1887
  1. Home
  2. e-Journals
  3. Target. International Journal of Translation Studies
  4. Volume 35, Issue 3
  5. Article
Volume 35, Issue 3
  • ISSN 0924-1884
  • E-ISSN: 1569-9986
USD
Buy:$35.00 + Taxes

Abstract

Abstract

Newer distribution models and delivery mechanisms for audiovisual content have, over the years, contributed to the emergence of different dynamics between the consumers (or end-users) of these audiovisual texts and their providers on a global scale. Fans and casual viewers alike have now become more vocal in expressing their dissatisfaction with subtitled or dubbed content that is not up to their standards. In this article, I take a macro-level approach to audience studies in audiovisual translation (AVT) by reflecting on if and how viewers’ perspectives are being incorporated into streaming platforms’ policies and sense of accountability towards their subscribers. By analysing a recent case study from Netflix Italia – the Japanese anime (Netflix 2019–2020) – I consider the ways in which the streaming platform took on board the subscribers’ complaints about the quality of the Italian adaptation and modified its offering accordingly. This new dynamic seems to suggest that distributors who are more sensitive to their subscribers’ needs may foster a process of co-creation and meaning-making of the localized content that concretely acknowledges the consumers’ point of view. At the same time it raises issues concerning the impact that the opinions of viewers who are mostly untrained in the standards and practices of AVT might ultimately have in localization and distribution choices.

© 2023 John Benjamins Publishing Company
Loading

Article metrics loading...

/content/journals/10.1075/target.00016.buc
2023-07-20
2025-04-19

  • From This Site

    /content/journals/10.1075/target.00016.buc
    dcterms_title,dcterms_subject,pub_keyword
    -contentType:Journal -contentType:Contributor -contentType:Concept -contentType:Institution
    10
    5
Loading full text...

Full text loading...

References

  1. ABC
    ABC 2014–2020 How to Get Away with Murder.
     [Google Scholar]
  2. CBS
    CBS 2005–2014 How I Met Your Mother.
     [Google Scholar]
  3. CBS
    CBS 2007–2019 The Big Bang Theory.
     [Google Scholar]
  4. HBO
    HBO 2011–2019 Game of Thrones.
     [Google Scholar]
  5. NBC
    NBC 1955–1960 Fury/Brave stallion.
     [Google Scholar]
  6. Netflix
    Netflix 2019–2020 Neon Genesis Evangelion.
     [Google Scholar]
  7. Netflix
    Netflix 2017–2021 La casa de papel (Money Heist).
     [Google Scholar]
  8. Bender, Jack
    2016 Game of Thrones. Season 6, episode 5, “The Door”.
     [Google Scholar]
  9. Cuarón, Alfonso
    2018 Roma.
     [Google Scholar]
  10. Wu, Alice
    2020 The Half of It/L’altra metà.
     [Google Scholar]
  11. Ang, Ien
    1991 Desperately Seeking the Audience. London: Routledge. 10.4324/9780203321454
     https://doi.org/10.4324/9780203321454 [Google Scholar]
  12. Antonini, Rachele, and Delia Chiaro
    2009 “The Perception of Dubbing by Italian Audiences.” InAudiovisual Translation: Language Transfer on Screen, edited byJorge Díaz-Cintas and Gunilla Anderman, 97–114. London: Palgrave Macmillan. 10.1057/9780230234581_8
     https://doi.org/10.1057/9780230234581_8 [Google Scholar]
  13. Barra, Luca
    2009 “The Mediation is the Message: Italian Regionalization of US TV Series as Co-Creational Work.” InCo-Creative Labour, edited byJohn Banks and Mark Deuze, special issue ofInternational Journal of Cultural Studies12 (5): 509–525. 10.1177/1367877909337859
     https://doi.org/10.1177/1367877909337859 [Google Scholar]
  14. 2013 “Invisible Mediations: The Role of Adaptation and Dubbing Professionals in Shaping US TV for Italian Audiences.” InHidden Professions of Television, edited byAndy O’Dwyer and Tim O’Sullivan, VIEW Journal of European Television History and Culture2 (4): 101–111. 10.18146/2213‑0969.2013.jethc048
     https://doi.org/10.18146/2213-0969.2013.jethc048 [Google Scholar]
  15. Brooker, Will, and Deborah Jermyn
    eds. 2003 The Audience Studies Reader. London: Routledge.
     [Google Scholar]
  16. Bucaria, Chiara
    2019 “Reactions to Audiovisual Adaptation on Social Media: The Case of How to Get Away With Murder.” InRepresenting Translation: The Representation of Translation and Translators in Contemporary Media, edited byDror Abend-David, 70–95. London: Bloomsbury. 10.5040/9781501333903.0011
     https://doi.org/10.5040/9781501333903.0011 [Google Scholar]
  17. 2022 “Mapping the Contemporary Landscape of TV Translation.” InThe Routledge Handbook of Translation and Media, edited byEsperança Bielsa, 319–335. Abingdon: Routledge.
     [Google Scholar]
  18. Bucaria, Chiara, and Delia Chiaro
    2007 “End-User Perception of Screen Translation: The Case of Italian Dubbing.” TradTerm131: 91–118. 10.11606/issn.2317‑9511.tradterm.2007.47468
     https://doi.org/10.11606/issn.2317-9511.tradterm.2007.47468 [Google Scholar]
  19. Cannarsi, Gualtiero
    2020 “Apostoli, 使徒 e ANGEL: La voce chiara della buona novella [Apostles, 使徒 and ANGEL: The clear voice of the good news].” Pluschan, June 1, 2020. https://magazine.pluschan.com/apostoli-e-angel-la-parola-definitiva
     [Google Scholar]
  20. Caulfield, A. J.
    2019 “HBO Finally Responded To That Remake GoT Petition.” Looper, August 13, 2019. https://www.looper.com/161832/hbo-finally-responded-to-that-remake-got-petition
     [Google Scholar]
  21. Chaume, Frederic
    2016 “Audiovisual Translation Trends: Growing Diversity, Choice, and Enhanced Localization.” InMedia Across Borders: Localizing TV, Film and Video Games, edited byAndrea Esser, Miguel Á. Bernal-Merino, and Iain Robert Smith, 68–84. New York: Routledge.
     [Google Scholar]
  22. Coming Soon
    Coming Soon. n.d. “The Big Bang Theory.” https://www.comingsoon.it/serietv/the-big-bang-theory/27/scheda
  23. Díaz Cintas, Jorge
    2010 “Subtitling.” InHandbook of Translation Studies, vol.11, edited byYves Gambier and Luc van Doorslaer, 344–349. Amsterdam: John Benjamins. 10.1075/hts.1.sub1
     https://doi.org/10.1075/hts.1.sub1 [Google Scholar]
  24. Di Giovanni, Elena, and Yves Gambier
    eds. 2018 Reception Studies and Audiovisual Translation. Amsterdam: John Benjamins. 10.1075/btl.141
     https://doi.org/10.1075/btl.141 [Google Scholar]
  25. Dylan, D.
    2019 “Remake Game of Thrones Season 8 with competent writers”. Petition onchange.org, May 9, 2019.
     [Google Scholar]
  26. Enciclopedia del Doppiaggio
    Enciclopedia del Doppiaggio 2014 “How I Met Your Mother.” www.enciclopediadeldoppiaggio.it/index.php?title=How_I_Met_Your_Mother
  27. Evit
    Evit 2020 “Grosso guaio a Schifohamish: Il doppiaggio Netflix “fatto in casa” di L’altra metà [Big trouble in Schifohamish: Netflix’s homemade dubbing for The half of it].” Doppiaggi italioti, May 19, 2020. https://doppiaggiitalioti.com/2020/05/19/grosso-guaio-a-schifohamish-il-doppiaggio-netflix-fatto-in-casa-di-laltra-meta-2020
     [Google Scholar]
  28. Fiske, John
    1987 Television Culture. London: Methuen.
     [Google Scholar]
  29. Fuentes Luque, Adrián
    2003 “An Empirical Approach to the Reception of AV Translated Humour: A Case Study of the Marx Brothers’ ‘Duck Soup.’” The Translator9 (2): 293–306. 10.1080/13556509.2003.10799158
     https://doi.org/10.1080/13556509.2003.10799158 [Google Scholar]
  30. Goetz, Kevin
    2021 Audience•ology: How Moviegoers Shape the Films We Love. New York: Tiller Press.
     [Google Scholar]
  31. Grossi, Giuseppe
    2016 “In nome di Hodor: Intervista al dialoghista de Il Trono di Spade [In the name of Hodor: Interview with Game of Thrones’ dialogue adapter].” Movieplayer, May 31, 2016. https://movieplayer.it/articoli/hold-the-door-trova-il-modo-lintervista-al-dialoghista-de-il-trono-di-_15954
     [Google Scholar]
  32. Hall, Stuart
    (1973) 2007 “Encoding, Decoding.” InThe Cultural Studies Reader, 3rd ed., edited bySimon During. Abingdon: Routledge.
     [Google Scholar]
  33. Jenkins, Henry
    2006 Convergence Culture: Where Old and new Media Collide. 2nd ed.New York: New York University Press.
     [Google Scholar]
  34. Karpinski, R.
    2005 “The Next Phase: Bottom-up Marketing.” BtoB Magazine90 (5): 38.
     [Google Scholar]
  35. Lasswell, Harold D.
    [1938] 2013 Propaganda Technique in the World War. Martino Publishing.
     [Google Scholar]
  36. Lee, Wendy
    2022 “Why Dubbing Has Become Crucial to Netflix’s Business.” Los Angeles Times, February 28, 2002. https://www.latimes.com/entertainment-arts/business/story/2022-02-28/why-dubbing-has-become-more-crucial-to-netflixs-business
     [Google Scholar]
  37. Livingstone, Sonia
    2003 “The Changing Nature of Audiences: From the Mass Audience to the Interactive Media User” [online]. London: LSE Research Online. eprints.lse.ac.uk/archive/00000417
  38. Marshall, Alex
    2019 “Mamá to Madre? ‘Roma’ Subtitles in Spain Anger Alfonso Cuarón.” The New York Times, January 11, 2019. https://www.nytimes.com/2019/01/11/movies/roma-spanish-subtitles-alfonso-cuaron-netflix.html
     [Google Scholar]
  39. Morley, David
    1992 Television, Audiences and Cultural Studies. London: Routledge.
     [Google Scholar]
  40. Mulvey, Laura
    (1975) 2003 “Visual Pleasure and Narrative Cinema.” InThe Audience Studies Reader, edited byWill Brooker and Deborah Jermyn, 133–142. London: Routledge.
     [Google Scholar]
  41. Nola, Gabriele
    2019 “Neon Genesis Evangelion: ‘Angeli’ o ‘Apostoli’? Gualtiero Cannarsi ci spiega il suo nuovo adattamento per Netflix [Neon Genesis Evangelion: ‘Angels’ or ‘Apostles’? Gualtiero Cannarsi explains his new adaptation for Netflix].” badtaste.it, June 22, 2019. https://www.badtaste.it/tv/interviste/neon-genesis-evangelion-angeli-o-apostoli-gualtiero-cannarsi-ci-spiega-il-suo-nuovo-adattamento-per-netflix
     [Google Scholar]
  42. O’Hagan, Minako
    2009 “Evolution of User-Generated Translation: Fansubs, Translation Hacking and Crowdsourcing.” The Journal of Internationalization and Localization1 (1): 94–121.
     [Google Scholar]
  43. O’Sullivan, Carol
    2018a “Imagined Spectators: The Importance of Policy for Audiovisual Translation Research.” InAudiovisual Translation: Theoretical and Methodological Challenges, edited byYves Gambier and Sara Ramos Pinto, 79–93. Amsterdam: John Benjamins. 10.1075/bct.95.07osu
     https://doi.org/10.1075/bct.95.07osu [Google Scholar]
  44. 2018b “‘New and Improved Subtitle Translation’: Representing Translation in Film Paratexts.” InLinguistic and Cultural Representation in Audiovisual Translation, edited byIrene Ranzato and Serenella Zanotti, 265–279. New York: Routledge. 10.4324/9781315268552‑14
     https://doi.org/10.4324/9781315268552-14 [Google Scholar]
  45. Pérez-González, Luis
    2014 Audiovisual Translation: Theories, Methods and Issues. Abingdon: Routledge. 10.4324/9781315762975
     https://doi.org/10.4324/9781315762975 [Google Scholar]
  46. Ravarino, Ilaria
    2021 “I doppiatori: ‘Neri doppiati solo da neri? Troppe pressioni dalle major, il politicamente corretto è diventato un incubo’ [Dubbing actors: ‘Black people dubbed only by black people? Too much pressure from the majors, political correctness has become a nightmare’].” Il Messaggero, May 8, 2012. https://www.ilmessaggero.it/spettacoli/cinema/i_doppiatori_neri_doppiati_solo_da_neri_troppe_pressioni_dalle_major_il_politicamente_corretto_cosi_e_un_incubo-5947157.html
     [Google Scholar]
  47. Rusconi, Valeria
    2019 “‘Neon Genesis Evangelion’, l’adattamento Netflix non convince: Snatura l’opera originale [‘Neon Genesis Evangelion’, Netflix’s adaptation is not convincing: It distorts the original].” La Repubblica, June 23, 2019. https://www.repubblica.it/spettacoli/serie/2019/06/23/news/_neon_genesis_evangelion_-229458572
     [Google Scholar]
  48. Sánchez-Mompeán, Sofía
    2021 “Netflix Likes it Dubbed: Taking on the Challenge of Dubbing into English.” Language & Communication801: 180–190. 10.1016/j.langcom.2021.07.001
     https://doi.org/10.1016/j.langcom.2021.07.001 [Google Scholar]
  49. Scrolavezza, Paola
    2019 “Di adattamenti e stereotipi [Of adaptations and stereotypes].” Dimensione Fumetto, September 19, 2019. www.dimensionefumetto.it/gualtiero-cannarsi-nel-di-lui-caso-reazioni
     [Google Scholar]
  50. Studio Ghibli
    Studio Ghibli. n.d. “Adattamento e doppiaggio dei film Studio Ghibli [Adaptation and dubbing of Studio Ghibli films].” https://www.luckyred.it/adattamento-e-doppiaggio-dei-film-studio-ghibli
  51. Tajvidi, Mina, Marie-Odile Richard, YiChuan Wang, and Nick Hajli
    2020 “Brand Co-Creation Through Social Commerce Information Sharing: The Role of Social Media.” Journal of Business Research1211: 476–486. 10.1016/j.jbusres.2018.06.008
     https://doi.org/10.1016/j.jbusres.2018.06.008 [Google Scholar]
  52. Tammaro, Giammaria
    2019 “Il pasticcio del doppiaggio di Evangelion, doppiatori pronti a lasciare e incomprensioni del testo [The mess with Evangelion’s dubbing, dubbing actors ready to quit and incomprehensible dialogue].” La Stampa, June 27, 2019. https://www.lastampa.it/topnews/tempi-moderni/2019/06/27/news/il-pasticcio-del-doppiaggio-di-evangelion-doppiatori-pronti-a-lasciare-e-incomprensioni-del-testo-1.36544364
     [Google Scholar]
  53. Toffler, Alvin
    1980 The Third Wave: The Classic Study of Tomorrow. New York: Bantam.
     [Google Scholar]
  54. Triulzi, Massimo
    2019 “Lo strano caso del doppiaggio italiano di Evangelion, anime culto di Netflix [The strange case of the Italian dubbing of Evangelion, Netflix’s cult anime].” Corriere Della Sera Tecnologia, June 25, 2019. https://www.corriere.it/tecnologia/19_giugno_25/strano-caso-doppiaggio-italiano-evangelion-anime-culto-netflix-55ed6058-9745-11e9-8e4d-b6b35f2a9094.shtml
     [Google Scholar]
  55. TV Series We Love
    TV Series We Love 2020 “Is ‘Money Heist’ Dubbed And Should We Watch It Dubbed?” TV Series We Love, April 16, 2020. https://tvserieswelove.com/is-money-heist-dubbed-and-should-we-watch-it-dubbed
     [Google Scholar]
  56. Tymoczko, Maria
    2014 Enlarging Translation, Empowering Translators. Abingdon: Routledge. 10.4324/9781315759494
     https://doi.org/10.4324/9781315759494 [Google Scholar]
  57. Venuti, Lawrence
    2017 The Translator’s Invisibility: A History of Translation. Abingdon: Routledge. 10.4324/9781315098746
     https://doi.org/10.4324/9781315098746 [Google Scholar]
  58. Vilas-Boas, Eric
    2019 “Anime Classic Neon Genesis Evangelion Is Finally on Netflix: So Why Are Some Fans Upset?” Vulture, June 27, 2019. https://www.vulture.com/2019/06/neon-genesis-evangelion-netflix-controversy-explained-guide.html
     [Google Scholar]
  59. Yadav, Mayank, Shampy Kamboj, and Zillur Rahman
    2016 “Customer Co-Creation Through Social Media: The Case of ‘Crash the Pepsi IPL 2015’.” Journal of Direct, Data and Digital Marketing Practice171: 259–271. 10.1057/dddmp.2016.4
     https://doi.org/10.1057/dddmp.2016.4 [Google Scholar]
  60. Zappavigna, Michele
    2012 Discourse of Twitter and Social Media: How We Use Language to Create Affiliation on the Web. London: Bloomsbury.
     [Google Scholar]
/content/journals/10.1075/target.00016.buc
Loading
  • Article Type: Research Article
Keyword(s): audience agency; audiovisual translation (AVT); dubbing; streaming; subtitling

Most Cited

This is a required field
Please enter a valid email address
Approval was successful
Invalid data
An Error Occurred
Approval was partially successful, following selected items could not be processed due to error