SVOD) services in the popularization of Turkish dramas in Brazil.

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Bréan, Samuel. "Amateurisme et sous-titrage : la fortune critique du « fansubbing »." Traduire, no. 230 (June 15, 2014): 22–36. http://dx.doi.org/10.4000/traduire.618.

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Eldalees, Hani, Amer Al-Adwan, and Rashid Yahiaoui. "Fansubbing in the Arab World: Modus Operandi and Prospects." Arab World English Journal For Translation and Literary Studies 1, no. 1 (February 15, 2017): 48–64. http://dx.doi.org/10.24093/awejtls/vol1no1.4.

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Cândido Moura, Willian Henrique. "¡Ay, maricón! Analisando a tradução de tabus linguísticos na legendagem de La Mala Educación para o Português Brasileiro." Diacrítica 34, no. 3 (December 11, 2020): 235–53. http://dx.doi.org/10.21814/diacritica.464.

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Considerando o avanço das pesquisas nos Estudos da Tradução Audiovisual nas últimas décadas, o presente trabalho objetivou vislumbrar se a tradução-da-letra (Berman 2013), proposta inicialmente para os estudos de tradução literária, pode ser considerada como uma metodologia para pesquisas em legendagem. Utilizamos as formas clássicas de tradução literária, etnocêntrica e hipertextual, e as tendências deformadoras da tradução para analisar um corpus composto pelas palavras e expressões-tabu relativas à injúria, encontradas nas legendas oficiais e nas legendas feitas por fansubbing, em português brasileiro, do filme espanhol La Mala Educación [Má Educação], de Pedro Almodóvar. Constatamos que a partir das análises das tendências deformadoras utilizadas, tanto nas legendas oficiais, quanto nas legendas do fansubbing, as palavras e expressões-tabu foram, em sua maioria, traduzidas de modo a não amenizar seu sentido, o que pôde ser explicado pelo fato de os legendadores terem realizado traduções mais voltadas para o etnocêntrico, prezando pelo significado que as legendas deveriam propiciar ao público que assiste ao filme. Concluímos que a teoria bermaniana pode ser utilizada como uma metodologia para a análise de legendas, desde que feitas algumas alterações, tendo em vista as características intrínsecas à legendagem.

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Lakarnchua, Onuma. "Examining the potential of fansubbing as a language learning activity." Innovation in Language Learning and Teaching 11, no. 1 (June 18, 2015): 32–44. http://dx.doi.org/10.1080/17501229.2015.1016030.

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Lee, Hye-Kyung. "Cultural consumer and copyright: A case study of anime fansubbing." Creative Industries Journal 3, no. 3 (January 2011): 237–52. http://dx.doi.org/10.1386/cij.3.3.237_1.

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Ribeiro, Waldo Luis. "The influence of fansubbing on the audiovisual translation industry in Italy." Translation Matters 4, no. 1 (2022): 174–77. http://dx.doi.org/10.21747/21844585/tm4_1r3.

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Soon Mi Kim. "Crowdsourced translation in the digital era: Focusing on Viki fansubbing community." Journal of Translation Studies 18, no. 2 (June 2017): 67–96. http://dx.doi.org/10.15749/jts.2017.18.2.003.

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Guo, Ting, and Jonathan Evans. "Translational and transnational queer fandom in China: the fansubbing of Carol." Feminist Media Studies 20, no. 4 (May 18, 2020): 515–29. http://dx.doi.org/10.1080/14680777.2020.1754630.

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Díaz Cintas, Jorge, Pablo Muñoz Sánchez, and Willian Henrique Cândido Moura. "Fansubs: Tradução Audiovisual em um Ambiente Amador." Cadernos de Tradução 42, no. 01 (May 3, 2022): 1–26. http://dx.doi.org/10.5007/2175-7968.2022.e80264.

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O objetivo deste artigo é descrever os chamados fansubs, um tipo diferente de legendagem realizada por tradutores amadores. A primeira parte deste estudo aborda as fases e as pessoas envolvidas do começo ao fim no processo de fansubbing. A segunda seção enfoca a legalidade e a ética dos fansubs. A terceira parte apresenta a tradução dos fansubs e suas características únicas, como o uso de notas do tradutor ou efeitos especiais de karaokê. O artigo conclui com uma reflexão sobre o trabalho feito pelos fansubbers e as possibilidades abertas por esse fenômeno da internet.

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Altalidi, Bandar. "The socio-digital manifestations of subtitling COVID-19-related clips on social media platforms in Saudi Arabia." Journal of Internationalization and Localization 9, no. 2 (December 31, 2022): 97–119. http://dx.doi.org/10.1075/jial.00022.alt.

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Abstract This paper examines how digital users in the Kingdom of Saudi Arabia responded to the COVID-19 pandemic via engaging with crisis translation by subtitling COVID-19-related videos. It explores two aspects: (1) how did social media during the pandemic encourage subtitled videos? and (2) how were these clips distributed and received by social media users? It is argued that during the pandemic, social media facilitated the production and circulation of user-generated content by both individuals and institutions to subtitle global news and other genres. To understand the socio-digital dynamics of (fan)subtitling, this article analyses the subtitled clips posted on Twitter by the Saudi Ministry of Health (MoH) and 17 fansubbers during 2020. Subtitling is considered crucial in spreading accurate information to KSA people in time for them to take precautions against the pandemic in 2020. Another relevant factor is the developed technological infrastructure in KSA and the increased digital practice of Saudi Arabians using social media. Following the analysis of 175 clips from the 17 chosen fansubbers and 255 clips from the MoH, it was discovered that social media increased the visibility of COVID-19 clips with subtitles. There was an apparent competition among the fansubbers to accumulate social capital (social media capital), which gave rise to social media fansubbing, a form of non-professional subtitling produced by social media users. The subtitled clips were accompanied by various digital parataxis that supports the analysis and examination of social media fansubbing and crisis transition on Twitter1.

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Navarro Rosell, Jessica. "Implementación del análisis contrastivo entre fansubbing y traducción profesional en ejercicios metacognitivos." redit - Revista Electrónica de Didáctica de la Traducción y la Interpretación 1, no. 14 (December 22, 2021): 73–94. http://dx.doi.org/10.24310/redit.2020.v1i14.13727.

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En el presente trabajo se realiza una propuesta sobre el uso de los subtítulos realizados por aficionados y traductores profesionales a modo comparativo, con la intención de promover ejercicios metacognitivos que favorezcan el pensamiento crítico y la resolución de problemas con respecto a los términos de referencia en la combinación español-chino. Para ello, se analizarán los errores más frecuentes obtenidos de una investigación sobre tres series, con tramas desarrolladas en diferentes contextos sociales, y se revisarán los parámetros sociolingüísticos que pueden afectar a los términos de referencia en la lengua china, como algunos conceptos del confucianismo que están estrechamente relacionados con los términos de cortesía.

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Kung, Szu-Wen. "Audienceship and community of practice: an exploratory study of Chinese fansubbing communities." Asia Pacific Translation and Intercultural Studies 3, no. 3 (September 2016): 252–66. http://dx.doi.org/10.1080/23306343.2016.1225329.

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González, Luis Pérez. "FANSUBBING ANIME: INSIGHTS INTO THE ‘BUTTERFLY EFFECT’ OF GLOBALISATION ON AUDIOVISUAL TRANSLATION." Perspectives 14, no. 4 (July 24, 2007): 260–77. http://dx.doi.org/10.1080/09076760708669043.

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Martí Ferriol, José Luis. "Massidda, Serenella. 2015. AVT in the digital era. The Italian fansubbing phenomenon." Target. International Journal of Translation Studies 28, no. 2 (August 4, 2016): 326–29. http://dx.doi.org/10.1075/target.28.2.12mar.

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Hrabčáková, Adriána. "Some Current Trends and Research Possibilities in the Audiovisual Translation of the 2020s." Language Culture Politics International Journal 1, no. 1/2023 (November 23, 2023): 49–61. http://dx.doi.org/10.54515/lcp.2023.1.49-61.

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This overview article explores some of the current trends and research possibilities in audiovisual translation which is a rapidly growing field of translation studies due to the increased demand for audiovisual content in the era of technology. It briefly describes audience-oriented studies and research possibilities regarding humour perception and eye tracking with a special focus on making audiovisual content available to hearing and visually impaired audience. Moreover, it outlines collaborative translation and crowdsourcing along with fansubbing and fandubbing as a popular forms of non-professional practice. The article also discusses the employment of the machine, neural machine and speech translation to audiovisual or media content.

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Gach, N. О. "UKRAINIAN FILMS FANSUBBING. HOW TO BECOME CLOSERTO THE ENGLISH-SPEAKING AUDIENCE: CULTUROLOGICAL ASPECT." "Scientific notes of V. I. Vernadsky Taurida National University", Series: "Philology. Journalism" 3, no. 6 (2021): 14–19. http://dx.doi.org/10.32838/2710-4656/2021.6-3/03.

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김순영 and 정희정. "A Study Suggesting Avenues for Research on Internet-based Amateur Subtitling, or Fansubbing." Journal of Translation Studies 11, no. 4 (December 2010): 75–97. http://dx.doi.org/10.15749/jts.2010.11.4.004.

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Samira Spolidorio. "Fansubbing in Brazil: Fan translation and collaborative production in light of Participatory Culture." Journal of Translation Studies 18, no. 4 (October 2017): 61–89. http://dx.doi.org/10.15749/jts.2017.18.4.004.

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Chaume, Frederic. "The turn of audiovisual translation." Translation Spaces 2 (November 15, 2013): 105–23. http://dx.doi.org/10.1075/ts.2.06cha.

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Audiovisual translation is an academic term that covers both well-established and new ground-breaking linguistic and semiotic transfers like dubbing, subtitling, surtitling, respeaking, audiosubtitling, voice-over, simultaneous interpreting at film festivals, free-commentary and goblin translation, subtitling for the deaf and the hard of hearing, audiodescription, fansubbing and fandubbing. This article presents a classification of audiovisual translation modes or types, and discusses some interesting developments in the audiovisual translation market at the beginning of this new century. Dubbing countries are moving towards subtitling, subtitling countries are beginning to dub, voice-over countries are shifting towards dubbing and subtitling, while voice-over is moving into dubbing and subtitling countries and gaining ground with younger audiences.

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Bączkowska, Anna. "Forms of address and (im)politeness: a corpus-assisted study of Polish professional and non-professional subtitles." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 19/1 (March 14, 2022): 159–91. http://dx.doi.org/10.26881/bp.2022.1.06.

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The aim of the study is to analyse how the English form of address you is translated into Polish in subtitles. The investigation is embedded in the framework of (im)politeness theory. The data used for the study comprise two types of non-professional renderings: amateur subtitles (fansubbing) and subtitles written by sophomore students of English Philology. The study proves that fansubbers’ subtitles have a tendency to foreignise translation by ignoring the Polish sociocultural norms of terms of address, thus making it sound less polite and marked, while students’ translations show a tendency to make the original dialogue more familiar to the target (secondary) audience, and make it more acceptable and polite.

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Mika, Bartosz. "NETWORK SOCIETY: The Polish amateur fansubbing community as an example of online collaboration project." Miscellanea Anthropologica et Sociologica 16, no. 2 (October 1, 2015): 143–68. http://dx.doi.org/10.5604/20842937.1172769.

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Khoshsaligheh, Masood, Saeed Ameri, and Milad Mehdizadkhani. "A socio-cultural study of taboo rendition in Persian fansubbing: an issue of resistance." Language and Intercultural Communication 18, no. 6 (September 18, 2017): 663–80. http://dx.doi.org/10.1080/14708477.2017.1377211.

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Wongseree, Thandao, Minako O'Hagan, and Ryoko Sasamoto. "Contemporary global media circulation based on fan translation: A particular case of Thai fansubbing." Discourse, Context & Media 32 (December 2019): 100330. http://dx.doi.org/10.1016/j.dcm.2019.100330.

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García Luque, Francisca. "PRESENTACIÓN DEL MONOGRÁFICO SOBRE TRADUCCIÓN AUDIOVISUAL Y LOCALIZACIÓN DE VIDEOJUEGOS." Entreculturas. Revista de traducción y comunicación intercultural, no. 7-8 (January 1, 2016): 693–95. http://dx.doi.org/10.24310/entreculturasertci.vi7-8.11361.

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Si examinamos la evolución de la investigación traductológica a lo largo de las últimas décadas, es fácil darse cuenta de que el concepto de traducción audiovisual se puede entender como un paraguas que da cabida a muchas modalidades diferentes. Algunas de ellas, como el doblaje o la subtitulación, han sido las que mayoritariamente han acaparado el interés de los investigadores. No obstante, la realidad audiovisual es mucho más amplia; en palabras de Mayoral (2001:46) “es un proceso tecnológico que se encuentra en continua evolución y cambio”. De ahí que hayan surgido muchos otros focos de atención y esta denominación genérica se haya desgajado en diversas modalidades diferenciadas en el seno de ese marco común. Nos referimos, por ejemplo, a la localización, la traducción multimedia o lo que se ha denominado fansubtitulación o fansubbing, que han sido y están siendo objeto de análisis por parte de muchos investigadores.

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Guillot, Marie-Noëlle. "Cross-cultural pragmatics and audiovisual translation." Target. International Journal of Translation Studies 28, no. 2 (August 4, 2016): 288–301. http://dx.doi.org/10.1075/target.28.2.09gui.

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Abstract In this article, audiovisual translation (AVT) is considered contrastively from a cross-cultural pragmatics perspective, in its uses of language across languages and cultures. This inevitably broaches questions of linguistic and cultural representation, critical in a world in which the global availability of cultural products is ever greater. They are a main focus in this paper, with related questions about the development of subtitling and dubbing language as idiosyncratic varieties and expressive media, and implications for representation and its impact on audiences. AVT research has had many challenges to confront in its early days and these are relatively uncharted territories. Yet current developments like fansubbing and other crowdsourcing activities are re-defining the name of the game and heralding significant changes, in AVT practices and in the ways they and the products and responses they generate are accounted for in research (as evidenced in emerging re-evaluations of quality and subjectivity, e.g.; see Pérez-González 2012, 2014). These are central concerns in mapping the way forward.

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Li, Luzhou Nina. "Rethinking the Chinese Internet: Social History, Cultural Forms, and Industrial Formation." Television & New Media 18, no. 5 (September 29, 2016): 393–409. http://dx.doi.org/10.1177/1527476416667548.

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Current accounts of the development of the Chinese Internet have provided important analyses of the political economy of telecommunications and the Internet. This study builds on these research to examine how vernacular online practices played a role in enabling political economic dimensions of the Chinese Internet to act as significant shaping forces. With this objective in mind, this article considers vernacular online practices that preceded the rise of commercial online video portals. My specific examples are ‘video spoofing’ and ‘fansubbing’, practices popular in the early to mid-2000s. Led by amateur enthusiasts, these practices were intimately associated with the legacy of cultural piracy in China in the pre-Internet era. My primary concern here is with identifiying and explicating the social energies that encouraged the formation of these online practices, their development trajectory, and finally, how these practices eventually became assimilated within a nascent video industry. In that respect, my argument is that the vernacular cultural forms and practices associated with these phenomena were central, and indeed essential, to the formation of an online video industry in China.

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Mehdizadkhani, Milad, and Luyu Chen. "Chinese audiovisual translation." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 21, no. 1 (July 6, 2023): 96–114. http://dx.doi.org/10.1075/forum.00028.meh.

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Abstract The increasing use of multilingualism in audiovisual products, especially feature films, has attracted attention from audiovisual translation (AVT) scholars; however, such research is missing in the Chinese AVT context. This paper strived to fill this niche by exploring the common methods of the rendition of a third language (L3) in Chinese dubbing, subtitling, and fansubbing. The corpus of the study comprised six English-speaking feature films alongside their fan and professional-created Chinese subtitles and dubs available online, and its contents was mainly selected based on two criteria: (i) the L3s used, for example, French, Indian, Swahili, Xhosa, and Russian, and (ii) the availability of fan and pro-produced Chinese subtitles and dubs. For dubbing, the analysis of the corpus revealed that the Chinese professional dubbing team marked the L3s in a few cases but applied translational patterns inconsistently. the comparison of the pro- and fansubs demonstrated that both did not mark the L3s in their translations and that professional subtitlers performed better than the fansubbers in the rendition of multilingualism in terms of graphic codes and the original films’ storytelling.

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Abo Ali, Sherihan. "Fansubbing as a Locus of Experimentation and Subversion: A Case Study of Amateur Arabic Subtitles of Selected English Movies." Transcultural Journal of Humanities and Social Sciences 4, no. 3 (July 1, 2023): 43–72. http://dx.doi.org/10.21608/tjhss.2023.217469.1195.

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Leksawat, Animmarn. "Blurring the Line between Professional and Amateur Subtitling." Między Oryginałem a Przekładem 28, no. 1 (55) (March 30, 2022): 119–41. http://dx.doi.org/10.12797/moap.28.2022.55.06.

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Fansubbing has generally been characterised by particular features that deviate from professional subtitling conventions; however, recent research begins to show the complexity of the phenomenon and hints at how the line between the professional and the amateur practices is blurring [Dore and Petrucci 2021; Massidda 2015]. The case of Diary of Tootsies, a Thai comedy series and its translations is another representative example of the interconnection of professional and amateur AVT and the need to question the dichotomy between the two practices. This paper revisits professional subtitling conventions and the unconventional features typically associated with fansubs, and then maps them onto the subtitles in the indirect translation chain: the official English subtitles, used as a pivot, and the fansubs created by Spanish-speaking fans. The findings reveal several textual features that are usually attributed to fansubs can also be detected in official subtitles, for instance, unconventional uses of orthotypography, informal abbreviations, and additional explanations. Textual evidence indicates further blurring as these distinctive traits are not always adopted in the corresponding Spanish fansubs. In some cases, fansubbers opt for translation decisions more typical of what might be expected in professional subtitling.

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Florentin, Valérie. "Massidda, Serenella (2015) : Audiovisual Translation in the Digital Age : The Italian Fansubbing Phenomenon. Basingstoke/New York : Palgrave MacMillan, 117 p." Meta: Journal des traducteurs 61, no. 1 (2016): 240. http://dx.doi.org/10.7202/1036994ar.

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Vellar, Agnese. ""Addicted to Passion". Performance spettatoriali nei pubblici connessi italiani." SOCIOLOGIA DELLA COMUNICAZIONE, no. 40 (June 2010): 167–80. http://dx.doi.org/10.3280/sc2009-040013.

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"Addicted to passion". Performance spettatoriali nei pubblici connessi italiani di Agnese Vellar Nell'ultimo decennio Internet si č evoluto in una piattaforma multimediale e il Web ha raggiunto la massa critica. Da queste trasformazioni emergono nuove pratiche di consumo, di autorappresentazione e di interazione sociale, con protagoniste le giovani generazioni. All'interno dei "pubblici connessi" i fan di prodotti mediali condividono informazioni relative al proprio culto e costruiscono insieme "audience di pratica", recentemente evolutesi in un "collettivismo di rete". L'autrice propone di interpretare le culture di fan come starring systems: reti di performance spettatoriali multimediali e multisituate. Nello starring system i fan collaborano e competono per acquisire capitale sociale e culturale e dunque raggiungere visibilitŕ. Da tali attivitŕ emerge un flusso di produzioni creative che rifiniscono la relazione tra autori e spettatori. In questo articolo si descrive un'indagine sul fandom telefilmico italiano attraverso il caso di studio di "Italian Subs Addicted", una comunitŕ di fansubbing. Intepretando il fandom come uno starring system, l'autrice descrive l'emergere di un collettivismo di rete ironico e competente. I fan si autodefiniscono ironicamente "addicted", in quanto, essendo cresciuti guardando serie televisive, hanno acquisito la "dipendenza" ma anche la "passione" e il capitale subculturale che consente loro una decodifica critica e una produzione creativa.

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Moreno García, Luis Damián. "Researching the motivation of Spanish to Chinese fansubbers." Translation, Cognition & Behavior 3, no. 2 (November 10, 2020): 165–87. http://dx.doi.org/10.1075/tcb.00039.mor.

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Abstract In recent years, the motivation of translators has attracted attention from TS scholars but there is a clear gap about the Chinese context. This paper explores the motivating factors of a Spanish-Chinese fansubbing group of volunteer translators that constitute a community nicknamed The Burrow. It probes into their perceptions in relation to their task and the public, and hints at the possible link between motivation, collaborative translation, and audiovisual content production by fans. A netnographical method was adopted for data gathering, via two questionnaires, a self-designed open-probe survey (OPS) and a modified version of the Volunteer Function Inventory (VFI) proposed by Clary et al (1998). Most fan translators think of themselves as consumers-producers and show traits similar to those of their readers. They believe producing content by themselves is related to higher motivation and also consider a relation between collaborative translation and higher motivation to exist. Self-determination theory was used for the analysis of motivations, and the emerging key motivating factors were understanding, enhancement and values. Passion and attaining experience were the two most important motivators before starting to fansub, and finding friends and having a volunteering platform were the two key motivating factors after becoming fansubbers.

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Alfaify, Abeer. "Subtitling in the Streaming Era: A Comparative Analysis of Strategies Used to Translate Cultural References into Arabic." English Linguistics Research 12, no. 2 (November 19, 2023): 70. http://dx.doi.org/10.5430/elr.v12n2p70.

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In the wake of the COVID-19 pandemic and the subsequent frequent lockdowns, streaming platforms have become an essential part of people’s media consumption. Translation has played a key role in the rapid growth of these streaming services by allowing global access to different translated versions of their content. While the impact of these streaming services on the reconstruction of media production has been a reoccurring topic in media studies, their impact on translation is still relatively underresearched. With that in mind, this article aims to identify current translation tendencies by examining the translation strategies commonly used in subtitling cultural references (CRs) into Arabic on three of the primary streaming platforms (Netflix, OSN+ and Prime Video) in the Middle East and North Africa (MENA). This is particularly significant not only because most studies on cultural references focus on European languages and contexts, but also because the few studies examining Arabic subtitles are mainly focused on subtitles available on DVDs (Alfaify, 2020), fansubbing websites (Abdelaal, 2019) and satellite television (Thawabteh, 2014). Additionally—and contrary to the common practice, which tends to ignore the complex multimodal nature of the cultural references—this article examines both verbal and crossmodal cultural references and the patterns of rendering them in professional subtitles across the investigated streaming platforms.

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Kurnia, Muhamad Rizki, Nuzul Rahmayani, and Jasman Nazar. "Legalitas Manga-Scanlation pada Komik/Manga Online di Situs Mangaku.Live Ditinjau dari Undang-Undang Nomor 28 Tahun 2014 Tentang Hak Cipta." SUPREMASI : Jurnal Hukum 5, no. 2 (April 3, 2023): 159–74. http://dx.doi.org/10.36441/supremasi.v5i2.1142.

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Perkembangan teknologi informasi membawa peluang sekaligus tantangan. Salah satu tantangannya adalah kemudahan distribusi produk digital yang melanggar hak cipta. Manga adalah salah satu karya berhak cipta yang didistribusikan secara ilegal dalam jumlah banyak. Efek dari pemyebaran scanlation (pembajakan) masih diperdebatkan. Manga telah menjadi objek pelanggaran hak cipta digital oleh para penggemarnya di seluruh dunia selama bertahun-tahun. Kegiatan fansubbing dan scanlation menciptakan kerugian ekonomi yang sangat besar bagi Jepang setiap tahunnya. Penelitian ini bertujuan untuk memaparkan legalitas manga-scanlation pada situs mangaku.live menurut perspektif Udang-undang nomor 28 tahun 2014 tentang Hak Cipta mengetahui perlindungan hukum hak cipta manga-scanlation yang diunggah oleh situs mangaku.live tanpa izin pencipta, dan upaya perlindungan hukum yang dapat dijalankan oleh pemilik hak cipta. Metode penelitian yang digunakan meliputi penelitian kepustakaan yuridis normatif yang fokus kepada kaidah – kaidah hukum berlingkup pada bahan hukum“UURI no. 28 tahun 2014 tentang hak cipta. dan penelitian dengan mengamati beberapa situs manga-scanlation. Hasil dari penelitian menunjukkan bahwa semuamanga-scanlation yang terdapat pada situs online mangaku.live illegal (tidak berlisensi) dan merupakan pelanggaran Hak Cipta yang berupa pembajakan. UU Hak Cipta berperan dalam melindungi hak dan kewajiban pencipta antara lain mengatur dengan tegas hak Pemegang Hak Cipta, lisensi, tindakan terhadap pelanggaran Hak Cipta pada media komunikasi elektronik (internet), dan tindakan penyelesaian sengketa melalui pengadilan (perdata dan pidana).

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Huber, Loreta, and Airidas Kairys. "Culture Specific Items in Audiovisual Translation: Issues of Synchrony and Cultural Equivalence in the Lithuanian Dub of “Shrek the Third”." Studies about Languages 1, no. 38 (July 13, 2021): 5–16. http://dx.doi.org/10.5755/j01.sal.1.38.24743.

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Audiovisual translation encompasses a number of dissimilar areas. To quote Frederic Valera Chaume, AVT “covers both well-established and new ground-breaking linguistic and semiotic transfers like dubbing, subtitling, surtitling, respeaking, audiosubtitling, voice-over, simultaneous interpreting at film festivals, free-commentary and goblin translation, subtitling for the deaf and the hard of hearing, audiodescription, fansubbing and fandubbing” (2013, p. 105). This paper analyses the importance of culture-specific elements in audiovisual products and strategies of their transfer to the target culture. Practical investigation is based on a case study of an animated film “Shrek the Third” and its Lithuanian dub. The choice for the case study was determined by the fact that the history of dubbing animated movies in independent Lithuania started with “Shrek,” the first Hollywood film dubbed into Lithuanian, which has achieved unprecedented success and become an example for further dub localizations. The aim of the research was to determine the relationship between types of synchrony that should be maintained in dubbing and culture-specific items that should be localized in the target text. The study is complemented with a research survey that questions the importance of different types of synchronies in translation. As there is no consensus about the importance of lip synchrony in dubbing, and some scholars (Doane, 1980; Chaume, 2012) claim that it plays a dominant role in dubbing, whereas others (Herbst, 1994; Jüngst, 2010) declare its overestimation, the survey research attempts to answer this debatable question.

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Abu-Rayyash, Hussein, Linda S. Al-Abbas, and Ahmad S. Haider. "Arab fansubbers’ intervention in movie scripts through adding humorous notes: Reactions and functions." Journal of Arab & Muslim Media Research 16, no. 2 (October 1, 2023): 139–59. http://dx.doi.org/10.1386/jammr_00060_1.

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Translation notes, as employed in fansubbing, are remarks added to the subtitles without reference to the source text. The current study adopts quantitative and qualitative approaches to investigate the receptivity and classification of translation notes explicitly utilized in fan-subtitled English movies for Arab audiences. In the quantitative part, 90 participants were engaged to assess fan-subbed English films with embedded translation notes in Arabic and subsequently completed an eighteen-item questionnaire. The analysis revealed a favourable disposition towards translation notes, albeit with a caveat of requisite technical refinements in future products. Moreover, the findings indicated a predilection for incorporating such notes in specific film genres, such as comedy and romance, as opposed to horror or documentaries. In the qualitative part, the researchers conducted an exhaustive examination of 120 translation notes, subsequently categorizing them into ten thematic classifications. The investigation further showed that fansubbers might provide commentary on scenes laden with disbelief or blasphemy, distancing the viewers from the content while maintaining a comedic tone. Additionally, fansubbers may exercise discretion in abstaining from translating sequences deemed repetitive or ill-suited for the target audience. The results further posit that vernacular dialects demonstrate a heightened efficacy in conveying humour, as opposed to the utilization of Modern Standard Arabic (MSA), given the former’s ubiquity in quotidian communication and the latter’s association with formal contexts. Finally, the study concludes that more streaming platforms are recommended to add a new feature where viewers can watch the AV material with translation notes.

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Journal articles on the topic 'Fansubbing'

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