Abstract
The study of Canned Laughter, as a relevant semiotic element present in many sitcoms, has been neglected in most Audiovisual Translation studies, despite the level of constraint it represents to the translator. Used as a clear and explicit sign and clue to the presence of Humour, the insertion of the pre-recorded laugh track produces controversial and contradictory opinions from academics and researchers in Audiovisual Translation, Psychology and Television studies. This paper accounts for the different approaches to Canned Laughter and its impact in the level of constraint in the translation of humour.
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