Specific to the participant, when conducting subtitle translation of audiovisual materials featuring semiotic and modal hybridity, she is keenly aware of the tensions and conflicts between translanguaging tendency and translation ethics. This is evident in her insights into the relationship between multiple resources (linguistic, semiotic, modal) engaged in her subtitling practices.
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In this study, we draw on the theoretical apparatus of translanguaging to look into an emerging form of amateur audiovisual translation, blogger subtitling, which is gaining momentum on the Chinese social media platform Weibo. Deploying a netnographic case study with @暴躁鸭仔, a Weibo subtitling video blogger, we built a corpus containing screenshots of her subtitled videos, real-time field notes, and online interview materials, focusing on her creative and critical language use when approaching audiovisual texts. It is found that she flexibly incorporates pictographic symbols into text-based scripts, exploits multiple discursive elements, manipulates orthographic features of Chinese, and adopts visual modes of signification. Through this process the boundaries between named languages are challenged and blurred. In her subtitling practice, various linguistic, semiotic, modal, cognitive resources which have long been treated as independent and isolated systems are integrated into her communicative repertoire as a whole. As she skillfully traverses back and forth between all these sense- and meaning-making resources, a social-media translanguaging space is opened up, within which the tension between translation and translanguaging is mediated to produce synergy. This online zone of diversity, dynamic, and fluidity witnesses an ever-evolving translating process oozing transformative power for liberating our understanding of subtitling, translation, and language use. Such translation practice embedded in a virtual translanguaging site is what we call trans-translating, with the suffix -ing about its on-going, fluid nature and the prefix trans- about it transformative potential.
Fansubbing in China involves a great number of people who have made significant efforts to produce subtitles for a considerable number of foreign audiovisual programmes in a wide variety of languages. Most of these people are working voluntarily outside the officially sanctioned distribution channels. While being pressured by copyright protection and official prosecutions, fansubbing groups have brought contemporary foreign audiovisual entertainment into the daily life of Chinese people. Fansubbing groups strive to enhance fansubbed versions by providing extra contextual and cultural explanations through various explanatory techniques and by rendering source-language dialogue creatively with colloquial register associated with vernacular Chinese. Although the foreign elements in a given original are domesticated in the latter case, the domestication is achieved without disregarding the original context. Hence, the naturalisation in fansubs should be distinguished from that seen in official subtitles. Further, fansubbers aim to provide an in-depth understanding of the original by adding explanatory notes, particularly when the information is unfamiliar or unknown to target audiences. A subtitle with an explanatory note attached occupies more space on the screen (and intrudes into the visual field further if the note appears on the top of the screen), which may cause the audience to have difficulty in following the pace of the narrative, as they have to make an extra effort to read the notes. By conducting trial exhibitions with volunteers who agree to partake in eye-tracking analysis, research elsewhere has drawn positive feedback from viewers as to the extent to which explanatory notes assist them in their viewing experience (Caffrey 2009; Orrego Carmona 2015). This outcome can be further verified among Chinese-speaking audiences in different geo-political contexts. Potential studies in this remit may also shed light on the influence of fansubbing on the broader socio-political context of China where, according to Lin (2002), translation has been functioning as a catalyst for social change.
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