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Resumen: In Spain, as in the rest of the non-Anglophone Western world, English-language film titles have become texts (or paratexts) of great cultural importance. The titles of the films that one may encounter in Western cinema can be considered, on the one hand ephemeral, elusive, and inconsequential. However, on the other hand, despite their clear irrelevance, film titles are considered to be the genuine contemporary cultural texts, for their continued presence in the media and for their evocative nature: an important marketing tool. Moreover, the result of what happens when film titles are translated into other languages and cultures has always intrigued the audience: this is perhaps indicative of the vast universe of translation studies. The differences between languages are palpable, not only from a linguistic point of view but also from a pragmatic, historical or cultural standpoint. In this paper, we deal with the translation of Quentin Tarantino's film titles into a number of European languages, including Spanish, Catalan, French and German. Quentin Tarantino's films are controversial, self-reflexive and have acquired a significant recognition within popular culture. Most of the typologies employed so far have revolved around the notion of 'fidelity" in the translation of film titles, and involving such strategies as literal translation, transposition, addition, etc. We wish to propose here another avenue for investigation: that of film-title translation as a complex (and globalised) rewriting phenomenon that benefits the commercial and ideological interests of the film industry.

Resumen: The main aim of this article is to critically analyse and systematise the debate concerning non-professional subtitling of TV series and movies in some non-English-speaking countries. Most of the studies on fansubbing deal with a specific problem, and they are based on various theoretical frameworks. This paper attempts to merge them into one coherent framework that can serve as a basis for subsequent research. The article addresses the issue of non-professional translation as a solution to the lack of official translations, but also as an alternative strategy for translating the texts of popular culture. The paper is divided into four parts. The first defines the phenomenon of fansubbing. The second shows how professional and non-professional translations differ. The following two parts, based on different national case studies, answer the questions: who are fansubbers, and what are their motivations?