a corpus-based approach to the language of audio description

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Bibliography 482 Sitography 517 Filmography 525 Annex 1 527 6
Acknowledgments It was May 2007 when I attended the MuTra Conference in Vienna. I had just finished presenting a paper on real time reporting at the Italian Parliament, and I had left the room for a short break. I remember I was curiously attracted by another room, where I thought I could have a bit of rest. When I entered that room, it was love at the first sight. Joel Snyder, one of the most renowned audio describers globally, was holding a seminar on audio description. At that time, I had almost no idea of what audio description was about. But I felt audio description was one of the most exciting things I had ever seen and heard in my life. I felt it was some kind of missing link in my life. I had no doubt I should start working on audio description. Joel is the first person I shall thank for sharing his passion so truly and so authentically with students and professionals worldwide. However passion and love were may be not sufficient for a PhD thesis, as I was looking for AD scripts to analyze. One year later, in Barcelona, I met Andrew Salway, whom I had contacted by email some months before, and he encouraged me to keep on researching and writing. But above all, he allowed to me to access the greatest corpus of audio description scripts ever. My warmest thanks to Andrew, because this thesis would not have been written without his collaboration, his comments and help. I understood that carrying out a corpus-based analysis, however, was not just a matter of corpus. Actually, a corpus-analysis required more and more skills. Professor Silvia Bernardini has not only provided me with comments and deeper insights into the matter, both day and night, but has encouraged me to do more, and had definitely been a real „guide‟ through corpus analysis tools, to which this thesis owes a great deal. I also have to say thank you to my tutor, Professor Giuditta Caliendo, for believing in this project and in the innovative value of audio description. Thank you for providing many stimulating ideas and comments. My thanks to Professors Gabriella di Martino, Vanda Polese and Cristina Pennarola for understanding that a PhD is much more than a thesis and for supporting me so warmly over the last year. I have to say a big thank you to Alex Polidoro, who has revised the language of this thesis and has worked day and night to help me. Maybe it could be enough, but it is not. These four years were maybe the most difficult years of my life so far and there are some people whom I would not thank at all. But as soon as I started working on audio description, I felt I should make it more than a topic to investigate. I started audio describing theatre performances and some films, one of the greatest 7
Page 1 and 2: UNIVERSITÀ DEGLI STUDI DI NAPOLI F
Page 3 and 4: 2.1 Blindness and visual impairment
Page 5: 5.1 The language of audio descripti
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 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
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
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etween the two different tracks bro
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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
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The European Union protects the rig
Page 87 and 88:
subtitling more and more programmes
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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,
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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
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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
Page 165 and 166:
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
Page 173 and 174:
transformation from images to words
Page 175 and 176:
who criticized the lack of „conne
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„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
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2. Original culture-specific object
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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
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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
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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
Page 243 and 244:
objects. Finally, the point of view
Page 245 and 246:
metalinguistic communication is the
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continuum, audio description would
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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
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and to be inserted in the pauses wi
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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
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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:
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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
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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
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‟
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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
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a corpus-based approach to the language of audio description

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