ABSTRACT
The main and most widely used modes of audiovisual translation (AVT) today are dubbing, subtitling, voice-over, and a number of variations of these. The landscape of audiovisual translation modes is also further complicated by the relatively recent multiplication of platforms, devices—and consequently locations—in which audiovisual products and translation might appear and be consumed. Some of the first considerations on audiovisual humor were applied to dubbing—perhaps because, as appears evident from a quick survey of the early available literature, Italy and Spain, two dubbing countries—followed immediately after by subtitling. Over the years, the interest in the dynamics of humor and its translation in audiovisual texts has steadily increased, with academic conferences—both on AVT and more generally on Translation Studies—starting to incorporate papers and sometimes entire panels dedicated to humor in audiovisuals. As in most cases of audiovisual humor, however, hilarity is created by exploiting the interaction of more than one channel of communication.
