<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0123-3432</journal-id>
<journal-title><![CDATA[Íkala, Revista de Lenguaje y Cultura]]></journal-title>
<abbrev-journal-title><![CDATA[Íkala]]></abbrev-journal-title>
<issn>0123-3432</issn>
<publisher>
<publisher-name><![CDATA[Escuela de Idiomas, Universidad de Antioquia]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0123-34322023000200012</article-id>
<article-id pub-id-type="doi">10.17533/udea.ikala.v28n2a12</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[English Dubs: Why are anglophone viewers receptive to English dubbing on streaming platforms and to foreign-accent strategies?]]></article-title>
<article-title xml:lang="es"><![CDATA[Doblaje al inglés: ¿Por qué son receptivos los espectadores anglófonos al doblaje al inglés en plataformas de streaming y al uso de acentos extranjeros?]]></article-title>
<article-title xml:lang="fr"><![CDATA[Doublage anglais : Pourquoi les spectateurs anglophones sont-ils réceptifs au doublage anglais sur les plateformes streaming et a l'utilisation des accents étrangers ?]]></article-title>
<article-title xml:lang="pt"><![CDATA[Dublagem ao inglês: por que os espectadores anglófonos são receptivos à modalidade da dublagem ao inglês nas plataformas streaming e ao uso de sotaques?]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Hayes]]></surname>
<given-names><![CDATA[Lydia]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,University of Bristol  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>United Kingdom</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>08</month>
<year>2023</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>08</month>
<year>2023</year>
</pub-date>
<volume>28</volume>
<numero>2</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0123-34322023000200012&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0123-34322023000200012&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0123-34322023000200012&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Accents are often utilised in fictional audiovisual products to determine the creation of character identity. This is due to the set of cultural connotations typically associated with any given accent in any given language community. However, is there really one monolingual target audience anymore? In the age of streaming platforms, and at the rate the localisation industry is creating subtitles and revoiced versions, the target audience for many products has become multilingual. The English &#8216;dubbing revolution&#8217;, pioneered by streaming giant Netflix, perfectly depicts the broadening of target audiences in global distribution. The subject of this article is the popularly termed &#8216;foreignisation&#8217; strategy, as it features in English dubs. The strategy is explored in relation to the novelty of (English) dubbing for most viewers as well as the ubiquity of foreign varieties of English in everyday life in the Anglosphere and, consequently, in English-language original fiction. Theoretical insights are also offered on the unique acceptance of English dubbing, in general, and of foreign accents as a dubbing strategy, in particular. The case of the Castilian-Spanish dubbing industry is also explored for contrastive purposes, elucidating the characteristics of (im)mature dubbing audiences: their habits, preferences, and (in)flexibility. The conclusions present a set of hypotheses drawn from the article&#8217;s discussion that provide plausible answers to the questions posed in the article&#8217;s title.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Los acentos suelen utilizarse en los productos audiovisuales de ficción para establecer la identidad de los personajes. Esto se debe al conjunto de connotaciones culturales que se asocian por lo general a cada acento dentro de una comunidad lingüística particular. Sin embargo, ¿puede afirmarse que sigue existiendo una audiencia objetivo monolingüe? En la era de las plataformas de streaming y a la velocidad a la que la industria de la localización está produciendo versiones subtituladas y con revoicing, la audiencia objetivo de muchos productos se ha hecho multilingüe. La revolución del doblaje al inglés, iniciada por el gigante del streaming Netflix, muestra a la perfección la ampliación de las audiencias en la distribución mundial. Este artículo trata sobre la estrategia conocida como &#8220;extranjerización&#8221;, tal como se utiliza en el doblaje al inglés. La exploración de esta estrategia obedece a la novedad del doblaje al inglés para la mayoría de los espectadores, así como a la ubicuidad de las variedades extranjeras del inglés en la cotidianidad de la anglosfera y, por lo tanto, en los textos de ficción creados en lengua inglesa. Se ofrecen perspectivas teóricas sobre la singular aceptación del doblaje al inglés, en general, y de los acentos extranjeros como estrategia de doblaje, en particular. También se explora, con el fin de establecer un contraste, el caso de la industria de doblaje al castellano o español, lo que elucida las características de las audiencias de doblaje (in)maduras: sus hábitos, preferencias e (in)flexibilidad. En las conclusiones se presenta un conjunto de conclusiones extraídas de la discusión del artículo, las cuales ofrecen una posible respuesta a las preguntas planteadas en el título del artículo.]]></p></abstract>
<abstract abstract-type="short" xml:lang="fr"><p><![CDATA[Résumé Les accents sont souvent utilisés dans les produits audiovisuels de fiction pour déterminer la création de l&#8217;identité des personnages. Cela est dû à l&#8217;ensemble des connotations culturelles typiquement associées à chaque accent dans une communauté linguistique particulière. Cependant, existe-t-il encore un seul public cible monolingue ? À l&#8217;époque des plateformes de streaming et au rythme où l&#8217;industrie de la localisation crée des sous-titres et des versions avec de revoicing, le public cible de nombreux produits est devenu multilingue. La « révolution du doublage » vers l&#8217;anglais, initiée par le géant du streaming Netflix, illustre parfaitement l&#8217;élargissement du public cible dans la distribution mondiale. Le sujet de cet article est la stratégie de « étrangéisation », comme on l&#8217;appelle souvent, telle qu'elle apparaît dans les doublages vers l&#8217;anglais. Cette stratégie est étudiée en relation avec la nouveauté du doublage vers l&#8217;anglais pour la plupart des spectateurs, ainsi qu'en relation avec l'omniprésence des variétés étrangères d&#8217;anglais dans la vie quotidienne de l&#8217;anglosphère et, par conséquent, dans les fictions originales en langue anglaise. On présente aussi des aperçus théoriques sur l&#8217;acceptation unique du doublage vers l&#8217;anglais, en général, et sur les accents étrangers en tant que stratégie de doublage, en particulier. Le cas de l&#8217;industrie du doublage vers le castillan ou espagnol est également exploré à des fins contrastives, élucidant les caractéristiques des publics de doublage (im)matures : leurs habitudes, leurs préférences et leur (in)flexibilité. Les conclusions présentent une série d&#8217;hypothèses tirées de la discussion de l&#8217;article qui apportent des réponses plausibles aux questions posées dans le titre de l&#8217;article.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Os sotaques são frequentemente usados em produtos audiovisuais ficcionais para estabelecer a identidade dos personagens. Isso se deve ao conjunto de conotações culturais que tem-se associado geralmente a cada sotaque em uma determinada comunidade linguística. No entanto, pode-se argumentar que ainda existe um público-alvo monolíngue? Na era das plataformas de streaming e da velocidade com que o setor de localização está produzindo versões legendadas e dubladas, o público-alvo de muitos produtos se tornou multilíngue. A revolução da dublagem em inglês, iniciada pela gigante do streaming Netflix, ilustra perfeitamente a ampliação do público na distribuição global. Este artigo trata da estratégia conhecida como &#8220;estrangeirização&#8221;, usada na dublagem em inglês. A exploração dessa estratégia é motivada pela novidade da dublagem em inglês para a maioria dos espectadores, bem como pela onipresença de variedades estrangeiras de inglês no cotidiano da anglosfera e, portanto, em textos ficcionais criados no idioma inglês. Em seguida, são oferecidas perspectivas teóricas sobre a aceitação singular da dublagem em inglês em geral e dos sotaques estrangeiros como estratégia de dublagem em particular. O caso do setor de dublagem espanhol também é explorado para fins de contraste, elucidando as características de públicos de dublagem (in)maduros: seus hábitos, preferências e (in)flexibilidade. As conclusões apresentam um conjunto de conclusões extraídas da discussão do artigo, que oferecem uma possível resposta às perguntas feitas no título do artigo.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[English dubbing]]></kwd>
<kwd lng="en"><![CDATA[foreign accents]]></kwd>
<kwd lng="en"><![CDATA[Netflix]]></kwd>
<kwd lng="en"><![CDATA[foreignisation. revoiced versions]]></kwd>
<kwd lng="en"><![CDATA[AVT]]></kwd>
<kwd lng="en"><![CDATA[English subtitles]]></kwd>
<kwd lng="es"><![CDATA[doblaje al inglés]]></kwd>
<kwd lng="es"><![CDATA[acentos extranjeros]]></kwd>
<kwd lng="es"><![CDATA[Netflix]]></kwd>
<kwd lng="es"><![CDATA[extranjerización]]></kwd>
<kwd lng="es"><![CDATA[versiones dobladas]]></kwd>
<kwd lng="es"><![CDATA[TAV]]></kwd>
<kwd lng="es"><![CDATA[subtítulos en inglés]]></kwd>
<kwd lng="fr"><![CDATA[doublage vers l&#8217;anglais]]></kwd>
<kwd lng="fr"><![CDATA[accents étrangères]]></kwd>
<kwd lng="fr"><![CDATA[Netflix]]></kwd>
<kwd lng="fr"><![CDATA[étrangéisation]]></kwd>
<kwd lng="fr"><![CDATA[versions reenregistrés]]></kwd>
<kwd lng="fr"><![CDATA[TAV]]></kwd>
<kwd lng="fr"><![CDATA[sous-titres anglais]]></kwd>
<kwd lng="pt"><![CDATA[dublagem para o inglês]]></kwd>
<kwd lng="pt"><![CDATA[sotaques estrangeiros]]></kwd>
<kwd lng="pt"><![CDATA[Netflix]]></kwd>
<kwd lng="pt"><![CDATA[estrangeirização]]></kwd>
<kwd lng="pt"><![CDATA[versões dubladas]]></kwd>
<kwd lng="pt"><![CDATA[TAV]]></kwd>
<kwd lng="pt"><![CDATA[legendagem para o inglês]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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