本研究以Roman Lobato（2012）的非正式流通（informal distribution）研究，以及Henry Jenkins、Sam Ford 和Joshua Green（2013）等人所提出的擴散媒介（spreadable media）概念，分析中國冷門電影字幕組對於藝術電影網絡的流通實踐。研究發現，這類冷門電影字幕組的運作，並不像一般字幕組的層級明顯，工作方式和成員彼此間的關係也較為鬆散。其傳播流通則是以反正典（counter-canon）做為選片基準，這個基準補足了正式機制（影展）的不足，也有助於非主流電影（或冷門電影／藝術電影）的整體網絡流通。此外，非正式流通也促成影迷產生能動性，完成影像實踐。

This study investigates subtitle groups in China for alternative art cinema using the frameworks of informal distribution, proposed by Ramon Lobato (2012), and spreadable media, proposed by Henry Jenkins, Sam Ford, and Joshua Green (2013). The practices of these subtitle groups feature organizational operation and distributive value. This study found that these subtitle groups operate in a loose manner and their material is distributed in accordance with the characteristics of a counter-canon. Such distribution not only compensates for the shortcomings of institutional art cinema but also promotes the success of the entire distribution network; this informal distribution strengthens the entire distribution network of art cinema. Such informal distribution also gives cinephiles agency to achieve the practice of image.