By Nikolina Voultsiou*

The preference for dubbing or subtitling in films and TV series varies widely across countries, influenced by a mix of cultural, historical, economic, and linguistic factors. While some countries have long embraced dubbing, others lean toward subtitles due to language proficiency and cost-effectiveness. This article explores the reasons behind these differing preferences and how each method influences the way audiences experience audiovisual content around the world.

Cultural and Historical Context

Dubbing has a deep-rooted tradition in countries like Germany, France, Italy, and Spain. Since the early 20th century, dubbing became the norm to make foreign films accessible to wider audiences, especially those with limited foreign language skills. Over time, it gained cultural significance and became the default method of translating audiovisual material. (Diaz-Cintas & Anderman, 2009).

In contrast, countries like Sweden, Denmark, and the Netherlands, where people often speak multiple languages fluently, have traditionally favored subtitling. Their high proficiency in languages like English has led to a preference for subtitles, allowing viewers to access foreign films while preserving the original voice acting (Bogucki, 2019).

With the rise of global streaming platforms, the availability of both dubbed and subtitled versions of films has allowed viewers to choose their preferred format, leading to a growing acceptance of subtitles in traditionally dubbing-heavy countries. Global media consumption has exposed audiences in regions like Spain and Italy to more subtitled content, contributing to a shift in preferences, especially for international content on streaming platforms (Ghia & Pavesi, 2021). The younger generation, more accustomed to digital media and diverse linguistic influences, is increasingly inclined to appreciate subtitling, as it allows them to experience films in their original form while reading the translations.

Economic Considerations

Dubbing is generally more expensive than subtitling due to the need for voice actors, synchronization, and extensive post-production work. This makes it particularly costly in countries with established dubbing industries, such as Spain and Italy, where dubbing has become a significant economic sector, generating substantial revenue. The need for high-quality localization drives up the costs in these markets, especially in regions with larger media production budgets like Germany and Spain (Díaz Cintas & Anderman, 2009).

On the other hand, subtitling is a more cost-effective option, as it requires fewer resources and can be produced more quickly, making it the preferred choice in countries with lower labor costs or smaller media budgets, such as Belgium and the Netherlands (Bogucki, 2019).

Psychological and Linguistic Factors

In dubbing-dominant countries, such as Spain and Italy, dubbed content allows viewers to engage more deeply with the visuals without the distraction of reading text. This is especially true for younger audiences, such as children, who may struggle with reading subtitles and prefer a more immersive experience (El Abed & Yazbeck, 2025; Sánchez-Mompeán, 2023). Additionally, dubbing is often viewed as more accessible, enabling viewers to understand the content without requiring reading skills, which can be particularly important for those with lower literacy levels.

Conversely, in countries where subtitling is the norm, like Scandinavia, audiences are accustomed to reading subtitles while watching content, and this practice becomes part of the viewing experience. Subtitling does not hinder the enjoyment for these viewers, who often find it culturally natural to follow the text on the screen while simultaneously processing the spoken language. This cultural adaptability allows viewers to appreciate the original performances, maintaining the authenticity of the actors’ voices, which is often seen as a linguistic advantage in subtitling-preferred regions (Bogucki, 2019).

Globalization and Changing Preferences

With the rise of global streaming platforms like Netflix, the availability of both dubbed and subtitled versions of films has allowed viewers to choose their preferred format, leading to a growing acceptance of subtitles in traditionally dubbing-heavy countries. Global media consumption has exposed audiences in regions like Spain and Italy to more subtitled content, contributing to a shift in preferences, especially for international content on streaming platforms (Ghia & Pavesi, 2021). The younger generation, more accustomed to digital media and diverse linguistic influences, is increasingly inclined to appreciate subtitling, as it allows them to experience films in their original form while reading the translations (Bogucki, 2019).

However, dubbing continues to dominate in countries like Brazil, Mexico, and Spain, where it remains familiar and more accessible. This shift in preferences highlights the impact of media globalization and technological advancements on translation choices, allowing for greater flexibility in how audiences engage with foreign content.

Conclusion

The preference for dubbing or subtitling is shaped by a complex mix of historical, cultural, and economic factors. While dubbing remains the standard in many countries due to its deep cultural roots and economic viability, subtitling is the preferred choice in regions with high language proficiency and lower production costs. As global media consumption continues to evolve, the debate between dubbing and subtitling will likely persist, with each method retaining its stronghold in different parts of the world.

→ ALSO READ NIKOLINA’S LAST ARTICLE: Subtitling Unpacked: A Step-by-Step Breakdown

References

• Diaz-Cintas, J., & Anderman, G. (2009) Audiovisual Translation: Language Transfer on Screen. Routledge.
• Bogucki, Ł. (2019). Toward understanding audiovisual translation.
• Baños, R., &  Diaz-Cintas, J. (2018). Language and Translation in Film: Dubbing and Subtitling.
• Ghia, E., & Pavesi, M. (2021). Choosing between dubbing and Subtitling in a changing landscape.
• Dayter, D., Locher, M.-A., & Messerli, T.-C., (2023). Pragmatics in Translation
• Sánchez-Mompeán, S. (2023). Engaging English Audiences in the Dubbing Experience: A Matter of Quality or Habituation?
• El Abed, M., & Yazbeck, M. (2025). Subtitling versus dubbing in animated films: cognitive and evaluative reception in young children

FURTHER READING:

• Pedersen, J. (2011). Subtitling Norms for Television.

O’Brien, G. (2012). Audiovisual Translation: Subtitling. Palgrave Macmillan.

*Nikolina Voultsiou holds a Bachelor’s degree in Translation and a Master’s degree in Linguistics.

Since 2020, she’s been working in the localization industry in roles such as subtitler,

transcriptionist, QA specialist, and coordinator.Fluent in Greek, English, and Spanish,

Nikolina works across all language combinations and has provided subtitles for major

international companies, popular streaming platforms, and broadcasting networks