In this thesis I discuss the influence of toxic fans on movies themselves and the mutual relationship between toxic fans and creators using fan studies and theories of toxic geek masculinity and...Show moreIn this thesis I discuss the influence of toxic fans on movies themselves and the mutual relationship between toxic fans and creators using fan studies and theories of toxic geek masculinity and fandom. Starting with Gamergate as a boiling point that affected the 2016 Ghostbusters remake, which resisted toxic fans explicitly. As well as analysing the Star Wars sequel trilogy, in particular The Last Jedi and Rise of Skywalker. Showing how coordinated attacks influenced the trilogy whilst it was being made.Show less
According to Michał Borodo (2015) Comic Translation is an “under-investigated topic” (p. 22), and even more so when we approach the topic of broken English in Comic Translation. For this reason,...Show moreAccording to Michał Borodo (2015) Comic Translation is an “under-investigated topic” (p. 22), and even more so when we approach the topic of broken English in Comic Translation. For this reason, this thesis examines whether different levels and functions of broken English can be identified within a comic, and which translation strategies and procedures should be applied in order to maintain in the target text the source text’s broken English level and function. In order to arrive to any significant conclusion regarding the level of broken English, a scale of levels has been designed based on the CEFR (Council of Europe, 2018a; 2018b) and ACTFL (ACTFL, 2018) scales. Moreover, two sub-questions have been formulated in order to gauge the function of broken English within the narrative. Also, the translation strategies and procedures coined by Newmark (1988), Vinay and Darbelnet (1995; 2008), and Venuti (2008b) have been compiled into a customised list containing the relevant strategies and procedures tied with the restrictions encountered in Comic Translation. These three models have been applied to the broken English of the Russian gangsters in Hawkeye (Fraction, 2013), Vladek in Maus (Spiegelman, 2003), and Yoda in Star Wars (Aaron, 2018). The gangsters’ broken English is characterised by its excessive use of the cultural expression “bro”, which becomes the object of the hero’s mockery. Gangsters are found to speak broken English as spoken by speakers of the lowest level of the scale of broken English. On the other hand, Vladek’s and Yoda’s broken English is characterised by their eccentric word order, which seems to be in tune with the role they play within their story. According to the scale of levels of broken English devised in this thesis, Yoda speaks according to the highest level on the scale, whereas Vladek’s level of broken English can be found in between the levels of Yoda and the Russian gangsters. Lastly, I have found that for each translation strategy, three different translation procedures occur most frequently and can be said to be characteristic of this strategy; the oblique translation strategy is characterised by the use of the procedures economy, semantic translation, and communicative translation, while usage of the procedures compensation, economy, and free translation characterise the foreignisation strategy.Show less
