Chapter published in:Reception Studies and Audiovisual Translation
Edited by Elena Di Giovanni and Yves Gambier
[Benjamins Translation Library 141] 2018
► pp. 321–342
Chapter 15New audiences, international distribution, and translation
The interconnectivity made possible by the technological advancements of the past three decades has changed the way how audiences engage with audiovisual content around the world. On the one hand, viewers have become empowered consumers who are also engaged in the distribution of content; on the other, companies serving global audiences have emerged as key players in the audiovisual market. With more access to content, through piracy or official channels, new consumption habits, such as binge watching, have become common among viewers. Non-professional subtitling has played a key role in the expansion of the audiovisual market, the configuration of international audiences and the development of new viewing traditions. By looking at non-professional subtitling as a constituent of the international media flows, this chapter proposes Translation Studies should look at the reception of non-professional subtitles at a global scale to understand the interplay between non-professional subtitling, its producers/users and the audiovisual market, as well as the societal impact of the phenomenon.
- 1.The empowerment of users
- 2.Piracy, media consumption, and audiences
- 3.Binge watching: From piracy to Netflix
- 4.The role of translation: From fansubbing to non-professional subtitling
- 5.Exploring the new audiences through translation and understanding translation through new audiences
- 6.Final remarks
Published online: 15 June 2018
Ballano, Vivencio O.
Brems, Elke, and Sara Ramos Pinto
Castells, Manuel, and Gustavo Cardoso
Chu, Donna S.
Danaher, Brett, Samita Dhanasobhon, Michael D. Smith and Rahul Telang
Díaz Cintas, Jorge, and Pablo Muñoz Sánchez
Duraner, Jarmin E., Gülfer Tunali and Müge Işıklar Koçak
Fernández Costales, Alberto
Hemmungs Wirtén, Eva
Jiménez-Crespo, Miguel A.
Kosnik, Abigail de
2010 Piracy Is the Future of Television. http://boletines.prisadigital.com/piracy_future_television-full.pdf, Accessed November 27, 2016.
Luczaj, Kamil, Magdalena Holy-Luczaj and Karolina Cwiek-Rogalska
2013 “Audiovisual Piracy, Informal Economy, and Cultural Globalization.” In Piracy Cultures: How a Growing Portion of the Global Population Is Building Media Relationships Through Alternate Channels of Obtaining Content, ed by Manuel Castells and Gustavo Cardoso, n.p. Los Angeles: USC Annenberg Press.
Mendes Moreira De Sa, Vanessa
2009 To Spread or to Drill? https://justtv.wordpress.com/2009/02/25/to-spread-or-to-drill/, Accessed November 10, 2017.
2016 MUSO's Global Film & TV Piracy Insight Report 2016 Released https://www.muso.com/magazine/musos-global-film-tv-piracy-report-2016-released/
2006 The 90–9-1 Rule for Participation Inequality in Social Media and Online Communities. http://www.nngroup.com/articles/participation-inequality/, Accessed November 10, 2017.
Orrego-Carmona, David, and Simon Richter
Forthcoming). “Tracking the Distribution of Non-Professional Subtitles to Study New Audiences”.
Sun, Na, Patrick P. -L. Rau and Liang Ma
Tapscott, Don & Anthony D. Williams
The Nielsen Company
2016 Video on Demand: How the Worldwide Viewing Habits Are Changing in the Evolving Media Landscape. http://www.nielsen.com/content/dam/nielsenglobal/eu/docs/pdf/Nielsen-global-video-on-demand.pdf, Accessed May 13, 2017.
Cited by 4 other publications
Perego, Elisa & Ralph Pacinotti
This list is based on CrossRef data as of 31 march 2022. Please note that it may not be complete. Sources presented here have been supplied by the respective publishers. Any errors therein should be reported to them.