<p>Syftet med denna studie var att utifrån olika kvalitetsnormer jämföra och analysera skillnader mellan professionella undertextares undertexter och amatörers undertexter. Dialogen från fyra filmer parades med motsvarande undertexter av professionella undertextare så väl som av amatörer, varpå skillnader registrerades, viktades samt analyserades. Resultaten visar att det föreligger signifikanta skillnader mellan undertexter av professionella undertextare och amatörer på ett flertal punkter, som till exempel struktur och semantik, reduktion och expansion, antal tecken, antal ord, exponeringstid samt antal undertextenheter. Genomgående så översätter amatörerna originaldialogen mer ord-för-ord än vad de professionella undertextarna gör, samtidigt som de professionella undertextarna stryker stora delar av dialogen, vilket innebär att tittare som använder amatörundertexter får betydligt mer text att läsa, vilket i sin tur innebär att mindre tid ägnas åt filmernas bildmässiga innehåll.</p>

Syftet med denna studie var att utifrån olika kvalitetsnormer jämföra och analysera skillnader mellan professionella undertextares undertexter och amatörers undertexter. Dialogen från fyra filmer parades med motsvarande undertexter av professionella undertextare så väl som av amatörer, varpå skillnader registrerades, viktades samt analyserades. Resultaten visar att det föreligger signifikanta skillnader mellan undertexter av professionella undertextare och amatörer på ett flertal punkter, som till exempel struktur och semantik, reduktion och expansion, antal tecken, antal ord, exponeringstid samt antal undertextenheter. Genomgående så översätter amatörerna originaldialogen mer ord-för-ord än vad de professionella undertextarna gör, samtidigt som de professionella undertextarna stryker stora delar av dialogen, vilket innebär att tittare som använder amatörundertexter får betydligt mer text att läsa, vilket i sin tur innebär att mindre tid ägnas åt filmernas bildmässiga innehåll.

Looking at Japanese media online, one often finds comments such as "crazy Japan" from international viewers in the comment section. A quick search on YouTube forJapanese comedy would give an understanding of the origin of this statement. Japanese humour contains many unconventional concepts, and Japanese stand-up comedy is no exception. This study investigated fan subtitling for Japanese comedy, and the chosen material is one episode from the Japanese TV variety show Gaki no Tsukai ya Arahende: Batsu game special (Gaki files, 2011). The research question is: Which of Gottlieb’s strategies was employed to translate each punchline that resulted in a penalty (Batsu) in the fan-subtitled translation of Gaki no Tsukai ya Arahende: airport special? Since there is no official translation, this research used only the fantranslation to analyse the strategies utilised in this five-hour special episode. This was done by transcribing humorous punchlines in the original and analysing the fantranslated version using the translation theory of Henrik Gottlieb (1992). By exploring the strategies and translation errors found in this fan translation, this study hopes to give some theoretical and practical applications for Japanese language learners and translators. Finding answers to the main research questions in this study also resulted in practical examples of naturally occurring translation theories.

Fansub consiste à traduire et à sous-titrer les produits médiatiques étrangers tels que des films, des feuilletons ou des animes par des internautes bénévoles. Ce phénomène est aujourd’hui très répandu en Chine. Les amateurs s’organisent en groupes de fansub pour accomplir ce travail en collaboration. Les groupes de fansub se caractérisent par la virtualisation du lieu de travail, l’hétérogénéité des membres, la liberté de participation, la collaboration et la non-commercialité. Leur processus de travail et organisation est aussi particulier. Dans ce mémoire, je me suis intéressée à l’apprentissage des fansubbers, un aspect peu étudié dans la littérature sur le fansub. Le fansub a été abordé sous l’angle d’une communauté de pratiques pour comprendre comment les fansubbers acquièrent de nouvelles connaissances et améliorent leur compétence linguistique en sous-titrant les films de langue étrangère. L’étude est basée sur l’observation participative dans un groupe de fansub chinois-français, Fansub Yueyue. J’ai fait de l’observation participante auprès de ce groupe de fansub pour recueillir des traces du travail et des interactions entre les membres. Dix fansubbers du groupe ont aussi été interrogés. Les analyses ont indiqué que le groupe de fansub démontre les trois caractéristiques essentielles d’une communauté de pratique : l’entreprise commune, l’engagement mutuel et un répertoire partagé. Cet ensemble favorise l’existence du groupe ainsi que l’apprentissage des membres. Aussi, par l’analyse des erreurs fréquentes des fansubbers et leur autoévaluation, nous concluons que les pratiques de fansub aident les membres à améliorer leur compétence linguistique. L’apprentissage a lieu pendant le processus de travail de sous-titrage ainsi qu’à travers les interactions entre les membres ou avec des personnes hors de ce groupe. / Fansubbing consists of translating and subtitling foreign mass media productions by netizens interested in these films, television programs or cartoons. This phenomenon is growing rapidly in Chinese cyberspace with the proliferation of the Internet and the increasing number of foreign language learners. Fansub groups are organized by passionate amateurs willing to accomplish this work together. Characterized by a virtual workplace, heterogeneity of members, voluntary participation, and the non-commercial nature of their production, fansub groups have attracted the attention of academic researchers. Previous studies have considered the cultural aspects of fansub, problems of legitimacy as well as the question of audiovisual translation quality. However, this study considers fansub groups as communities of practice in which learning occurs. Specifically, we examine how one group’s members acquire new knowledge and improve their language abilities through the practice of subtitling. The study is based on participant observation in a Chinese-French fansub group named Yueyue Fansub. We collected and analyzed information and documents created during the work process. We also conducted interviews with ten fansub group members to deepen our empirical understanding. Our analysis shows that the fansub group has all three of the characteristics deemed essential in a community of practice: joint enterprise, mutual engagement and shared repertoire, and that this combination supports the group as well as members’ learning. In addition, analysis of common mistakes made by fansubbers combined with their self-evaluations indicate that fansub practices help improve language ability. Learning takes place during the subtitling work as well as in and through interactions among group members or with people outside the group.