Abstract

Contrary to new political ethnocentric movements in Europe (Brexit, for example) and America (Trump’s protectionist policies), audiences and spectators around the globe seem to ignore walls and borders, and instead seek to overcome language barriers; they enjoy audiovisual productions from all over the world in a variety of languages and formats, this being a result of both globalization and digitalization. Today’s active and passive consumption and use of audiovisual products has increased exponentially compared to previous decades. World media markets generating audiovisual content and entertainment take this into account and are progressively becoming more aware of translation, which they sometimes refer to as ‘localization’, ‘internationalization’, or even ‘glocalization’, that is, the process of adapting an audiovisual production to the norms and likes and dislikes of different target cultures.