Date: Friday, 17 August 2018
Time: 1.00 - 2.00pm
Venue: EA.G.03, Australia-China Institute for Arts and Culture, Parramatta Campus (South), Western Sydney University
Limited seats. RSVP Essential. Please RSVP HERE (opens in a new window) before 16 August, 2018.
This seminar explores fansubbing, subtitling translation done by fans for fans (Díaz-Cintas and Sanchez 2006), in terms of its cultural, socio-political and technological entanglements with the digital publics of China. Collaborating amateur subtitlers intervene what used to be an officially monopolised field of Audiovisual Translation with a bid to defy the tight state ideological and political control while forging a mechanism of self-defence to protect themselves from state interference. They assemble an audience of “affective receptivity” (Pérez-González 2017, 3) under “post-cinematic conditions” where the dissemination of moving image reaches “beyond the classical dispositive of the cinema” (Hediger 2016, 20). Together, they are building virtual communities of informal popular-culture practice in order to carry on their aesthetic and political resistances through remediating and adaptive practices such as: cinephilic bricolage, (illicit) appropriation of commercial audiovisual products, and activist ad-hocracies.
Dingkun Wang is a postdoctoral research fellow at the Jiao Tong Baker Centre for Translation and Intercultual Studies of Shanghai Jiao Tong University. He earned his PhD in Translation Studies from the Australian National University in 2015. His postdoctoral research delves into the teloi of the Chinese Australian translator, Jing Han, who had her translation of the Chinese novel ‘Nie Zhai’ (《孽债》) (written by Ye Xin in 1991) published by Giramodo in Australia as ‘Educated Youth’ in 2015. The main focus is on Jing Han’s identity as an immigrant and her attitudes, goals and ethics in dislocating and reconstructing the collective, individual and fictionalised memories which intertwine in the source text and with her lived experience. Close and frequent communications with Jing Han afford a retrospective account which helps recover her positioning between non-literary (i.e. Audiovisual Translation [AVT], consecutive and simultaneous interpreting, and translation education) and literary domains in the field of professional translators in Australia. In addition to his postdoctoral research, Wang is the associate editor for the upcoming special issue of Perspectives, ‘Mapping Contemporary Audiovisual Translation in East Asia’, in collaboration with Xiaochun Zhang from the University of Bristol (U.K.) and Arista Szu-yu Kuo from the Nanyang Technological University (Singapore). His ongoing research in AVT explores linguistic, cultural, diegetic, narrative and generic manipulations on audiovisually encoded information in quantum archives of networked digital media where the gigantic formation of (informal) knowledge is sorted by probability rather than objectivity.
Díaz-Cintas, Jorge, and Pablo Sanchez (2006). “Fansubs: Audiovisual Translation in an Amateur Environment.” The Journal of Specialised Translation (6): 37-52.
Hediger, Vizenz (2016). “Venice to Go: Cultural In/Difference and the Digital Ecology of Film.” In Malte Hagener, Vinzenz Hediger and Alena Strohmaier (eds.) The State of Post-Cinema Tracing the Moving Image in the Age of Digital Dissemination, 17-48. London: Palgrave Macmillan.
Pérez-González, Luis (2017). “Investigating Digitally Born Amateur Subtitling Agencies in the Context of Popular Culture.” In David Orrego-Carmona and Yvonne Lee (eds.) Non-Professional Subtitling, 15-36. New Castle upon Tyne: Cambridge Scholar Publishing.