a corpus-based approach to the language of audio description

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called to „translate‟ into words the images that appear on the screen, or on a stage in case of theatre performances, and to fit in the pauses perfectly. Therefore, an audio description follows the time imposed on the story not by the describer but by another „narrating entity‟, be the movie itself or a stage director. In addition, a film is not only images and music but also written text: credits, subtitles, if any, possible transcriptions and/or title-bands. Even though the differences between audio description and audio narration are relevant, the characteristics of audio description do not match with the definition of mere description, since any audio description is also filled with action (Pujol 2007). At the same time, Pujol (2007) explains that since narration is intended in Film Studies as a structure with an initial situation developing into a sequence leading to a change or reversal, audio description scripts do not evolve, since they are supposed to convey only relevant visual information not expressed verbally. To bridge this gap, Pujol (2007) suggests that AD should be intended as a “form of partial narration based on intersemiotic translation with phatic and poetic elements” 5 . This statement defining audio description recalls Jakobson‟s language functions, since audio description scripts are acknowledged the tasks of checking “whether the channel is working (phatic function)” and expressing “with words the beauty of images [...] trying to compensate with words the aesthetic pleasure caused by images” (Pujol 2007). In this regard, we think 5 The article by Pujol (2007) is available at http://www.euroconferences.info/2007_abstracts.php (last accessed 19/02/2011). 18
audio description could be intended as a form of intersemiotic compensation, which requires deep knowledge and understanding of the product features. As to the word „videodescription‟, also used under the written form „video description‟, it may refer to a more general discipline concerning the analysis of visual elements 7 - and therefore having nothing or less to do with AD - or to the amount of information tags given about a specific video. In this case, audio description is used to make the retrieval process on the Internet and the optimization of video localization easier 8 ; in addition, it can be used as a synonym of „audio description‟ but more in the United States than in other countries 9 . „Video description‟ as an online accessibility tool is also a synonym of „auditory description‟ in documents concerning the accessibility of the Internet and more specifically, of an online video content. Indeed, an auditory description is defined as “an example of a non-text equivalent of visual information” 10 . This definition was elaborated by the 7 In this regard, the word „video description‟ is often used in the field of web accessibility as a tool to describe videos on the Internet. For further information about this particular use see also http://www.w3.org/TR/WCAG10/ (last accessed 19/02/2011). 8 Video description as a retrieval process is used in a number of semantic and hierarchical models. This model expresses semantic meaning contained in videos. The terms „object‟, „action‟ and „relation‟ are used to specify semantic meanings in a video query. 9 Indeed, the term „video description‟ is used to indicate the American Descriptive Video Service (DVS) that is the national service to make television programmes accessible to the visually impaired people. More info about the service can be found at http://main.wgbh.org/wgbh/pages/mag/services/description/ (last accessed 19/02/2011). The DVS is provided by the Media Access Group at WGBH; the mentioned website is also a very powerful source of information for all AD-related issues. 10 See http://www.w3.org/TR/WCAG10/ (last accessed 19/02/2011). 19
Page 1 and 2: UNIVERSITÀ DEGLI STUDI DI NAPOLI F
Page 3 and 4: 2.1 Blindness and visual impairment
Page 5 and 6: 5.1 The language of audio descripti
Page 7 and 8: Acknowledgments It was May 2007 whe
Page 9 and 10: Perhaps only in a world of the blin
Page 11 and 12: Matamala and Rami 2009), only few r
Page 13 and 14: etween sight and hearing in films,
Page 15 and 16: 1. Introduction to audio descriptio
Page 17: story is revealed. However, the act
Page 21 and 22: lighting, etc. Descriptions are del
Page 23 and 24: very important actor/actress, the d
Page 25 and 26: theatre shows. Sport matches can be
Page 27 and 28: to organize touch tours or similar
Page 29 and 30: 1.3.2 Special guidelines for specia
Page 31 and 32: prevents the audio description from
Page 33 and 34: should evocate more than precisely
Page 35 and 36: All guidelines in these countries a
Page 37 and 38: speaking, the first principle of a
Page 39 and 40: team to decide whether the credits
Page 41 and 42: Audio description is a relatively y
Page 43 and 44: only, 12 films were made accessible
Page 45 and 46: description was screened for the fi
Page 47 and 48: TV Cabo and Lusomundo Gallery start
Page 49 and 50: Festival held yearly in Rome. The a
Page 51 and 52: importance of training and suggests
Page 53 and 54: commitment to regular provision of
Page 55 and 56: homogenous group, be it because of
Page 57 and 58: this section mainly from a geograph
Page 59 and 60: Elizabeth Jones and Gabriela Argiro
Page 61 and 62: in digital video collections. His a
Page 63 and 64: description for the blind and acces
Page 65 and 66: minimizing the risk of marginalizat
Page 67 and 68: whose activities range from trainin
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Adam Mickiewicz University, coordin
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perspective, the role of the audio
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the market in 2006. Since then, bli
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without problems. From the provider
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etween the two different tracks bro
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lind from the rest of the audience.
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most popular theatres of countries
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programme. In this case, it is not
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The European Union protects the rig
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subtitling more and more programmes
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independent, non-discriminated and
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updated information about the perce
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(e.g. the Netherlands, Poland, Swed
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the anatomical structures of sight,
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1 2 3 4 Maximum less than Minimum e
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countries, subdivided into 17 Regio
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dependent on contextual factors. In
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will also increase. In addition, et
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cataract, glaucoma and dry eye. In
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The human eye belongs to a group of
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ehaves exactly the opposite. Accord
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cornea is scarred (this condition i
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mechanisms. The consequences of POA
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Macular degeneration is the first c
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2.6 The development of visually imp
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why haptic and hearing sensations w
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„thinking spaces‟. We will see
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Presenting an object to a blind per
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This area of intersection becomes t
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places, other devices need to be co
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The first audio books were also del
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for visually impaired customers. Th
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Audio description can be seen as a
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subtitles and title bands) „trans
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great help. Indeed, they borrow the
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(original dialogue versus subtitles
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Reiss 1971) and evaluate the audio
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not prioritize or organize the way
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ultimate proof but will always rely
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translation, seems to be a controve
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with specific ideas in one country
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In the interpretive use a) thought
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of language per se. With this in mi
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their communicative needs. Maybe a
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participants. In audio description,
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unity of the film. As it can be not
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(11) In gold letters against brilli
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The film is based on the novel by T
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linguistic and semiotic choices con
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is translated into short sentences
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is strictly linked to the idea of t
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of visual images is recorded images
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transformation from images to words
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who criticized the lack of „conne
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„primary‟ or „spoken‟ visua
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Semantic refers to the way images r
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more a description or a narration?
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However, there are sentences where
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3.6.1 Audio description as a tool f
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touch and the hearing), but also to
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Drawing on these considerations and
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the “descriptive gestures” cate
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complete the transfer process the f
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description could be also extremely
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2. Original culture-specific object
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This means that an interest in audi
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on a more general level, they are b
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professional setting, one of which
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4. Audio description from a filmic
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in this differencing potential the
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articulation), it can be considered
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asic types of signs 152 : indexes,
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language of audio description is du
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Cinematographic codes 2- Codes of i
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As to the visual codes, denominatio
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perception instruments. The „form
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and researchers. However, in countr
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carries another language. In this c
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However, it is not always possible
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presence of moving objects, persons
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Level of representation: time Time
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the „spectators‟ is not limited
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screen and helps identifying where
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not only a matter of words. Indeed,
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or speak but also the settings and
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This creates the illusion that the
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epresentation. In this sense, an an
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objects. Finally, the point of view
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metalinguistic communication is the
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continuum, audio description would
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experiments based on the use of the
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is occurring on screen or on stage.
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(2000) also suggests the use of the
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Ballester Casado (forthcoming) also
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standards in audio description and
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context, „viewpoint‟ by words r
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develop a computational account of
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framework allowed by dialogues. For
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with respect to film content, and w
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far have approached their role in a
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“concerned with the experiential
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defined as a qualitative difference
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Micro-features Planning Spoken Lang
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and to be inserted in the pauses wi
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Secondly, being the audio descripti
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attributed to a traditional text ar
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dissolution and fragmentation which
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and blond hair piled elaborately on
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towards it. Drawing on these consid
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for the editing phase would be a pr
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applied to narrative as a means of
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esearch. Indeed, as we have seen, t
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attributed by the IMDb. On the IMDb
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Storyline In 1941, Italy allies wit
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Goofs Errors made by characters, po
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Title Year (P) Year Captain Corelli
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Title Year (P) Year Lady and the Tr
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Title Year (P) Year See no Evil, He
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Title Year (P) Year The Great Escap
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2006), which is based on almost the
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Ad Ac An B C Cr D F Fan H R Mu Mi T
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same quantity of scripts for each o
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In both cases, it is possible to re
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on the edge of the bed. („The Oth
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01 00 00 A sphinx is silhouetted ag
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protected by copyright and any broa
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01 01 52 An image appears from the
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Title number: 3 In Cue Time(HH MM S
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time out codes are assigned to each
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![CDATA[10.00.01 a blue letter M pa
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analysis would fall beyond the scop
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Firstly, to make the scripts proces
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From IN From The DT The Dark JJ Dar
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component of the Corpus Workbench d
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clothes_NNS_clothes ._SENT_. bearde
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corpora no. 2, 3 and 4 for differen
Page 341 and 342:
From a more informational/semantic
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Peripheral adjectives do not have o
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than the expression of a property o
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adjectives in almost all the script
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11 Open Adjective Frequency 289 12
Page 351 and 352:
Adjective Frequency 49 Light 66 50
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Adjective Frequency 87 Shadowy 33 8
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to the movies which deal with speci
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limited (two hits only) 219 . The a
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of an object/entity (as in „his o
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wall‟, „the other side of the r
Page 363 and 364:
Adjective Noun Frequency 7 Blue Sky
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Adjective Noun Frequency 45 Slight
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Adjective Noun Frequency 83 Small B
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identify. In our corpus, colour adj
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Within the „non-human‟ category
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5.5.3.1.4 Predicative adjectives in
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Adjective Frequency 20 Dark 14 21 R
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Adjective Frequency 58 Bright 3 59
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such as „thoughtful‟, „confus
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corpus under investigation (they ar
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5.5.3.1.5 Comparing the corpus with
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Adjective Token 2 Token 1 Pm 2 Pm 1
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Page 391 and 392:
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whole corpus. For this reason, all
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Adjective Token 1 Token 2 Token 3 P
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Page 405 and 406:
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As shown in Table 12, the highest n
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Adjective Frequency Smartly-dressed
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number of adjectives with „unknow
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As we have seen from this analysis,
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Adjective 1 Adjective 2 Frequency L
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Adjective 1 Adjective 2 Frequency H
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Adjective 1 Adjective 2 Frequency B
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Adjective 1 Adjective 2 Frequency O
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Adjective 1 Adjective 2 Frequency T
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shirt is undone, his tie loosely kn
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the sky turns red, pink and orange.
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the hearer/receiver to make less co
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Adjective Frequency Tighter 5 Large
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The corpus does not present a signi
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Hot‟). Curiously, examples (91) a
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examples: 4. „Adjective+Enough+To
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vocabulary. Avoid metaphors, simile
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which are figures of speech easier
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Subject Simile Film Title An ovirap
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Subject Simile Film Title (..) the
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Subject Simile Film Title Kida stan
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Subject Simile Film Title (…) Her
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Subject Simile Film Title He swings
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animation and children films toward
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actions/thoughts with other actions
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„As if+Adjective/Verb(-ing)‟ st
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suggest that the character has unde
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a. Human body parts and appearance.
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Conclusions Audio description is a
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verify and discuss the existing gui
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documentaries). We have also seen t
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impaired people can hear better or
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the very notion of faithfulness and
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enders an inaccurate picture of the
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However, adjectives themselves are
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a. Human and body-related referents
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into account their different needs
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adult spectators as well as the use
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Antifona, Cinzia 2002. L‟audiodes
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Barber, Charles L. 1962. Some Measu
Page 487 and 488:
Bollettieri Bosinelli, Rosa M. 2002
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Cabré, Maria Teresa 1998. Terminol
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Cresswell, Max 1975. The Semantics
Page 493 and 494:
Ferris, Connor 1993. The Meaning of
Page 495 and 496:
Gottlieb, Henrik 2005. Multidimensi
Page 497 and 498:
Holt, Michele / Jordan, James 2008.
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Kerr, Hugh 1991. The Simpe Gospel.
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Lukács, Georg 1970. Narrate or Des
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Navarrete, Javier 1999. La atenció
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Palomo, Alicia 2008. Audio Descript
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social skills by blind and visually
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Audio Description for Visually Impa
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Smith, Kevin G. 2000. Bible transla
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description and signing. Tomatis,
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Vermeer, Hans. J. 1978. Ein Rahem f
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Sitography 255 All About Vision Am
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Direct Government UK Disability Wo
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Media Access Group at WGBH Nationa
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UK Film Council Statistical Yearboo
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Filmography A Ferreirinha, Radiotel
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Annex 1 AntConc 3.2.1 Concordance P
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Fig. 4. Concordances of „straight
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Fig. 7. Concordances of „last‟
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Fig. 11. Concordances of „own‟
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Fig. 14. Concordances of „unable
Page 537 and 538:
Fig. 18. Concordances of „visible
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539
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