Fandubbing across time and space

Abstract

This chapter investigates a phenomenon that has received scant academic attention so far: fandubbing. To understand the extent and impact of this participatory practice in the current landscape, the chapter examines fandubbing origins and reflects on the needs met by fandubs at different times and contexts. The plethora of uses and motivations behind this phenomenon question the suitability of the term fandubbing. Against this backdrop, and drawing on Díaz-Cintas’s (2018) conception of “cybersubtitles”, the chapter advocates using the term cyberdubbing to reflect the wide range of non-traditional online dubbing practices so prevalent nowadays, including parodic and serious dubbings undertaken by fans, Internet users and digital influencers, be them professionals or amateurs.

Handbuch Audiovisuelle Translation : Arbeitsmittel für Wissenschaft, Studium, Praxis

“…B. Baños 2020, Baños 2019, Wang / Zhang 2016, Nord et al 2015, das auch erst in jüngerer Zeit in den Blickwinkel des Interesses von Forschenden im AVT-Bereich gerückt ist. Wobei der Begriff Fandubbing oft als Oberbegriff für "a wide range of manifestations of dubbing undertaken not only by fans, but also by amateurs who do not deem themselves fans, and even by dubbing professionals" (Baños 2020: 210) verwendet wird.…”

“¿Triste estás? I don’t know nan molla”

“…A similar restriction applies to subtitles or manga, where the materiality of the screen or manga format limits how a translated segment would appear in written form. Multimodal fan translation includes fandubbing, which has received considerably less attention so far in both translation studies (Baños, 2019(Baños, , 2020Dwyer, 2018) and from a language-learning perspective (Vazquez-Calvo et al, 2019). However, its characteristics make it a potentially interesting field of enquiry for translation, applied linguistics, and language learning.…”

“…In Baños (2019), the author relies on the concept of cyber-subtitling (elaborated by Díaz-Cintas, 2018) to map out the reality of online dubbing practices or cyber-dubbing (including fandubbing) based on four variables: (1) commissioner (commissioned and paid, commissioned and unpaid or self-commissioned), (2) producer (amateur or non-amateur, which includes trainee translators and professional translators), (3) aim or purpose (altruist, promotional or activist), and (4) relationship with the source text (serious or genuine, trying to convey the 1. https://www.bilibili.com…”

“…Leticia-Tian Zhang and Boris Vazquez-Calvo original meaning into the target text, and parodic or fake, with partial or total modifications as to the original meaning of the source text for an alternative intent or purpose, carrying some activism with it). Baños (2019) argues that the "fan" component has lost its appeal to some fandubbing communities who want to professionalize their dubbing activity. Yet, being a fan is not in opposition to being a professional in producing a fan product.…”