In recent years, scholarly research in audiovisual translation in general, and subtitling in \nparticular, has moved beyond the analysis of linguistic minutiae to embrace wider sociocultural \nconcerns, thus highlighting its societal significance and establishing closer links \nwith film and media studies. In this article I set to explore the social significance of some \nof the new forms of subtitling that have surged in the age of digital media, thanks to the \nopportunities offered by the affordabilities and democratisation of technology. Drawing \nprimarily on Bakhtin’s theory of carnival, the discussion centres on how participatory \nsubtitling activities warrant the pursuit of individual freedom and contribute to the \nbreakdown of hegemony. The way in which these novel subtitling practices give voice to \ncertain collectives whilst also challenging traditional information dissemination \nmechanisms is also probed.
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