Nghiên cứu đIển hình về tính hữu hình của các nhóm dịch chương trình running man trên mạng internet

Nghiên cứu đIển hình về tính hữu hình của các nhóm dịch chương trình running man trên mạng internet Nghiên cứu đIển hình về tính hữu hình của các nhóm dịch chương trình running man trên mạng internet Nghiên cứu đIển hình về tính hữu hình của các nhóm dịch chương trình running man trên mạng internet luận văn tốt nghiệp,luận văn thạc sĩ, luận văn cao học, luận văn đại học, luận án tiến sĩ, đồ án tốt nghiệp luận văn tốt nghiệp,luận văn thạc sĩ, luận văn cao học, luận văn đại học, luận án tiến sĩ, đồ án tốt nghiệp

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF ENGLISH LANGUAGE TEACHER EDUCATION GRADUATION PAPER FANSUBBING KOREAN AUDIOVISUAL POP CULTURAL WORKS: A CASE STUDY OF THE (IN)VISIBILITY OF ONLINE TRANSLATORS OF “RUNNING MAN” IN VIETNAM Supervisor: Ngo Ha Thu, MCS Student: Nguyễn Quỳnh Mai Course: QH2012.F1.E15 HANOI – 2016 ĐẠI HỌC QUỐC GIA HÀ NỘI TRƯỜNG ĐẠI HỌC NGOẠI NGỮ KHOA SƯ PHẠM TIẾNG ANH KHÓA LUẬN TỐT NGHIỆP NGHIÊN CỨU ĐIỂN HÌNH VỀ TÍNH HỮU HÌNH CỦA CÁC NHĨM DỊCH CHƯƠNG TRÌNH “RUNNING MAN” TRÊN MẠNG INTERNET Giáo viên hướng dẫn: Th.S Ngô Hà Thu Sinh viên: Nguyễn Quỳnh Mai Khóa: QH2012.F1.E15 HÀ NỘI – 2016 DECLARATION I hereby state that I: Nguyen Quynh Mai, class 12E15, being a candidate for the degree of Bachelor of Arts (TEFL) accept the requirements of the College relating to the retention and use of Bachelor’s Graduation Paper deposited in the library In terms of these conditions, I agree that the origin of my paper deposited in the library should be accessible for the purposes of study and research, in accordance with the normal conditions established by the librarian for the care, loan or reproduction of the paper Signature: Date: ACKNOWLEDGEMENT First of all, I place on record my sincere gratitude to my supervisor, Ms Ngo Ha Thu for her dedication, and valuable guidance extended to me Had it not been for her help and encouragement, I might not have enough patience to accomplish my dissertation I take this opportunity to express my thanks to my friends who gave me their excellent ideas and support no matter how busy they were when I was implementing the dissertation I would like to thank all of the respondents who spent their precious time and efforts on participating in the survey Their responses are of great importance to the completion of the research I also extended my appreciation to my family for their continuous support Although they not have any knowledge and understanding on English translation and interpreting, their support has helped me a lot in completing the dissertation i ABSTRACT This study was set out to examine the (in)visibility of two subtitle translation teams of a Korean audiovisual pop cultural work – “Running Man”, with the objective of identifying whether both teams are visible or not to the audience In order to comply with the objective, a theoretical framework was adopted to assess translator’s (in)visibility; and the opinion of “Running Man” audience was also consulted To be more specific, in order to gather necessary data for the research, different documents (including the subtitles and videos of “Running Man”) were collected for observation, and a questionnaire was delivered to collect the audience’s opinion about the matter The results from content and statistical analysis revealed that the two examined translation teams were visible to the audience based on both the framework and the audience’s opinion Moreover, as compared to the framework and perceived by the audience, there are four criteria constituting the translator’s visibility: (1) the presence of the teams’ name or logo in their translation, (2) the application of foreignisation strategy in culture-specific items, (3) interaction between the teams and their audience, and (4) the quality of their released video ii TABLE OF CONTENTS Chapter 1: Introduction 1.1 Statement of the research 1.2 Aims and objectives 1.3 Research questions 1.4 Scope of the research 1.5 Significance of the research 1.6 Structure of the research Chapter 2: Literature review 2.1 Fansubbing 2.2 Translator’s visibility 10 2.3 Theoretical framework 15 Chapter 3: Methodology 17 3.1 Selection of subjects 17 3.2 Research design 18 3.3 Data collection methods 19 3.4 Data analysis methods 21 Chapter 4: Analysis of Findings 26 4.1 Findings for Research Question 26 4.2 Finding for Research Question 32 Chapter 5: Conclusions 38 5.1 Conclusion 38 5.2 Limits of the research 38 5.3 Recommendations for future research 39 References 40 Appendix 43 iii LIST OF TABLES, FIGURES AND ABBREVIATIONS Tables Table Table Table Table Figures Name Classification of comments in the comment section on Facebook Response of participant A – St2 Responses of Bs – St2 Figure Name Figure Logos of subteams Figure Poster of “Running Man” Figure The position of gloss in a video Figure Position of subteam’s logo or name (the red box) Figure St1’s logo and notice in episode 79 Figure St1’s logo in episode 116 and 179 Figure Credit part of St1 and St2 (the yellow and red box) Figure Percentage of lines by translation strategies applied by St1 and St2 Figure Percentage of comments in Group 1, and Figure 10.1 Comments in Group and 10.2 Figure 11 Comments in Group Abbreviations Abbreviation Subteam St1 St2 A Bs Full form Subtitle translation team Subteam – Kites Subteam – 360Kpop Respondent choosing St2 Respondents choosing St1 iv CHAPTER 1: INTRODUCTION This chapter will provide overall information concerning the context of the research, the reasons for research, what goal it pursues, contributions it may make after accomplishment, and the scope and structure of the research 1.1 Statement of the research Visibility of translators has recently become a widely discussed topic in the translation industry, especially after the publication of “The translator’s visibility: A history of translation” by Lawrence Venuti in 1995 Since the birth of translation between six to ten thousand years ago, translators around the world have been playing the role of a cross-cultural mediator, but with little acknowledgement This situation is also the case in Vietnam Translation in Vietnam, as described by Le Quang, one of the well-known Vietnamese translators, in a workshop in 2014, is a thankless job; even when you produce a good translation, people only remember the author of the original (Lam, 2014) In terms of research on translator’s visibility, there are quite a large number of research papers in the world; however, in Vietnam, this remains a novel concept with barely any studies Therefore, the researcher expects that this research will shed light on this brand new topic within its scope, and provide a useful reference for further studies with broader scope in the future From the viewpoint of the researcher, among translators of different genres (both mainstream and underground ones), literary translators seem to be those who are most visible to the public However, after observing, the researcher notices some other translators who also receive the recognition and respect from a lot of people, and who can be considered visible They are online translators of Korean pop cultural works They are amateur translators working for no profit and practicing the so-called fansubbing on the Internet in Vietnam The practice of fansubbing has gradually become popular alongside the boom of the Korean wave in Vietnam One of the amazing cultural phenomena around the world in the past few years has been the surge of the Korean wave (or hallyu in Korean) As indicated in “The Korean wave: The Seoul of Asia” by Lee Sue Jin (2011), the term “Korean wave” refers to the “rising popularity” of Korean culture Within approximately thirty years, the Korean wave has “spread infectiously throughout the world”, particularly “exploded in the media” with such audiovisual products as pop music, television soap operas, and reality shows (Lee, 2011, p 85) Since its birth in the 1990s, the Korean wave has quickly caught up and surpassed the Taiwanese trend and flourished in the East Asia, and more recently has spread to the United States, Latin America, the Middle East and parts of Europe (Ravina, 2008) This phenomenon has nurtured several generations of Korean actors, actresses and singers who are well-known for their beauty and talent: Song Hye Kyo, Bi Rain, DBSK, Big Bang, SNSD, to name but a few They have become idols admired by millions of youngsters from different corners of the world, especially from numerous Asian countries The music and film industry in this country has created huge resources for exporting According to the Korea’s Ministry of culture, sport and tourism, it was estimated that by 2012 the economic asset value of the Korea wave had reached 83.2 billion US dollars, “of which US$5.26-billion was thought to be attributable to its music industry” (Leong, 2014) Each year, Korea exports a large amount of its audiovisual cultural products, particularly dramas and movies However, this seems to be unable to satisfy the growing demand of international audience as the exported products are likely to be broadcast later in their countries in comparison with in Korea Besides, one of the Korean pop cultural specialties is idol reality shows which focus on idol groups only The target audience of such shows is the fandom only; therefore, they are hardly exported Within this context, fansubbing (or in other words, subtitle translation by the fandom) Korean audiovisual pop cultural works has appeared and developed in many countries with the main purpose of providing both updated and non-exported products for the international audience Fansubbing, or the activity of subtitle translation by a fandom, actually emerged quite a long time ago According to Cintas and Sánchez (2006), this activity started in 1980s – the same time with the birth of the first anime fanclubs, and “really took off in the mid 1990s” (p 37) Since the birth of the Korean Wave, Korean fansubbing has also been growing fast in many countries due to the growing demand of international audience Usually, the exported products are likely to be broadcast later on official channels in their countries in comparison with in Korea Fansubbing can help the local audience enjoy the products faster on the unofficial channel, i.e the Internet via different pages including YouTube, Veoh, or fan-sites This is specifically true in the case of Korean idol reality shows when these shows mainly target at the idol’s fandom and thus are hardly exported through official channels (i.e TV channels) As observing on several television channels like Star Movies or HBO, etc (those exclusively displaying imported movies with Vietnamese subtitles), the researcher notices that subtitle translators rarely, or even never, have their name listed in the credit parts of their translation The audience can easily find any information related to the audiovisual works they watch such as directors, participants, or music, but not the translators Hence, the audience has no clues of who or what organization providing the subtitle; or worse, they may not even care about the translators Basically, the subtitle translators of those channels are totally unknown or invisible to the viewers However, the situation, specifically related to Korean audiovisual works, seems different in the virtual world Online viewers of the fansubbed Korean audiovisual works seemingly stand a higher chance of knowing whose translation they would watch because the majority of online subteams feature their logos in their translation, commonly on the right or left top corner of the screen as illustrated in Figure below Figure 11: Comments in Group Even though these kinds of comments appeared to target at nobody, in fact, they could be considered as parts of Group Obviously, audience paid attention to the posts where a new “Running Man” episode was uploaded because they wished to watch it immediately However, sometimes, problems were unavoidable The fact that the subteam updated the real situation of the video uploading process was one way to response to dozens of comments with the same content in Group 3, which were also unanswered comments reporting problems Therefore, despite mentioning no one, these comments could still be regarded as responses to the audience’s comments, which made them parts of Group In addition, as the researcher noticed, on average, it took St1 one hour to reply to its audience’s comments and St2 12 half of a day to the task This indicated that apart from having interaction with their viewers, the two subteams tended to answer the viewers at a high pace, which meant they were highly interactive with their audience To sum up, after the researcher combined the number of comments in Group and 2, more than 60% of the selected comments from each subteam showed the interaction between the subteam and the audience 4.1.4 St1 and St2’s visibility based on the theoretical framework As presented in chapter 2, the theoretical framework used to assess the visibility of the two “Running Man” subteams consists of three components: (1) the presence of the subteam’s logo or name, (2) the application of foreignisation strategy in the translation, and (3) the interaction between the subteam and its audience After analyzing the data collected from observation, based on the 39 theoretical framework, the researcher realized that both St1 and St2 fulfilled all of three criteria above Therefore, theoretically, St1 and St2 are visible 4.2 Findings for Research Question From February 13th to 19th, 32 questionnaires were sent to 32 “Running Man” viewers via email and facebook; and after a week of administering, until February 26th, there were 27 questionnaires that were submitted Out of 27 returned questionnaires, 19 of them were valid Data from these 19 questionnaires were analyzed and used to answer Research Question Based on the responses to the first part of the questionnaire, the qualified respondents vary in their age (the average age was 21) and in the number of years they watched “Running Man” Apart from one respondent who only watched approximately 100 episodes of the show, the others all watched more than 200 episodes, especially three-fourths of all qualified respondents have watched almost all “Running Man” episodes This demonstrated that no matter how many years they have watched the show, all of them had a lot of experience with it Their experience, along with the variety in their ages, was likely to ensure the comprehensiveness and reliability of their responses they submitted The first four questions in Part Two of the questionnaire, along with data gathered from part one, revealed that all of 19 qualified respondents were female This accounted for 70% of all participants In the rest 30% of participants, there was one person aware of the subteam producing “Running Man” Vietnamese subtitle, however, this subteam was not one of the two studied subteams of the research Besides, among 70% of all respondents watching “Running Man” on the website: vivo.vn which is the website where only subtitle made by St1 were uploaded, four of them were unaware of the subteam Out of 19 qualified participants, only one person chose St2 while 18 chose St1 Obviously, this could not necessarily point out that St1 was more visible than St2 40 as the number of respondents was unable to compare with thousands of “Running Man” viewers in reality Moreover, among the 18 people choosing St1, of them chose St2 as a substitute, indicating that St2 was still visible to them (and the reason why they did not choose St2 as their first choice might just be that they were not fond of their translation) The last question in Part Two asked about the reason why the respondent chose that “Running Man” Vietnamese subtitle version; or in other word, why they choose that subteam (as all qualified respondents were aware of either St1 or St2) It contained 14 statements; 12 of which were detailed descriptions of the components contributing to the visibility of “Running Man” subteams as included in the theoretical framework The researcher also added some other factors outside the framework and an empty space for the respondents to give their own opinion However, no additional viewpoint was added after the period of administration Besides, between the last two statements (13 and 14), statement 14 was of greater significance as it indicated the opinion of the respondents on how well-known the subteam they follow is; or in other word how visible the subteam is to other viewers from the perspective of the respondents After data collection and analysis, the researcher synthesized and presented the findings in the below tables Firstly, the response of the respondent choosing St2, who was temporarily called A in this research, was exhibited in Table 2: No Statements The Vietnamese subtitle version is updated soon and frequently The Vietnamese subtitle version had good video quality The Vietnamese subtitle version keeps Korean culture-specific words (such as heol, daebak…) and has Vietnamese explanations for them Korean culture-specific items (such as proverbs and idioms) are literally translated and there are Vietnamese explanations for them 41 Totally disagree Totally agree 0 0 0 0 0 0 10 11 12 13 14 Korean culture-specific items (such as honorifics or personal pronounces) are not translated and there is no Vietnamese explanation for them There is Vietnamese subtitle for both characters’ speech and captions on the screen There is Vietnamese subtitle for the characters’ speech only and no Vietnamese subtitle for the captions on the screen, so the translation does not look messy and distracted The Vietnamese subtitle version is fun, the language use is easy to understand and exactly the same as Vietnamese speaking language The Vietnamese subtitle version is fun, sounds natural to Vietnamese language but still maintains Korean culture-specific factors Viewers’ questions are properly answered by the subteam Viewers’ questions are politely answered by the subteam Viewers’ questions are answered in a friendly way by the subteam The Vietnamese subtitle version is posted on a well-known websites with a great number of viewers The Vietnamese subtitle version is made by a well-known subteam with a great number of followers 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 Table 2: Response of participant A – St2 Based on the table, it could be seen that Statement concerning foreignisation strategy and Statement related to the translation and display of subtitle on screen (or to be more detailed, the omission in caption translation) were the two most important factors that made St2 appealing to respondent A Ranking second were Statement – video quality, Statement – foreignisation strategy, and Statement – domestication strategy Factors related to interaction, a combination of foreignisation and domestication strategy and subtitle completion speed shared the third place Besides, for Statement 14, respondent A chose number 2, which indicated that he/she did not think that St2 was visible among online “Running Man” viewers A’s opinion was quite similar to the data collected from the returned 42 questionnaires Generally speaking, for respondent A, video quality and the application of foreignisaton strategy when translating culture-specific items were the most significant components that make St2 visible to him/her Interaction between St2 and its audience was of less importance Secondly, and also lastly, Table below displayed the opinion of 18 qualified respondents, which was then called Bs in this research, on components of St1’s visibility No 10 Statements The Vietnamese subtitle version is updated soon and frequently The Vietnamese subtitle version had good video quality The Vietnamese subtitle version keeps Korean culture-specific words (such as heol, daebak…) and has Vietnamese explanations for them Korean culture-specific items (such as proverbs and idioms) are literally translated and there are Vietnamese explanations for them Korean culture-specific items (such as honorifics or personal pronounces) are not translated and there is no Vietnamese explanation for them There is Vietnamese subtitle for both characters’ speech and captions on the screen There is Vietnamese subtitle for the characters’ speech only and no Vietnamese subtitle for the captions on the screen, so the translation does not look messy and distracted The Vietnamese subtitle version is fun, the language use is easy to understand and exactly the same as Vietnamese speaking language The Vietnamese subtitle version is fun, sounds natural to Vietnamese language but still maintains Korean culture-specific factors Viewers’ questions are properly answered by the subteam Totally disagree Mean Totally agree Standard deviation 1 11 4.22 1.28 0 12 4.56 0.70 3.72 1.18 0 4.22 0.81 5 2.67 1.13 0 12 4.61 0.61 14 2 0 1.33 0.69 2.61 0.98 3 3.78 1.06 1 3.39 0.92 43 11 12 13 14 Viewers’ questions are politely answered by the subteam Viewers’ questions are answered in a friendly way by the subteam The Vietnamese subtitle version is posted on a well-known websites with a great number of viewers The Vietnamese subtitle version is made by a well-known subteam with a great number of followers 1 3.56 0.98 3.22 1.11 0 4.11 X 0 4.39 X Table 3: Responses of Bs – St1 Table revealed that the most important factor of St1 that was attractive to Bs was the full translation of both verbal (the characters’ sayings) and written language (the captions on the screen) in a “Running Man” episode Video quality ranked the second place, which was similar to A’s opinion on St2 At the third place were the application of foreignisation strategy in culture-specific item translation and the subtitling speed; nevertheless, considering the standard deviation, the former was a bit more essential The next two places were still the application of foreignisation strategy; to be more exact, the fourth place was the combination of both translation strategies Factors concerning interaction between the subteam and its audience was at the 6th, 7th and 8th For statement 14, most of 18 respondents agreed that St1 were visible to online “Running Man” viewers In general, to Bs, the full translation of both verbal and written language and video quality can be considered to share the same level of importance in contributing to the visibility of St1 The application of foreignisation strategy in translating culture-specific terms and subtitling speed were slightly less important Interaction between the St1 and its audience was fairly essential In conclusion, data collected from questionnaire indicated that from the audience’s perspective, St1 seemed to be more visible to “Running Man” viewers in comparison with St2 Besides, when combining the opinion of A and Bs, the researcher learnt that the components contributing to the visibility of St1 and St2 include (1) video quality, (2) the application of foreignisation strategy in 44 culture-specific items and (3) the interaction between the subteam and its audience 45 CHAPTER 5: CONCLUSIONS 5.1 Conclusion After gathering and analyzing data from observation and questionnaire, the researcher discovered that the two subteams 360Kpop and Kites are visible to their audience This also proves that what the researcher assumed in the beginning is correct; or in other words, as they may seem, the examined subteams are visible to the audience Alongside, the research has identified four components contributing to the visibility of St1 and St2: (1) the presence of their name or logo in their translation, (2) the application of foreignisation strategy in culture-specific items, (3) interaction between the subteam and its audience, and (4) the video quality Specifically, the use of foreignisation strategy in culture-specific items is the most important components; the second important one is the interaction between the subteam and its audience The last two components were of the same significance However, whatever components creating their visibility, it is obvious that the two subteams are visible to some parts of “Running Man” viewers This is partly expressed in the comment sections below the “Running Man” posts on the two subteams’ facebook page Apart from the selected comments for data analysis in the previous section, on average, in each post, each subteam receives 30 comments, and the content of three out of those is to express the gratitude of the audience to the subteam Through the process of data collection and analysis, the researcher realized that the adopted framework did not cover all important criteria constituting the visibility of the two subteams However, the missing component was supplemented based on the audience’s opinion Overall, no matter how many theories are established on the topic, the fact that a translator is either visible or invisible is best assessed by the audience or the user of the translation 46 5.2 Limits of the research Due to time constraint and the limited capability of the researcher, she only conducted the research on two out of many active online subteams and surveyed only a moderate amount of viewers Therefore, the result of this particular research can barely be extended to other Korean subteams and viewers Besides, due to the lack of an official framework for translator’s visibility, the applied framework in this research is only adopted based on what have been collected and reviewed by the researcher Hence, this framework is not totally comprehensive and completed It still needs to be further developed and adjusted in other research in the future 5.3 Recommendations for future research The theme of translator’s (in)visibility can continue to be conducted in the future by expanding to other genres In that circumstance, a new framework should be developed as the suggested framework in this particular paper was built in compatibility with the characteristics of fansubbing only As there have already been several studies on translator’s (in)visibility and other related matters on some other genres (i.e technical or literal translation) as reviewed in the Literature Review section; any researcher who is interested in the topic may refer to these sources for framework development In addition, they can consult the framework used in this research as well for suggestions to build an appropriate framework for the genres they wish to work in, or even an overall framework for assessment of the visibility of translators of any genre Word count: 12,232/16,000 47 REFERENCES Bassnett, S (2002) Translation Studies Series in New Accents Hove: Psychological Press Benson, P., & Chan, N (2010) TESOL after Youtube: Fansubbing and Informal language learning Taiwan Journal of TESOL, 7(2), 1-23 Bourdaa, M (2013) Fansubbing: A cultural mediation practice Retrieved December 20, 2015, from http://www.inaglobal.fr/en/digital- tech/article/fansubbing-cultural-mediation-practice Chambers, S N I (2012) Anime: From Cult to Pop Culture Phenomenon The Elon Journal of Undergraduate Research in Communications, 3(2), 96 Cintas, J D (2004) Subtitling: the long journey to academic acknowledgement The Journal of Specialised Translation, 1, 50-68 Retrieved December 15, 2015, from http://www.jostrans.org/issue01/art_diaz_cintas.php Cintas, J D., & Sanchéz, P M (2006) Fansubs: Audiovisual Translation in an Amateur Environment The Journal of Specialised 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NGOẠI NGỮ KHOA SƯ PHẠM TIẾNG ANH KHÓA LUẬN TỐT NGHIỆP NGHIÊN CỨU ĐIỂN HÌNH VỀ TÍNH HỮU HÌNH CỦA CÁC NHĨM DỊCH CHƯƠNG TRÌNH ? ?RUNNING MAN? ?? TRÊN MẠNG INTERNET Giáo viên hướng dẫn: Th.S Ngô Hà Thu Sinh... Kites and 360KPop who are in charge of subtitling the reality show ? ?Running man? ?? Figure 2: Poster of ? ?Running Man? ?? ? ?Running man? ?? was first broadcast in July 2010 on SBS (Seoul Broadcast System... translation of ? ?Running Man? ?? Therefore, in this case, if the researcher assessed the use of through-translation in foreignisation strategy based on the English subtitles of ? ?Running Man? ?? only, the