Abstract
In Reception Studies and Audiovisual Translation, there has recently been an increased awareness "of the need to understand the audience and their preferences", in order to increase media access by cultural audiences. This has led to the creation of new styles, modes, and content in audiovisual translation. Chinese films, with their ubiquitous reach through action, have greatly assisted in developing this reception concept, allowing distinct reading and interpreting communities to shape how audiences are impacted by the narration of the interpreted text. These are texts that are translated for purposes of narrating a film which is nominally different from translation in its common practice. The practice is therefore called trans-narration for purposes of this research and for easy reference. This study supports investigations into the growing research area of the lucrative business side of cinema, that of distribution, one that demands a much wider palate of introspection than normally done. For example, we recognize that the absence of African films in cinemas in Tanzania continues "the practice of dumping Hollywood product at low cost into African markets that has continued to quash any possibility of a sustainable African film industry".