![]() ![]() This includes building a profile of Iranian amateur subtitlers, along with an account of their working process, followed by a description of fansubbed products. To fill this knowledge gap, this article aims to examine and analyze the different practices that are closely associated with Persian amateur subtitling. Despite the upsurge of this phenomenon in the Iranian context, there is limited literature and research on Persian non-professional subtitling. In Iran, to get around the “cultural gate-keeping” policy advocated and strictly enforced by the state in the national media system, from the early 2010s onward, numerous Persian-language websites have embarked on a new initiative whereby original, especially American tv series and films are made available for download together with their Persian subtitles. This is partly because a growing number of audiences worldwide now watch TV series and films with subtitles by amateur subtitlers, which are freely shared online, and Iranian viewers are certainly included. The number of studies addressing non-professional or amateur subtitling or fansubbing has increasingly multiplied over the past years, underlying its relevance in the present world. After describing and analysing these graphemes and how they have been subtitled, this article concludes that, even if fansubs can frequently be excessive, they are at the fore of creativity, and present better solutions than official subtitles in the translation of graphemes in anime. ![]() Even if this freedom can sometimes be taken to the extreme-with subtitles covering the entire screen-fansubs have shown creative subtitling solutions, specially in the case of graphemes that cover a great part of the screen. Much anime is fansubbed (subtitled by fans), and these fans are not constrained by the industry’s rules, meaning that they have complete liberty in subtitling, allowing for really creative forms of subtitling. These graphemes are categorised into two types: (1) the ones that are part of the original anime and (2) the graphemes added in fansubbed anime. This study, then, describes and analyses how graphemes have been translated in anime, presenting a series of cases, but concentrating on three particular releases: Gurren Lagann, Kill la Kill, and Tōkyō Godfathers, products that feature a frequent and innovative use of graphemes in its anime. Anime occasionally makes an innovative use of graphemes on screen, but this has not been studied so far. Anime, Japanese animation, is massive, with “60% of the animation in the world made in Japan” (Goto-Jones 2009, 3). ![]()
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