One of the manifestations of the culture of prosumption that has arisen owing to the proliferation of digital technologies is the so-called fansubbing. The present study is premised on the idea that fansubbing, which refers to the practice of providing pro bono subtitles by fans for fans in affinity spaces, has heralded a paradigm shift in the field of audiovisual translation studies by virtue of its experimental and subversive ethos. It is experimental through introducing novel, creative practices that diverge glaringly from standard subtitling norms for the purpose of offering an immersive experience for the audience. It is subversive in the way it challenges the conventional invisibility of subtitlers by resorting to diverse forms of intervention in the semiotic composition of audiovisual texts. The significance of this amateur translation practice in Arabic is arguably underexplored. To address this paucity, the present study attempts to explore the phenomenon of Arabic fansubbing through a corpus of selected English movies from different genres. The analytical framework comprises Nornes's (1999, 2007) concept of abusive subtitling as it resonates with a core issue in the study, namely the visibility of fansubbers. The study draws on Díaz Cintas and Muñoz Sánchez's (2006) taxonomy of fansubbing conventions for the purpose of providing a detailed perusal of the experimental and subversive strategies used in Arabic fansubbing.