Fansubbing in Brazil: Fan translation and collaborative production in light of Participatory Culture
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Audiovisual translation (Gambier 2001; Romero-Fresco 2013) is as old as cinema and older than television. However, just recently, academic researchers have been focusing on it and its many categories. This study aims to contribute to this emergent discussion by addressing concepts of translation related to the area of audiovisual translation and, mainly the category of subtitling (Diaz-Cintas and Remael 2007) with a specific focus on fansubbing (Diaz-Cintas and Sanchez 2006). Fansubbing refers to the type of subtitles produced in a non-professional manner by communities of fans, and distributed free of charge on the Internet. In order to better understand this relationship between fans that produce these subtitles and fans that consume them, we will investigate the definition of ‘fan’ (Grossberg 1992; Jenkins 1992), and also the communities of fans, known as the fandoms (Jenkins 2006; Duffett 2013). We will also discuss the process of collaborative production of fan-made subtitles (O’Hagan 2009) taking into account how and why those subtitles are produced and consumed, while also examining the aspects related to the (il)legality of fansubbing in relation to copyright infringement (Mendonça 2012) in Brazil.
Abstract
Audiovisual translation (Gambier 2001; Romero-Fresco 2013) is as old as cinema and older than television. However, just recently, academic researchers have been focusing on it and its many categories. This study aims to contribute to this emergent discussion by addressing concepts of translation related to the area of audiovisual translation and, mainly the category of subtitling (Diaz-Cintas and Remael 2007) with a specific focus on fansubbing (Diaz-Cintas and Sanchez 2006). Fansubbing refers to the type of subtitles produced in a non-professional manner by communities of fans, and distributed free of charge on the Internet. In order to better understand this relationship between fans that produce these subtitles and fans that consume them, we will investigate the definition of ‘fan’ (Grossberg 1992; Jenkins 1992), and also the communities of fans, known as the fandoms (Jenkins 2006; Duffett 2013). We will also discuss the process of collaborative production of fan-made subtitles (O’Hagan 2009) taking into account how and why those subtitles are produced and consumed, while also examining the aspects related to the (il)legality of fansubbing in relation to copyright infringement (Mendonça 2012) in Brazil.
참고문헌 (23)
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