Programación y recepción de anime en la década de los noventa en Españala función del doblaje en la modificación de identidades no normativas

Abstract

The nineties began in Spain with the expansion of the television landscape with the incorporation of three new privately owned channels. Within this context, Japanese animation broadcasts became a regular feature of the different television schedules, becoming a profitable product in economic terms, with a serialized plot development that helped to build audience fidelity. This research is structured around the central idea of the generalized existence of censorship of any non-heteronormative identity shown in the original Japanese animation productions and eliminated from the versions broadcast in Spain in the nineties, mainly using dubbing as a tool for such suppression. Structured around the objectives of analyzing and defining such gender representations in the original productions and their corresponding dubbed versions to establish the existence of such censorship, to differentiate the gender conceptions attributable to the original product from those mediated by the translation, to verify if, in case such censorship existed, it was an exclusively Spanish process, and to analyze the evolution of gender representations in productions distributed after the 1990s, the methodological approach to the study corpus is carried out from a multidisciplinary perspective structured around translation studies, reception studies and fan culture studies, all from the perspective of gender studies and, more specifically, from queer theory. By analyzing the television schedules of the national networks of the nineties, and establishing which series were broadcast during that decade, as well as the percentages of each of them, according to the division that can be made by the demographic sectors into which their target audience is divided in the original Japanese context, a total of twelve series have been analyzed, concluding that there is a clear differentiation between the original productions and those broadcast in Spain in the nineties in terms of the representation of non-normative identities, that there is a sexist conception in the configuration of the characters from the production context itself, that the modifications observed in the textual modalities distributed in the channels of national coverage in the nineties respond mostly to alterations previously produced in translation processes carried out in neighboring countries, especially Italy and France, and that, during the course of the decade, but especially from the two thousand years, a greater degree of correspondence is observed between the original versions and the dubbed versions, gradually producing the acceptance of Japanese animation as a cultural product and of the representation of non-normative identities in the Spanish receiving sociocultural context.