Publication: Programación y recepción de anime en la década de los noventa en España: la función del doblaje en la modificación de identidades no normativas
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2021-10-18
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2021-07-19
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Abstract
La década de los noventa comenzó en España con la ampliación del panorama televisivo mediante la incorporación de tres nuevos canales de titularidad privada. En este contexto, las emisiones de animación japonesa se convirtieron en habituales de las distintas parrillas televisivas, constituyéndose como un producto rentable en términos económicos, con un desarrollo argumental seriado que favoreció la fidelización de las audiencias. La presente investigación se estructura en torno a la idea central de la existencia generalizada de una modificación o censura de toda identidad no heteronormativa mostrada en las producciones de animación japonesa original y eliminadas de las versiones emitidas en la España de los noventa, utilizando principalmente el doblaje como herramienta para dicha supresión. Estructurada en torno a los objetivos de analizar y definir dichas representaciones de género en las producciones originales y sus correspondientes versiones dobladas para establecer la existencia de dicha censura, diferenciar las concepciones de género atribuibles al producto original de aquellas mediadas por la traducción, comprobar si, en caso de existir dicha censura, se trató de un proceso exclusivamente español o se produjo también en países del entorno europeo y occidental y analizar la evolución de las representaciones de género en las producciones distribuidas con posterioridad a la década de los noventa, se realiza una aproximación metodológica al corpus de estudio desde una perspectiva multidisciplinar estructurada en torno a los estudios de traducción, los estudios de recepción y los estudios de la cultura fan, todo ello desde la perspectiva de los estudios de género y, más concretamente, desde la teoría queer. Analizando las parrillas televisivas de las cadenas de cobertura nacional de la década de los noventa, y estableciendo cuáles son las series emitidas durante la misma, así como los porcentajes de cada una de las mismas, en función de la división que puede hacerse por los sectores demográficos en los que se divide su audiencia en el contexto original japonés, se han analizado un total de doce series, concluyendo que existe una clara diferenciación entre las producciones originales y las emitidas en la España de los noventa en cuestiones de representación de identidades no normativas, que existe una concepción sexista en la configuración de los personajes desde el propio contexto productivo, que las modificaciones observadas en las modalidades textuales distribuidas en las cadenas de cobertura nacional en la década de los noventa responden en su mayoría a alteraciones producidas previamente en procesos de traducción efectuados en países del entorno y, muy especialmente, Italia y Francia, y que, ya en el transcurso de la década, pero sobre todo a partir de los años dos mil, se observa un mayor grado de correspondencia entres las versiones originales y las dobladas, produciéndose paulatinamente la aceptación de la animación japonesa como producto cultural y de la representación de identidades no normativas en el contexto sociocultural receptor español.
The nineties began in Spain with the expansion of the television landscape with the incorporation of three new privately owned channels. Within this context, Japanese animation broadcasts became a regular feature of the different television schedules, becoming a profitable product in economic terms, with a serialized plot development that helped to build audience fidelity. This research is structured around the central idea of the generalized existence of censorship of any non-heteronormative identity shown in the original Japanese animation productions and eliminated from the versions broadcast in Spain in the nineties, mainly using dubbing as a tool for such suppression. Structured around the objectives of analyzing and defining such gender representations in the original productions and their corresponding dubbed versions to establish the existence of such censorship, to differentiate the gender conceptions attributable to the original product from those mediated by the translation, to verify if, in case such censorship existed, it was an exclusively Spanish process, and to analyze the evolution of gender representations in productions distributed after the 1990s, the methodological approach to the study corpus is carried out from a multidisciplinary perspective structured around translation studies, reception studies and fan culture studies, all from the perspective of gender studies and, more specifically, from queer theory. By analyzing the television schedules of the national networks of the nineties, and establishing which series were broadcast during that decade, as well as the percentages of each of them, according to the division that can be made by the demographic sectors into which their target audience is divided in the original Japanese context, a total of twelve series have been analyzed, concluding that there is a clear differentiation between the original productions and those broadcast in Spain in the nineties in terms of the representation of non-normative identities, that there is a sexist conception in the configuration of the characters from the production context itself, that the modifications observed in the textual modalities distributed in the channels of national coverage in the nineties respond mostly to alterations previously produced in translation processes carried out in neighboring countries, especially Italy and France, and that, during the course of the decade, but especially from the two thousand years, a greater degree of correspondence is observed between the original versions and the dubbed versions, gradually producing the acceptance of Japanese animation as a cultural product and of the representation of non-normative identities in the Spanish receiving sociocultural context.
The nineties began in Spain with the expansion of the television landscape with the incorporation of three new privately owned channels. Within this context, Japanese animation broadcasts became a regular feature of the different television schedules, becoming a profitable product in economic terms, with a serialized plot development that helped to build audience fidelity. This research is structured around the central idea of the generalized existence of censorship of any non-heteronormative identity shown in the original Japanese animation productions and eliminated from the versions broadcast in Spain in the nineties, mainly using dubbing as a tool for such suppression. Structured around the objectives of analyzing and defining such gender representations in the original productions and their corresponding dubbed versions to establish the existence of such censorship, to differentiate the gender conceptions attributable to the original product from those mediated by the translation, to verify if, in case such censorship existed, it was an exclusively Spanish process, and to analyze the evolution of gender representations in productions distributed after the 1990s, the methodological approach to the study corpus is carried out from a multidisciplinary perspective structured around translation studies, reception studies and fan culture studies, all from the perspective of gender studies and, more specifically, from queer theory. By analyzing the television schedules of the national networks of the nineties, and establishing which series were broadcast during that decade, as well as the percentages of each of them, according to the division that can be made by the demographic sectors into which their target audience is divided in the original Japanese context, a total of twelve series have been analyzed, concluding that there is a clear differentiation between the original productions and those broadcast in Spain in the nineties in terms of the representation of non-normative identities, that there is a sexist conception in the configuration of the characters from the production context itself, that the modifications observed in the textual modalities distributed in the channels of national coverage in the nineties respond mostly to alterations previously produced in translation processes carried out in neighboring countries, especially Italy and France, and that, during the course of the decade, but especially from the two thousand years, a greater degree of correspondence is observed between the original versions and the dubbed versions, gradually producing the acceptance of Japanese animation as a cultural product and of the representation of non-normative identities in the Spanish receiving sociocultural context.
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anime, años noventa, España, ficción televisiva, estudios de género, estudios de la cultura fan, estudios de recepción, estudios de traducción, estudios televisivos, programación infantil, programación televisiva, representación, nineties, Spain, television fiction, gender studies, fan studies, reception studies, translation studies, television studies, children's television programming, television programming, representation