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Non-professional Interpreting and Translation in the Media


Rachele Antonini and Chiara Bucaria

Non-professional Interpreting and Translation (NPIT) is a recent discipline. Books and volumes on this subject that combine all the different fields are extremely uncommon and authoritative reference material is scarce and mostly scattered through disparate specialized journals. There are many areas and aspects of NPIT in the media that to date have been under researched or utterly neglected. The aim of this volume is therefore to fill an important gap in the academic market and to provide an overview of diverse aspects of non-professional interpreting and translation in the media. The volume consists of a collection of essays by eminent international scholars and researchers from the field of Translation and Interpreting Studies.
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Ornella Lepre - Translating culture in fansubs: proper name cultural references in 30 Rock


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Ornella Lepre

Translating culture in fansubs: Proper name cultural references in 30 Rock

1. Introduction

Though a relatively recent addition to the world of audiovisual translation (AVT), fansubs (subtitles made by amateur translators and released for free on the Internet) have quickly become common in many countries. Nevertheless, only a small number of studies deal with the technical and qualitative aspects of fansubs. Bogucki (2009), Díaz Cintas and Muñoz Sánchez (2006) and Ferrer Simó (2005) are among the few who analyze them from a translation point of view: to this day, fansubs have mostly received academic attention due to the ethical and legal issues they raise. Fansubbing communities are usually not-for-profit and do not obtain compensation for their work; nor, however, do they compensate the copyright holders for the use (and sometimes distribution) of audiovisual material. In light of the service fansubbers provide to a potentially extensive community, Rembert-Lang (2010) advocates a reconsideration of the concept of copyright, to take into account the needs of the consumer. Lee (2010: 26) even argues that copyright is already “not only a legal but also a social and cultural construct open to cultural consumers’ own understanding and interpretation”.

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