Audio Description: New perspectives illustrated by Anna Maszerowska, Anna Matamala, Pilar Orero

By Anna Maszerowska, Anna Matamala, Pilar Orero

Audio description (AD) is a story procedure 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 valuable functionality of this advert hoc narrative is to make audiovisual content material on hand to all: be it a guided urban journey of Barcelona, a 3D movie, or a Picasso portray. Audio description is among the more youthful siblings of Audiovisual Translation, and it truly is 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 workforce of top audio description academics, students, and practitioners to handle the fundamental concerns concerning audio description techniques. utilizing one stimulus, Quentin Tarantino’s movie Inglourious Basterds (2009), the authors analysed what, whilst, the place and the way to audio describe. The publication is written in a collaborative attempt, following a backside up process. the numerous concerns that surfaced within the means of the research have been grouped in broader different types represented within the ten chapters this publication comprises. a superb instance of a winning overseas collaboration, the quantity units a powerful sensible and theoretical framework for the various experiences 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 id of the demanding situations that watch for the describer, however it additionally deals an perception into their attainable strategies.

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May prove confusing for those who have never been able to see, it is useful to include comparisons and to make references to senses other than sight, such as smell and touch (“He’s swarthy and stubbled, his clothes sweat-stained”). To sum up, and based on the definition of AIs included above, the language of AIs must be clear and accurate to provide the necessary factual and visual information about the film; they should be vivid and memorable to engage the listeners’ attention and whet their appetite; and insightful to help blind and partially sighted people appreciate the film’s inherent cinematic qualities.

Halliday, Michael A. , and Jonathan J. Webster. 2004. Continuum Companion to Systemic Functional Linguistics. New York: Continuum. Hatim, Basil. 2009. ” In The Routledge Companion to Translation Studies, ed. by Jeremy Munday, 36–53. London: Routledge. Hoey, Michael. 1991. Patterns of Lexis in Text. Oxford: OUP. Kristeva, Julia. 1980. Séméiôtiké: recherches pour une sémanalyse. Paris: Edition du Seuil, 1969. (English translation by Thomas Gora: Desire in Language: A Semiotic Approach to Literature and Art.

1939. The Grapes of Wrath. New York: The Viking Press. Westman, Karin E. 2007. ” In Geek Chic: Smart Women in Popular Culture, ed. by Sherrie A. Inness, 1–10. New York: Palgrave Macmillan. Film references Django Unchained, Q. Tarantino, 2012. Four Weddings and a Funeral, M. Newell, 1994. From Dusk till Dawn, Q. Tarantino and R. Rodriguez, 1996. Gilmore Girls, A. Sherman-Palladino, 2000–2007. Inglourious Basterds, Q. Tarantino, 2009. Jackie Brown, Q. Tarantino, 1997. Kill Bill 1, Q. Tarantino, 2003.

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