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Communication across Borders: Translation & Interpreting 

www.jhkpress.com 

Volume 01, Issue 01, 2021, ISSN: 2766-791X 

Reviewing the Translation of the Chinese Animation Film Ne Zha: 

Birth of the Demon Child in North America from the Perspective 

of Eco-translatology 

Maren McDonald 

Tampa, Florida, USA 

MarenMcd76@aol.com 

Abstract: The Chinese film Ne Zha: Birth of the Demon Child entered the North 

American market, with English subtitles and dubbing versions. This paper compares the 

two, analyzes the differences from the perspective of eco-translatology, and discusses the 

possibility of enriching the concept of communicative dimension of eco-translatology 

with Translation Economics and Nida's functional equivalence theory. Through 

comparison of the two versions, this paper finds that the dubbing version of the film has 

greater deviation from the Chinese subtitles, and is generally closer to the three 

dimensions of the target language (English): linguistic, cultural and communicative. In 

terms of swear word translation in the cultural and communicative dimensions, the 

subtitle version used literal translation, while the dubbing removed all the swear words. 

In terms of readability, the dubbed English version is more colloquial and idiomatic, 

which makes the language easier to understand and suitable for children. The dubbing 

version fully demonstrates the translator’s consideration of the audience demographics; 

meanwhile, its low-cost dubbing production also reflects the distributor's consideration of 

market and economic benefits. 

  Keywords: Ne Zha; Cultural symbols; Readability; Viewing experience 

1. Eco-translatology Perspective/Theory Discussion

Eco-translatology utilizes Darwin's theory of evolution, and integrates ecology into 

translation studies. Eco-translatology examines the whole translation ecology. From the 

perspective of translation ecological environment, it explains the translation process, 

describes the relationship between the translator as the subject and the translation 

ecological environment, and discusses the survival and development of translators and 

translation products. The translation ecological environment in eco-translatology is a 

world in which the original text, source language and target language are combined, and 

an interactive whole is composed of interrelated languages, cultures and society, as well 

http://www.jhkpress.com/


 

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as the original author, translator, client and readers (audience). Translation ecological 

environment is a collection of factors that restrict translators' optimal adaptations and 

choices (Hu, 2008). 

 Translation is an activity that needs to adapt to not only the ecological environment of 

the source language, but also the ecological environment of the target language, in order 

to survive and take effect (Hu, 2004). To achieve this goal, translators need to transform 

in the following three dimensions to make selective adaptation and adaptive choices: 

linguistic dimension, cultural dimension and communicative dimension (Hu, 2013:114). 

The success of a translation is determined by the translator's degree of transformation in 

these three dimensions. The higher the degree of “three-dimensional transformation”, that 

is, the higher the degree of holistic adaptation and selection, the better the quality of the 

translation (Hu, 2013:114). Specifically, in the process of translation, translators are 

expected to respect the language expression habits of the target language, balance the 

cultural output of the source language and the audience's acceptance of the target 

language, and strive to make the communicative function of the source language reappear 

in the target language. 

In the transformation of linguistic dimension, the translator should consider the influence 

of the source language form and style on the target language. If the target language’s 

form is too close to that of the source language, it may affect the understanding of the 

reader, and the text is not suitable for survival in the target language ecological 

environment. In the cultural dimension, there are cultural differences between the source 

language and the target language. When working on the transformation, the translator 

should consider the audience's acceptance of the target language and deal with it properly 

to avoid the overload of foreign cultures, which may lead to misunderstanding or 

incomprehension of the audience. In terms of communicative dimension, attention should 

be paid to ensuring that the target language achieves the communicative purpose similar 

to that in the original language. In the case of the translation of commercial films, 

translators need to produce their translation for the communicative purpose of 

entertainment. 

Translation, like any other actions, always has an aim (Vermeer Hans, 1989:221). Ne 

Zha: Birth of the Demon Child (hereinafter referred to as Ne Zha) is a commercial 

animation film. Different from art films and documentary films, it aims at maximizing 

box office revenue and caters to mass entertainment. The overseas market expansion of 

Ne Zha not only creates economic income for the production company and distributors 

but also plays the role of overseas publicity for China. Ne Zha draws on Chinese 

mythology and was not produced by the mainstream western film industry. According to 

the statistics of Box Office Mojo, a website tracking box office revenue, the box office in 

China is $720 million, while the box office in North America is relatively small, with 

$3.7 million (Box Office Mojo, 2020). It is a niche film in North America, and its 

audience characteristics are different from mainstream audiences. 

Subtitle translation and dubbing were produced for the film’s distribution abroad. 

Subtitles and dubbing in movie translation are subject to different media transmission 

conditions and expected audiences, so there may be differences in the text content of the 



 

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two translation versions. Foreign language subtitles mainly transform the auditory 

content of the source language into the text visual symbols of the target language, while 

dubbing transforms the auditory content of the source language into the speech auditory 

symbols of the target language. These two types of signs and symbols need to be 

synchronized with the image content (such as the beginning and end of the actor's speech 

and the mouth movements) to achieve the best viewing effect. Subtitles and dubbing have 

their advantages and disadvantages. Foreign language subtitles convert the speech of the 

source language into the text of the target language and present it to the audience. When 

watching it, the audience has a visual burden, which means they have to look at the 

pictures and read the subtitles. During that process, they often miss the important 

pictures, especially the facial expressions of the characters. While dubbing does not 

increase the visual burden of the audience and allow them to concentrate on the picture 

and plot, it lacks the touch (e.g. intonation) of the original voice. From the perspective of 

the three-dimensional transformation of eco-translatology, the key duty of subtitle and 

dubbing translation is to transform the source language of movies into the target language 

ecology in three dimensions: linguistic dimension, culture dimension and communicative 

dimension, to conform to the source language ecology as much as possible. In the process 

of transforming from the Chinese context to English context, due to the influence of 

different factors such as translator, commercial operation and economic cost, the film 

content and emotion conveyed by subtitles and dubbing will be different. 

Film is not only a cultural carrier, but also a commodity, and film translation can help the 

commodity create value in overseas markets. The difference between commercial film 

translation and other translations, such as science and technology translation, lies in its 

different functions, which have both active cultural transmission and entertainment 

functions. Two different small translation ecosystems are derived from different 

audiences. For example, subtitle translation audience of Ne Zha is mainly fans who love 

Chinese culture, while the small ecological participants of English dubbing translation are 

those who emphasize entertainment. These two small ecological audiences may also 

overlap. In terms of the communicative dimension, they all aim to achieve 

communication effect and commercial value, but the translation processes and forms are 

different. In different translation ecological environments, translators use different 

degrees of transformation from the source language to target language to adapt to the 

different translation ecological environments. 

2. The film 

The distribution channels of the movie Ne Zha in North America include cinemas, DVD 

and the streaming media Netflix. The American Netflix version of Ne Zha is covered by 

the TV content rating system, and its TV-14 rating implies the program contains content 

that parents or adult guardians think is not suitable for children under 14 years old. There 

are two translation versions of the movie provided by Netflix in America: a subtitle and 

dubbing version. The film was distributed in North America by the company “Well Go 

USA”. According to its official website, the company focuses on introducing movies 

from all over the world to North America and other places for distribution. In an 



 

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interview with Xinhua News Agency, Annie Walker, the chairman of the company, 

stated: “Ne Zha is an attractive animation film. We bring the English dub to North 

America because we hope to share the film with not only overseas Chinese but also 

audiences from other ethnic groups. It's certainly a chance for a mainstream audience in 

North America to know more about Chinese film and Chinese culture.”  It can be seen 

from that interview that the purpose of adding dubbing to movies is to cater to the 

mainstream, not just the minority fans of Asian culture. 

This research randomly selected 30 English language films (released between 2000 and 

2020) and compared their Chinese subtitles and dubbing versions. It is found that there 

are few differences between those two versions. The few differences lie in certain words 

and phrases. The main reason for the differences is that dubbing is expected to match the 

mouth movement of the characters. The echoes what Xiuyan Jia, a famous film translator 

in China, said in an interview conducted by Zhang (2020): “In cinema blockbusters, 

subtitles are expected to be the same as the dialogues, while dubbing texts should match 

the mouth movements. The textual differences between subtitles and dubbing arise 

because dubbing is supposed to match the mouth movements of characters.” After 

examining five other Chinese films released overseas between 2015 and 2020, it is found 

that there is very little difference between the dubbed and subtitled versions. In 

comparison, there is a big difference between the subtitled and dubbed version of Ne Zha. 

The following is a detailed analysis of the differences between the subtitled version and 

the dubbing version of Ne Zha in three dimensions: linguistic dimension, culture 

dimension and communicative dimension. Although this paper lists three dimensions for 

discussion, sometimes the two versions are converted in two or three dimensions at the 

same time, so the analysis of these dimensions is not strictly separated during the 

discussion. 

3. Three-dimensional analysis 

3.1 The linguistic dimension 

By comparison, it is found that the text conciseness of subtitle and dubbing versions is 

very similar. First of all, the author uses Antconc corpus software and Microsoft Word 

software to count the number of words and finds that the dubbing version contain slightly 

more words. The English spelling of the subtitle version is Ne Zha with a space in the 

middle, while the dubbing version uses “Nezha”, with no space. To reflect the actual 

number of words more truly, the researcher changed all the English spellings of “Ne Zha” 

in the two versions into NeZha and compared the number of words. After this processing, 

it is found that the number of types and tokens in the dubbing version is 2.7% more than 

that in the subtitle version, with the difference being small. According to the calculation 

made by Microsoft Word, the number of words in the dubbing version is 1.7% more than 

that in the subtitle version. Antconc treats words with apostrophes such as “won't” as two 

separate words, so the number of figures counted is more than that counted by Word. By 

comparing the word frequency lists, it is found that the top ten words in the list are almost 

equivalent in the two versions, which shows that the basic vocabulary usage of the two 



 

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versions is similar. When the list was examined further down, it is found that the dubbing 

version contains 71 “huh?”, but the subtitle version does not have this word. This shows 

the difference between the subtitles and dubbing, that is, dubbing can express questions 

or rhetorical questions through voice intonation, to achieve the purpose of conveying 

information. 

Table 1: Comparison between the subtitled version and the dubbing version 

 Types 

(Antconc) 

Tokens 

(Antconc) 

Words 

(MS) 

The top ten words on the frequency list 

Subtitle 1418 7687 7385 You, the, I, to, ’t, a, it, is, of, and,  

dubbing 1456 7894 7505 You, I, the, ’s, to, it, and, ’t, a, that 

 

After carefully comparing the two versions sentence by sentence, great differences were 

found in the textual content of the two versions. The dubbing version is more colloquial, 

while the subtitling version is larger and more difficult. The definition of big and difficult 

words means that these words appear less frequently in English. The following is an 

example showing the difference of vocabulary use between the subtitle and dubbing 

versions. 

Example 1 

Chinese: Shīfu pài wǒ hé shīdì qián qù shōufú (02:03:62) 

Subtitles: My master sent me and a fellow discipline to subordinate it. 

Dubbing: so my master, the supreme Lord of heaven, sent my brother and I to put 

a stop to the chaos. 

 

In the above example, for the translation of the original Chinese word “shōufú”, the 

subtitle version uses the formal word subdue, while the dubbing version uses “put a 

stop”, an informal colloquial phrase. Also, the dubbing version adds explanatory 

information “the supreme lord of heaven”, to the translation of “Master”, so that the 

audience can better understand the Master's status and why the Master can send them to 

complete tasks. In the cultural dimension, this information is added to the translation to 

adapt to the cultural environment of the target language. 

The author invited a native English speaker (British, adult, male, numbered: NativeE) and 

a near-native English speaker (Chinese, adult, male, numbered: NearN) to compare the 

predicate verbs of the corresponding sentences in the two versions one by one, and 

calculated the number of large words and small words in the two versions. The list is as 

follows. The Chi-square test of these 87 samples with SPSS shows that the corresponding 

significance P-value is 0.000 (close to 0)<0.05, which indicates that the frequency of 

using large and small words in these two versions is different and statistically significant. 

In the linguistic dimension, the dubbing language is colloquial and easy to understand. 

From the perspective of communication, dubbing emphasizes communication, namely, 



 

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entertainment, focusing on helping the audience understand the dialogues and making 

them laugh. 

Table 2: Use of large vocabulary in two translated versions 

 

 

From the above data analysis, it can be seen that the big-word style in subtitle translation 

is more in line with the linguistic dimension of the original Chinese, while the dubbed 

small word style is more suitable for the linguistic dimension of the English target 

language targeting the children audience. The subtitle translation of Ne Zha retains the 

language style of Chinese as much as possible and adapts to the language style of the 

target language to a limited extent. This shows that translators made adaptive choices of 

the language forms in the process of translation. That is to say, in subtitle translation, the 

language features of Chinese are fully transferred in English subtitles; however, dubbing 

translation is more suitable for the ecological environment of the target language, and it is 

more flexible in the linguistic dimension. 

3.2 The cultural dimension 

The translation of movie dialogues is a communicative action across cultural differences. 

As a part of the film, film dialogues are also the carrier of culture. Due to cultural 

differences, if the translation works do not effectively transmit cultural meanings, the 

works will not adapt to the cultural system of the target language translation ecological 

environment, which may lead to a communication failure. In the translation of swear 

words, the subtitle version uses literal translation, while the dubbing version tones down 

or omits those words. For example, in the Mandarin version of the movie, there are such 

rude words as “niǎo mìng”,”qù sǐ ba”,”bài gè pì”, and”gǒupì”, and in the English subtitle 

version, they were translated as similar swear words: “screw you”, “go to hell with that” 

and “bull shit”. In the dubbing version, all these rude words are omitted, while the 

feelings or opinions expressed in the rude words are translated in non-taboo language. 

For example (see below), “screw you” in the subtitle version is a very impolite phrase in 

English, which expresses the attitude of “not accepting fate”, while the dubbing version 

directly expresses this attitude of “not accepting fate” without swearing. 

 

Example 2: 

Chinese: Qù nǐ gè niǎo mìng 

Subtitle: Screw you! 

Dubbing: 'Cause it is not the boss of me. 

Version Large voc. frequency Small voc. frequency Total number 

NativeE NearN NativeE NearN 

Subtitles 81 80 6 7 87 

Dubbing 6 7 81 80 87 



 

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The core concept discussed in the film is to fight against fate, not fearing other people's 

judgment. This film is told from the perspective of China and Chinese culture. The film’s 

transmission overseas can help more people understand Chinese people and Chinese 

culture. Although the animation’s visual effect is on a par with that of the West, the film 

contains cultures unfamiliar to American audiences. If the audience does not know much 

about Chinese people or mythology, they will not be able to understand cultural-specific 

jokes and stories. There are many references or lines similar to Stephen Chow's films in 

the story, such as “bù zhīdào wǒ néng bùnéng káng dé zhù”,”fàng kāi nàgè nǚhái” and so 

on. When dealing with these lines, the dubbing version uses free translation, and the 

meanings are quite different from the original Chinese text. The following example 

illustrates how the line “tāmen jūrán néng káng dào xiànzài,” similar to that in one of 

Stephen Chow's movie, was translated. 

Example 3: 

Chinese: Tāmen jūrán néng káng dào xiànzài. Bù xiǎodé jiā shàng wǒ, dǐng bù 

dǐng dé zhù. 

Subtitles: I can't believe they're still holding on. If I jump in, I wonder if they'll 

survive. 

Dubbing: How dare they not invite me to join in... I love a good party. Stay 

strong, you two. 

 In the above example, the subtitle version’s meaning is close to that of the original. In 

comparison, the dubbing version is more idiomatic and colloquial, conforming to English 

language habits. Its meaning far from the original, but the communicative purpose is 

similar to that of the Chinese original, namely, entertainment. The dubbed version 

focuses on helping the audience understand the dialogues and making them laugh. From 

the linguistic dimension, the language is colloquial and easy to understand. 

3.3 Communicative dimension 

Besides the transformation of linguistic dimension and cultural dimension, eco-

translation also includes the adaptive selection transformation of communicative 

dimension, that is, adaptive selection and transformation of communicative intention 

between the source language and target language is needed. In the communicative 

dimension, the ecological environment of film translation focuses on factors such as the 

communication effect and commercial value of the source language and the target 

language. This adaptive choice transformation of communicative dimension requires the 

translator to “focus the adaptive selection on the communicative level and ensure the 

communicative intention in the source text is reflected in the target text” in addition to 

the transformation of linguistic information and the transmission of cultural connotation. 

(Hu, 2013:237).” The communicative function of language in commercial movies can be 

understood as the function of arousing people's reaction, that is, entertainment function. If 

these different translation methods can be tailored to serve different target audiences, and 

achieve a communication effect similar to that of the original film, the maximum 

commercial value can be achieved, that is, the maximum communication function. 



 

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To analyze the feedback and viewing needs of the audience, the author collected the 

comments the audience posted on the website of Internet Movie Database  (IMDB, 

2019). The viewers leaving their comments on IMDB.com include both movie theater 

viewers and Netflix viewers. In addition, the author interviewed three American Netflix 

viewers whose native language is English. According to the analysis, it is discovered that 

the audience of American cinemas is mainly overseas Chinese, as well as a minority of 

English-speaking audience who cannot speak Chinese. The dubbed version is more 

suitable for non-Chinese speakers looking for entertainment. The subtitle version is 

suitable for Chinese culture fans, or Chinese language learners who can listen to the 

Mandarin audio and read the English subtitles to absorb the contents of the original film 

as much as possible. For example, a viewer named David M comments: 

The story is wonderful and the animation is excellent. If you watch it on Netflix, even 

people like me who can't speak Mandarin should watch the version with Mandarin audio 

track and English subtitles. English dubbing [quality] is not worthy of such a good film, 

and it is far from subtitles. 

According to various comments on IMDb, for those who want to learn Chinese culture, 

they generally expect the subtitle version to convey Chinese culture as completely as 

possible. However, the English subtitles of Ne Zha are fast, and reading those subtitles 

requires a high level of fast reading. For example, some viewers commented: “The 

subtitles can pass by VERY fast and/or get lost against the background, so get ready to 

read fast.” Another viewer commented: “The freaking subtitle will blow your brains out, 

it's like decoding the entire story from start to finish! Feels like your starting to learn 

English while still in your mom's tummy.” It can be seen that subtitles are not easy to 

read for every audience member. However, dubbing requires lip-synching, which 

requires more work for dubbing actors and translators. For example, a viewer 

commented: “I started watching dubbing, but I hated that the audio track didn't match the 

character's lips, so I immediately switched to the subtitle version.” It can be seen that the 

synchronization of audio track and lips is very important for some viewers to watch the 

dubbing version. Therefore, high-quality dubbing production is also very important for 

film communication. Although the dubbing production of the film is flawed in terms of 

lipsyncing, it was generally praised by the audience. For example, a viewer named 

westsideschl said: “English voicing, often shaky in Asian films, was quite modern 

Western & culturally appropriate.” One Netflix viewer interviewed by the author said: 

“Apart from some Chinese names such as Taiyi Zhenren, the dubbed English is very 

idiomatic. The dubbing can score 9 points out of 10.” 

In this research, foreignization and literal translation used in the subtitled version, and 

free translation and communicative translation methods used in the dubbing version, are 

explained from the perspective of eco-translatology. The translators of the subtitle 

version chose to work within the constraints of the original text, while the dubbing 

version overturns its constraints. It can be seen that the translator has made different 

choices and adopted different translation strategies to adapt to the two small ecological 

environments. 



 

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4.  Refining eco-translatology 

The purpose of the English translation of Ne Zha is to create income, publicize Chinese 

culture and promote the development of the animation industry. Based on the analysis, 

the subtitle and dubbing translations of the movie Ne Zha have well realized the 

transformation of linguistic dimension, cultural dimension and communicative 

dimension, and the translated texts have well adapted to the translation ecological 

environment. The translation of the film assists in the transmission of the film, thus 

achieving the functions of entertainment and China's “international communication”, and 

increasing the audience's positive impression of China. Interpreting the differences 

between English subtitles and dubbing from the perspective of “three-dimensional 

transformation” in eco-translatology can help us better understand the translation process 

and results of the film, and provide a great reference for similar cultural communication 

in the future. 

According to the eco-translatology viewpoint, translation success is determined by the 

translator's degree of transformation in these three dimensions. The higher the degree of 

“three-dimensional transformation”, that is, the higher the degree of “degree of holistic 

adaptation and selection”, the better the quality of the translation (Hu, 2004:214). In the 

dubbing translation of commercial films, the adaptive choice transformation in the 

communicative dimension is the key point in three-dimensional transformation. It is 

especially necessary to ensure that the communicative intention of the original film (that 

is, entertainment and creating commercial value) is reflected in the translation to create 

economic benefits. Hu Gengshen believes that translation should not only minimize the 

ecological damage of the original text but also best maintain the ecology of the translated 

text (Hu, 2013:240). Due to the film rating system in America, the dubbing of Ne Zha 

eliminates swearing words, adapts the culture in the source language, and makes a large 

number of dialogues colloquial, which damages the ecology in the original text to a great 

extent, but the translation achieves a better effect in the target language context. 

Therefore, to evaluate whether the dubbing translation of Ne Zha is the best, we should 

not only look at whether it keeps the original ecology, but more importantly, whether it 

adapts to the translation ecology. 

As for the communicative function, Hu Gengshen did not define it in detail in his book 

Eco-translatology, while Nida's exposition discussed it more deeply. Hu Gengshen 

translated his term “jiāojì wéi” as “communicative dimension” in Glossary, the Main 

Terms of Eco-translatology in Appendix 2 of his book. Communication here is the 

activity or process of expressing ideas and feelings or of giving people information. And 

what is communication in commercial movies? What does a film production company 

want to communicate with the audience? The definition of communication needs to be 

broadened for the research of film communication. In its broad sense, it is emotional 

communication through visual and auditory stimulation, arousing audience resonance and 

entertaining audience. Nida maintains that “translation is a kind of communication” and 

“the meaning and intention of the original text must be clearly reflected” (Nida, 1969). 

Nida made a comprehensive analysis of his “functional equivalence” theory from all 

aspects, and put forward that “translation is communication”. Nida included the reader-



 

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response theory, and fully considered the receptive ability of target readers. The author 

believes that Nida's functional equivalence theory can better explain the communicative 

dimension transformation of English subtitles and dubbing in Ne Zha. Given the 

commercial nature of the movie Ne Zha, using the concept of translation economics for 

reference will help increase the understanding of the translation of Ne Zha. 

From the perspective of translation economics, the subtitle and dubbing translation of Ne 

Zha is “both an investment and a commodity (Xu, 2014:35)”. The cost of dubbing was 

relatively low because no TV or movie celebrities were invited to do the dubbing. The 

distributor was cautious and did not allow much additional expense, hoping to get a 

certain amount of profits with limited investment. In terms of the economic benefits of 

film translation in North America, the subtitle translation product is more suitable for the 

cultural needs of the niche market (Chinese cultural fans), while the goal of dubbing 

translation is to meet the needs of the public. Ne Zha’s box office in the US exceeded 

three million dollars, while other Chinese animations brought to America such as Journey 

to the West: Return of the Great Sage, and White Snake: Origin, grossed less than one 

million dollars. So in comparison, Ne Zha has made great progress in economic profits. 

Although the success of a Chinese film in North America is closely related to the quality 

of the film itself, the role of translation cannot be underestimated. The success of Chinese 

film culture export largely depends on subtitles and dubbing. 

 

 

References 

Box Office Mojo. (2020). Ne Zha (2019). from 

https://www.boxofficemojo.com/title/tt10627720/?ref_=bo_gr_ti 

Hu, G. (2004). Translation Adaptation and Selection Theory (In Chinese) [翻译适应选择

论]: Hubei Education Press. 

Hu, G. (2008). Examining Translation Theory from the Perspective of Terminology: An 

Overview of Translation Adaptation and Selection Theory (in Chinese) [从术语看译论

——翻译适应选择论概观]. Shanghai Translation, 0(2), 1-5.  

Hu, G. (2013). Eco-Translatology: Construction and Interpretation. (in Chinese). [ 生态

翻译学: 建构与诠释]. Beijing: The Commercial Press  

IMDB. (2019). Ne Zha. from https://www.imdb.com/title/tt10627720/ 

Nida, E. A. T., Charles R.  . (1969). The Theory and Practice of Translation: Leiden: E. 

J. Brill. 

Vermeer Hans, J. (1989). Skopos and commission in translational action. The Translation 

Studies Reader, 221-232.  

Xu, J. (2014). Translation Economics (Chinese) [翻译经济学]: National Defense 

Industry Press. 

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Zhang, Y. (2020, 2020-08-29 ). A Dialogue with the film translator  Jia Xiuyan (in 

Chinese) [与电影字幕翻译贾秀琰对谈], The Paper ((澎湃新闻)). Retrieved from 

https://www.thepaper.cn/newsDetail_forward_8913150 

This is an open-access article distributed under the terms of the Creative Commons Attribution Licence (CC-BY) 4.0 
https://creativecommons.org/licenses/by/4.0/, which permits unrestricted use, distribution and reproduction in any 
medium, provided the original author and source are credited.

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