a corpus-based approach to the language of audio description

More documents

Recommendations

Info

Described Television) being launched in the same Disability Year and inspiring a variety of AD initiatives. The Audetel Project gathered professionals, associations, broadcasters and regulators to assess the needs and the requirements in the field of audio description. The Audetel consortium started to bring extensive audio description in the UK. Among videotapes, the first film to be audio described was “Hear my Song” (Hernàndez and Mendiluce 2004). Based on the outcomes of the Audetel project, English ITC (Independent Television Commission), now Ofcom, set out guidelines for the production of different types of audio description, each type following the characteristics of the programme to broadcast, together with future prospects on the programme percentage to audiodescribe. The 1996 Broadcasting Act decided that ten per cent of terrestrial production should be audio described by the tenth year after issue of the digital license. The 2003 Communication Act and the 2004 Code on Television Access Service by the new born Ofcom, the independent regulatory organization for TV broadcasting, were important steps towards the increase of accessible programmes in UK. In 2002 the platform BSkyB, a digital satellite broadcaster, provided audio description for a number of channels and was the first platform to let the general public access audio described programmes. In 2005, Channel Five added its AD to the digital satellite provision and in 2004 the BBC, together with Channel 4 and ITV, announced that it would be making AD available via digital satellite television. In cinemas, audio 44
description was screened for the first time in 2002 with “Harry Potter and the Philosopher‟s Stone” using the new transmission system called DTS (Digital Theatre System) which associates video and audio description by means of time code correspondence, thus, reducing the risk of delays and problems in the signal emission. DTS replaced Cinetracker, a previously developed system that, however, had shown synchronization problems during the transmission and caused miscomprehension of the film screened. Since then, over 350 films have been audio described in the UK. From 2003, the UK Film Council agreed to fund technical AD equipment purchase and installation in about 78 cinemas in the UK (now their number has increased to about 180). Although legislation does not regulate audio description for cinema, today UK cinemas have 80% to 100% of films audio described, whether in English or in another language. In this regard, much effort is being made towards effective audio subtitling. In Germany the first attempts to provide audio description date back to 1989, when a group of 4 people (Andrea Hartwig, Robert Muller, Bernd Benecke, now Head of the Bayerischer Rundfunk and Helmar Dosch, a blind person) teamed up, and inspired by the film festival held in Cannes, they founded the Munchner Filmbeschreibergruppe. In December 1989, thanks to the financial support of Columbia TriStar and 20th Century Fox, the group audio described some American comedies, “Die Glucksjager”, “Kuck mal, wer da spricht” and “Angst von der Dunkelheit”. In 1992, thanks to the 45
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 and 18: story is revealed. However, the act
Page 19 and 20: audio description could be intended
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: only, 12 films were made accessible
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
Page 69 and 70: Adam Mickiewicz University, coordin
Page 71 and 72: perspective, the role of the audio
Page 73 and 74: the market in 2006. Since then, bli
Page 75 and 76: without problems. From the provider
Page 77 and 78: etween the two different tracks bro
Page 79 and 80: lind from the rest of the audience.
Page 81 and 82: most popular theatres of countries
Page 83 and 84: programme. In this case, it is not
Page 85 and 86: The European Union protects the rig
Page 87 and 88: subtitling more and more programmes
Page 89 and 90: independent, non-discriminated and
Page 91 and 92: updated information about the perce
Page 93 and 94: (e.g. the Netherlands, Poland, Swed
Page 95 and 96:
the anatomical structures of sight,
Page 97 and 98:
1 2 3 4 Maximum less than Minimum e
Page 99 and 100:
countries, subdivided into 17 Regio
Page 101 and 102:
dependent on contextual factors. In
Page 103 and 104:
will also increase. In addition, et
Page 105 and 106:
cataract, glaucoma and dry eye. In
Page 107 and 108:
The human eye belongs to a group of
Page 109 and 110:
ehaves exactly the opposite. Accord
Page 111 and 112:
cornea is scarred (this condition i
Page 113 and 114:
mechanisms. The consequences of POA
Page 115 and 116:
Macular degeneration is the first c
Page 117 and 118:
2.6 The development of visually imp
Page 119 and 120:
why haptic and hearing sensations w
Page 121 and 122:
„thinking spaces‟. We will see
Page 123 and 124:
Presenting an object to a blind per
Page 125 and 126:
This area of intersection becomes t
Page 127 and 128:
places, other devices need to be co
Page 129 and 130:
The first audio books were also del
Page 131 and 132:
for visually impaired customers. Th
Page 133 and 134:
Audio description can be seen as a
Page 135 and 136:
subtitles and title bands) „trans
Page 137 and 138:
great help. Indeed, they borrow the
Page 139 and 140:
(original dialogue versus subtitles
Page 141 and 142:
Reiss 1971) and evaluate the audio
Page 143 and 144:
not prioritize or organize the way
Page 145 and 146:
ultimate proof but will always rely
Page 147 and 148:
translation, seems to be a controve
Page 149 and 150:
with specific ideas in one country
Page 151 and 152:
In the interpretive use a) thought
Page 153 and 154:
of language per se. With this in mi
Page 155 and 156:
their communicative needs. Maybe a
Page 157 and 158:
participants. In audio description,
Page 159 and 160:
unity of the film. As it can be not
Page 161 and 162:
(11) In gold letters against brilli
Page 163 and 164:
The film is based on the novel by T
Page 165 and 166:
linguistic and semiotic choices con
Page 167 and 168:
is translated into short sentences
Page 169 and 170:
is strictly linked to the idea of t
Page 171 and 172:
of visual images is recorded images
Page 173 and 174:
transformation from images to words
Page 175 and 176:
who criticized the lack of „conne
Page 177 and 178:
„primary‟ or „spoken‟ visua
Page 179 and 180:
Semantic refers to the way images r
Page 181 and 182:
more a description or a narration?
Page 183 and 184:
However, there are sentences where
Page 185 and 186:
3.6.1 Audio description as a tool f
Page 187 and 188:
touch and the hearing), but also to
Page 189 and 190:
Drawing on these considerations and
Page 191 and 192:
the “descriptive gestures” cate
Page 193 and 194:
complete the transfer process the f
Page 195 and 196:
description could be also extremely
Page 197 and 198:
2. Original culture-specific object
Page 199 and 200:
This means that an interest in audi
Page 201 and 202:
on a more general level, they are b
Page 203 and 204:
professional setting, one of which
Page 205 and 206:
4. Audio description from a filmic
Page 207 and 208:
in this differencing potential the
Page 209 and 210:
articulation), it can be considered
Page 211 and 212:
asic types of signs 152 : indexes,
Page 213 and 214:
language of audio description is du
Page 215 and 216:
Cinematographic codes 2- Codes of i
Page 217 and 218:
As to the visual codes, denominatio
Page 219 and 220:
perception instruments. The „form
Page 221 and 222:
and researchers. However, in countr
Page 223 and 224:
carries another language. In this c
Page 225 and 226:
However, it is not always possible
Page 227 and 228:
presence of moving objects, persons
Page 229 and 230:
Level of representation: time Time
Page 231 and 232:
the „spectators‟ is not limited
Page 233 and 234:
screen and helps identifying where
Page 235 and 236:
not only a matter of words. Indeed,
Page 237 and 238:
or speak but also the settings and
Page 239 and 240:
This creates the illusion that the
Page 241 and 242:
epresentation. In this sense, an an
Page 243 and 244:
objects. Finally, the point of view
Page 245 and 246:
metalinguistic communication is the
Page 247 and 248:
continuum, audio description would
Page 249 and 250:
experiments based on the use of the
Page 251 and 252:
is occurring on screen or on stage.
Page 253 and 254:
(2000) also suggests the use of the
Page 255 and 256:
Ballester Casado (forthcoming) also
Page 257 and 258:
standards in audio description and
Page 259 and 260:
context, „viewpoint‟ by words r
Page 261 and 262:
develop a computational account of
Page 263 and 264:
framework allowed by dialogues. For
Page 265 and 266:
with respect to film content, and w
Page 267 and 268:
far have approached their role in a
Page 269 and 270:
“concerned with the experiential
Page 271 and 272:
defined as a qualitative difference
Page 273 and 274:
Micro-features Planning Spoken Lang
Page 275 and 276:
and to be inserted in the pauses wi
Page 277 and 278:
Secondly, being the audio descripti
Page 279 and 280:
attributed to a traditional text ar
Page 281 and 282:
dissolution and fragmentation which
Page 283 and 284:
and blond hair piled elaborately on
Page 285 and 286:
towards it. Drawing on these consid
Page 287 and 288:
for the editing phase would be a pr
Page 289 and 290:
applied to narrative as a means of
Page 291 and 292:
esearch. Indeed, as we have seen, t
Page 293 and 294:
attributed by the IMDb. On the IMDb
Page 295 and 296:
Storyline In 1941, Italy allies wit
Page 297 and 298:
Goofs Errors made by characters, po
Page 299 and 300:
Title Year (P) Year Captain Corelli
Page 301 and 302:
Title Year (P) Year Lady and the Tr
Page 303 and 304:
Title Year (P) Year See no Evil, He
Page 305 and 306:
Title Year (P) Year The Great Escap
Page 307 and 308:
2006), which is based on almost the
Page 309 and 310:
Ad Ac An B C Cr D F Fan H R Mu Mi T
Page 311 and 312:
same quantity of scripts for each o
Page 313 and 314:
In both cases, it is possible to re
Page 315 and 316:
on the edge of the bed. („The Oth
Page 317 and 318:
01 00 00 A sphinx is silhouetted ag
Page 319 and 320:
protected by copyright and any broa
Page 321 and 322:
01 01 52 An image appears from the
Page 323 and 324:
Title number: 3 In Cue Time(HH MM S
Page 325 and 326:
time out codes are assigned to each
Page 327 and 328:
![CDATA[10.00.01 a blue letter M pa
Page 329 and 330:
analysis would fall beyond the scop
Page 331 and 332:
Firstly, to make the scripts proces
Page 333 and 334:
From IN From The DT The Dark JJ Dar
Page 335 and 336:
component of the Corpus Workbench d
Page 337 and 338:
clothes_NNS_clothes ._SENT_. bearde
Page 339 and 340:
corpora no. 2, 3 and 4 for differen
Page 341 and 342:
From a more informational/semantic
Page 343 and 344:
Peripheral adjectives do not have o
Page 345 and 346:
than the expression of a property o
Page 347 and 348:
adjectives in almost all the script
Page 349 and 350:
11 Open Adjective Frequency 289 12
Page 351 and 352:
Adjective Frequency 49 Light 66 50
Page 353 and 354:
Adjective Frequency 87 Shadowy 33 8
Page 355 and 356:
to the movies which deal with speci
Page 357 and 358:
limited (two hits only) 219 . The a
Page 359 and 360:
of an object/entity (as in „his o
Page 361 and 362:
wall‟, „the other side of the r
Page 363 and 364:
Adjective Noun Frequency 7 Blue Sky
Page 365 and 366:
Adjective Noun Frequency 45 Slight
Page 367 and 368:
Adjective Noun Frequency 83 Small B
Page 369 and 370:
identify. In our corpus, colour adj
Page 371 and 372:
Within the „non-human‟ category
Page 373 and 374:
5.5.3.1.4 Predicative adjectives in
Page 375 and 376:
Adjective Frequency 20 Dark 14 21 R
Page 377 and 378:
Adjective Frequency 58 Bright 3 59
Page 379 and 380:
such as „thoughtful‟, „confus
Page 381 and 382:
corpus under investigation (they ar
Page 383 and 384:
5.5.3.1.5 Comparing the corpus with
Page 385 and 386:
Adjective Token 2 Token 1 Pm 2 Pm 1
Page 387 and 388:
Page 389 and 390:
Page 391 and 392:
Page 393 and 394:
Page 395 and 396:
Page 397 and 398:
Page 399 and 400:
whole corpus. For this reason, all
Page 401 and 402:
Adjective Token 1 Token 2 Token 3 P
Page 403 and 404:
Page 405 and 406:
Page 407 and 408:
As shown in Table 12, the highest n
Page 409 and 410:
Adjective Frequency Smartly-dressed
Page 411 and 412:
number of adjectives with „unknow
Page 413 and 414:
As we have seen from this analysis,
Page 415 and 416:
Adjective 1 Adjective 2 Frequency L
Page 417 and 418:
Adjective 1 Adjective 2 Frequency H
Page 419 and 420:
Adjective 1 Adjective 2 Frequency B
Page 421 and 422:
Adjective 1 Adjective 2 Frequency O
Page 423 and 424:
Adjective 1 Adjective 2 Frequency T
Page 425 and 426:
shirt is undone, his tie loosely kn
Page 427 and 428:
the sky turns red, pink and orange.
Page 429 and 430:
the hearer/receiver to make less co
Page 431 and 432:
Adjective Frequency Tighter 5 Large
Page 433 and 434:
The corpus does not present a signi
Page 435 and 436:
Hot‟). Curiously, examples (91) a
Page 437 and 438:
examples: 4. „Adjective+Enough+To
Page 439 and 440:
vocabulary. Avoid metaphors, simile
Page 441 and 442:
which are figures of speech easier
Page 443 and 444:
Subject Simile Film Title An ovirap
Page 445 and 446:
Subject Simile Film Title (..) the
Page 447 and 448:
Subject Simile Film Title Kida stan
Page 449 and 450:
Subject Simile Film Title (…) Her
Page 451 and 452:
Subject Simile Film Title He swings
Page 453 and 454:
animation and children films toward
Page 455 and 456:
actions/thoughts with other actions
Page 457 and 458:
„As if+Adjective/Verb(-ing)‟ st
Page 459 and 460:
suggest that the character has unde
Page 461 and 462:
a. Human body parts and appearance.
Page 463 and 464:
Conclusions Audio description is a
Page 465 and 466:
verify and discuss the existing gui
Page 467 and 468:
documentaries). We have also seen t
Page 469 and 470:
impaired people can hear better or
Page 471 and 472:
the very notion of faithfulness and
Page 473 and 474:
enders an inaccurate picture of the
Page 475 and 476:
However, adjectives themselves are
Page 477 and 478:
a. Human and body-related referents
Page 479 and 480:
into account their different needs
Page 481 and 482:
adult spectators as well as the use
Page 483 and 484:
Antifona, Cinzia 2002. L‟audiodes
Page 485 and 486:
Barber, Charles L. 1962. Some Measu
Page 487 and 488:
Bollettieri Bosinelli, Rosa M. 2002
Page 489 and 490:
Cabré, Maria Teresa 1998. Terminol
Page 491 and 492:
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.
Page 499 and 500:
Kerr, Hugh 1991. The Simpe Gospel.
Page 501 and 502:
Lukács, Georg 1970. Narrate or Des
Page 503 and 504:
Navarrete, Javier 1999. La atenció
Page 505 and 506:
Palomo, Alicia 2008. Audio Descript
Page 507 and 508:
social skills by blind and visually
Page 509 and 510:
Audio Description for Visually Impa
Page 511 and 512:
Smith, Kevin G. 2000. Bible transla
Page 513 and 514:
description and signing. Tomatis,
Page 515 and 516:
Vermeer, Hans. J. 1978. Ein Rahem f
Page 517 and 518:
Sitography 255 All About Vision Am
Page 519 and 520:
Direct Government UK Disability Wo
Page 521 and 522:
Media Access Group at WGBH Nationa
Page 523 and 524:
UK Film Council Statistical Yearboo
Page 525 and 526:
Filmography A Ferreirinha, Radiotel
Page 527 and 528:
Annex 1 AntConc 3.2.1 Concordance P
Page 529 and 530:
Fig. 4. Concordances of „straight
Page 531 and 532:
Fig. 7. Concordances of „last‟
Page 533 and 534:
Fig. 11. Concordances of „own‟
Page 535 and 536:
Fig. 14. Concordances of „unable
Page 537 and 538:
Fig. 18. Concordances of „visible
Page 539 and 540:
539
show all

a corpus-based approach to the language of audio description

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?