Dingkun Wang and Xiaochun Zhang - The cult of dubbing and beyond: Fandubbing in China
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Dingkun Wang and Xiaochun Zhang
The cult of dubbing and beyond: Fandubbing in China
With the development of affordable and accessible computer technology, amateur audiovisual translation practices, in particular fansubbing and fandubbing have evolved into a global phenomenon. Fan translation emphasizes the shift from the individual to the group, and this in turn has “increased networking and interdependence of the world” (Tymoczko 2009: 402). The notion of “by fans for fans” (Muñoz-Sánchez 2009: 168) highlights the user-oriented nature of fans’ translation which is by and large free from the influence of commercial distribution. Meanwhile, the “co-creational” (Barra 2009: 511, Pérez-Gonzalez 2012: 12) feature of fans’ cooperative endeavours helps build an interactive translator community online, in which fans with specialized knowledge of a particular genre (e.g. anime) or works of a particular author (e.g. Tolkien’s novels) work together while acquiring a wide range of translation competences and technical expertise (O’Hagan 2008). Considerable research has been devoted to the fansubbing of Japanese anime for viewers outside Asia and to English-language audiovisual programmes for non-Anglophone audiences (e.g. Italian and Chinese audiences) (See Pérez-Gonzalez 2007, Wilson 2011, Dwyer 2012, Gao 2012, Schules 2012, Massidda 2015, and Hsiao 2014). Thus far, however, translation scholars have paid insufficient attention to fandubbing, which refers to the activity performed by Internet users who edit and dub video clips selected from some original contents (mostly TV programmes and films) and share these self-made productions...
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