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The creation of audiovisual products is currently one the most visible manifestations of

multiculturalism in the world. From documentaries to TV series, or even from videogames to


software, the interaction of cultures has an unparalleled window from which it can be shown,
understood and spread through audiovisual material. It is obvious that translation and translators
play a crucial role in the transmission of such material, and in view of this situation, the choice of
translation modes is far from neutral or innocent. This paper aims to prove that,

Starting point: contrary to popular belief, dubbing can be than subtitling, and that, in any case,
dubbing and subtitling are subjected to specific constraints by themselves and with regard to
intercultural communication (ICC) that must be taken into account in any critical review or analysis.

The subtitling and/or dubbing of audiovisual products represent one of the most obvious instances of
intercultural communication (ICC). However, the interaction of cultures in animation films is present
to a higher degree than in films, TV series, documentaries, reality shows, since due to little
intercultural knowledge that is expected from the target audience, children, the text must be
adapted not only from a linguistical, but from a cultural point of view as well. Even though dubbing is
considered more effective in the manifestation of cultural differences or conflict than subtitling
(González-Iglesias, Toda: 2011), I would like to argue that how it deals with conflict in film and
adaptation of cultural issues depends largely on the language type. I will analyze animations in
Hungarian and Romanian both subtitled and dubbed.

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