Fatemeh Badi-ozman - PhD Student in Translation Studies, Ferdowsi University of Mashhad
Elham Khatami - Graduate Student in Translation Studies, Ferdowsi University of Mashhad
Zohreh Paknafs - Graduate Student in Translation Studies, Ferdowsi University of Mashhad
Setareh Bayati - Graduate Student in Translation Studies, Ferdowsi University of Mashhad

Iran is mainly a dubbing country, and the audiovisual products that don't earn the right to be dubbed, have the chance of being voiced-over; consequently, regarding approaches towards breaking language barriers in audiovisual products, subtitling is not a common one in mainstream media (Khoshsaligheh, Ameri, Khajepoor, & Shokoohmand, ۲۰۱۹).There are reasons that some viewers may not enjoy watching official dubbed or voiced-over products, such as: the slowness of an official process, cultural appropriation, or the fact that not all programs are chosen to be translated (Khoshsaligheh et al., ۲۰۱۹). Therefore, fans should be thankful to technology and other like-minded individuals that provide them via the internet, with easy to use subtitles, free of charge, and as fast as humanly possible (Gambier,۲۰۱۳).These non-official non-professional (and mostly non-profit) subtitles that are distributed via the internet, are prepared by volunteers who are usually not trained in translation and/or subtitling; therefore, they do not know or care about subtitle—and translation for that matter—norms and ethics, which means that they make numerous innovations (Antonini, Cirillo, Rossato, & Torresi, ۲۰۱۷a). Furthermore, creative subtitling occurs when subtitlers reject the notion that certain guidelines are at work everywhere, and instead initiate bothlinguistic and stylistic creativities (McClarty, ۲۰۱۳).