By Anna Maszerowska, Anna Matamala, Pilar Orero
Audio description (AD) is a story approach which supplies complementary information about the the place, who, what and the way of any audiovisual content material. It interprets the visuals into phrases. The significant functionality of this advert hoc narrative is to make audiovisual content material to be had to all: be it a guided urban travel of Barcelona, a 3D movie, or a Picasso portray. Audio description is likely one of the more youthful siblings of Audiovisual Translation, and it's epigonic to the audiovisual translation modality selected. This booklet is the 1st quantity at the subject written in English and it brings jointly a world crew of prime audio description academics, students, and practitioners to deal with the elemental matters concerning audio description suggestions. utilizing one stimulus, Quentin Tarantino’s movie Inglourious Basterds (2009), the authors analysed what, whilst, the place and the way to audio describe. The ebook is written in a collaborative attempt, following a backside up method. the various concerns that surfaced within the technique of the research have been grouped in broader different types represented within the ten chapters this ebook includes. an excellent instance of a profitable foreign collaboration, the amount units a powerful useful and theoretical framework for the various reports on audio description to come back sooner or later. contemplating the constitution of the person contributions, the publication is not just orientated in the direction of the identity of the demanding situations that look forward to the describer, however it additionally bargains an perception into their attainable strategies.
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Extra resources for Audio Description: New perspectives illustrated
The “ocean of dunes” and “contours of sand” mentioned in the screenplay become decidedly erotic in the AD where the description goes from “rolling sand dunes” to sexual analogies, thereby complying with the Royal National Institute of Blind People guidelines which propose the use of vivid language. The goggles and helmet are mentioned in both texts, presumably to keep attention on the cohesive semantic field of aviation. The woman is mentioned after the man in the AD though her pale head and sleeping pose are mentioned in both “seems to be asleep/her eyes are closed”.
G. ) and contains the features of that type. Hatim (2009, 44) provides the instance of a “counter-argument” and gives the example “Of course tomorrow’s meeting of OPEC is formally about prices. The real purpose of the meeting, however, is to salvage the cohesion of the organization”. He suggests that the (competent) writer of this text knows how to form this discourse because s/he has come across counter-argument texts before. Similarly, writing job applications, letters to the editor or, indeed, academic articles relies on prior knowledge of the genre in question and what other such texts looked like.
It may be thought useful to specify who has written and voiced the AI and, if appropriate, whether the AD has been created by the same person/team. Finally, it is worth bearing in mind that an AI will need to be tailored to a particular country or region, as there may be variation in the classification of the film, whether or not it contains AD, and whether or not the AD is available on the DVD version of the film. Written information on the DVD box may also be country-specific. 4. Language As pointed out by York (2007, 226) with regard to audiointroductions for opera, “the concerns of an audio-introduction are really no different from those for an audio-description – save, perhaps, that they ought to be more vivid and therefore more memorable”.
Audio Description: New perspectives illustrated by Anna Maszerowska, Anna Matamala, Pilar Orero