This contribution applies an interdisciplinary approach which draws on globalization and post-globalization communication theories (Anderson 1983; Ferguson 1992; Cunningham & Jacka 1996), theories of register and genre (Lefkowitz 1991; Hunston 1993), and audience-based reception studies (Ang 1996; Liebes 1990; Morley & robins 1989; Hall 1992). It examines assumptions made about specific targeted audience by film-makers and subtitlers and their implications in political, cultural, and economic terms. It also explores to what extent these assumptions play a role not only in multimedia translation but also in the reception of one film various countries.