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Fansubbing in the World Context:

Creativity, Conflicts and Controversy


Thursday, 9 July 2015

9:00-9:30 Dingkun Wang: The Fansubs Utilising a Regional Language in China for Special Purposes – a Butterfly Effect of Fansubbing Beyond Audiovisual Marketplace
9:30-10:00 Mehmet Erguvan: The Implementation of Venutian Scale in the Realm of Fansubbing: The case of Turkey
10:00-10:30 Martina Cervino: Fansubbing versus dubbing in the Italian cultural industry
Coffee break

11:00-11:30 Alina Secară: The reception of fansubbing txt spelling techniques and the acceptability of their integration in professional settings

11:30-12:00 Anna Baczkowska: Lexical and stylistic aspects of nonprofessional subtitles   


14:00-14:30 Laura Anelli: Translating How I Met Your Mother for an Italian audience: fansubbers vs. official translators

14:30-15:00 Thandao Wongseree and Minako O'Hagan: Bringing a popular Korean TV show to Thai audiences: Thai fansubbing analysed according to Bourdieu’s habitus
15:00-15:30 Sung Eun Cho: Crisis in the Community - How the Korean fansubbing community has reacted to legal actions against fansubbers

Important information

> Contact for this colloquium

Dingkun Wang, dingkun.wang@anu.edu.au

Xiaochun Zhang, xiaochun.zhang@univie.ac.at

Aim and scope

Fansubbing, ‘translations for fans by fans’ (Díaz-Cintas and Sánchez 2006), has grown into a phenomenon spreading around the globe. The product of fansubbing is no longer limited to a ‘fan-produced, translated, subtitled version of a Japanese anime programme’ (Díaz-Cintas and Sánchez 2006) but extended into other types of media in different languages (O’Hagan 2014). At present, fansubbing has evolved from a slow and tedious task that produces low-quality original material with poor translation (Chaume 2013), to an inexpensive and easy task that produces translations to equal those on the official DVD and Blu-ray releases with high-quality resources (Lee 2011, 1142). The ‘groundbreaking innovations’ (Díaz-Cintas 2009, 11) by fans, such as their crowdsourced subtitling process and explanatory notes, are influencing the field of professional practice. Translation Studies, thus, “can no longer afford to overlook the fan translation phenomenon” (O’Hagan 2008, 179). The global fansubbing phenomenon, as Dwyer (2012, 227-228) suggests, exemplifies the shift from the individual to the group, resulting from the ‘increased networking and interdependence of the world’ (Tymoczko 2009, 401), from which there emerges ‘a decentered process conducted by teams of people linked electronically through technological systems’ (Tymockzo 2005, 1089). In such a process, ‘unstable’ items (Hemungs Wirtén 2013, 133), such as digital audiovisual media are translated and disseminated on the Internet. 

Fansubbing may seem to target only a small group of viewers in the multilingual and multicultural societies, such as Europe and Australia; it has drawn avid following in many other countries and regions, challenging the state-control over mainstream media and cultural productions. In any case, fansubbing has introduced new insights into multilingual multicultural issues, language policies, the acquisition of translation expertise, and research in translation and Language for Special Purposes, whilst continuing to push ethical and copyright boundaries.  

To bring these insights to light, this colloquium aims to touch upon the global fansubbing phenomenon at the 20th European Symposium on Languages for Special Purposes. 

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