What a difference a decade makes – or so would the juxtaposition of the two introductory quotations suggest. Poised on the cusp of a dramatic cultural and technological shift, i.e. the beginning of the transition from the electronic to the digital culture, Fawcett (1996) brings into sharp relief the precarious position that audiovisual translation occupied in academia until the mid-1990s. At a time when translation studies was beginning to establish itself as a ‘scientifi c’ discipline, audiovisual translation practitioners were still sceptical about the ‘theorizability’ of the decisions they made in the exercise of their professional discretion – effectively raising ‘the question of what translation theory can make of such an aleatory phenomenon’ (ibid.: 65). But practitioners’ reservations were not, according to Fawcett, the only factor hampering the ‘academization’ of audiovisual translation at the time.