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Translation, Globalization and Younger Audiences

The Situation in Poland


Michał Borodo

Translating for younger audiences is in need of critical investigation, as children’s and teenagers’ literature and media products are being increasingly globalized and glocalized, with translation playing an important role in the process. Media phenomena such as Harry Potter and animated Disney films travel across continents through hundreds of local cultures. These productions exert a homogenizing effect whilst at the same time undergoing transformation to adapt to new audiences.

This book distinguishes between textual glocalization, anglophone foreignization and large-scale adaptation, illustrating them with examples of translations of animated films by Pixar/Disney and DreamWorks, locally produced versions of the Horrible Histories series, Harry Potter translations and transmedial adaptations as well as film tie-ins. The book argues that global exchanges largely depend on the creative efforts of local agents – professional translators, adapters, retellers, publishers, writers, editors – and sheds light on the initiatives of non-professional translators, including scanlators, fansubbers, hip-hop fans and harrypotterians. By examining globally distributed titles translated at the turn of the twenty-first century, the volume aims at filling a gap at the intersection of translation studies, globalization research and the study of children’s literature and culture.

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Chapter 4: Audiovisual translation and glocalization


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Audiovisual translation and glocalization

Translation and glocal animated films

Preceded by large-scale international marketing campaigns and followed by the release of a myriad of tie-ins, American animated feature films produced by Pixar, Disney, DreamWorks, Blue Sky or Universal are screened in a vast number of localities around the planet. As a result, the same animated movie icons, such as the green ogre Shrek, the one-eyed monster Mike or the anthropomorphic race car Lightning McQueen dominate cultural landscapes and stimulate children’s imaginations globally. This chapter is mainly an attempt to establish what happens to such audiovisual productions in the Polish context.

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