Dane szczegółowe książki

Contents 9
Tables 19
How to use this book 20
Acknowledgements 22
Glossary and abbreviations 23
1 Introducing audio description 26
1.1 What is audio description? 26
1.2 Audio description within audiovisual translation 27
1.3 AD within AVT 28
1.4 Meaning making in AD 29
1.4.1 AD, access and equivalence 29
1.5 AD and presence 32
1.6 Definitions of AD 34
1.7 Conclusion 38
1.8 Exercises and points for discussion 39
1.9 Suggested reading 39
References 41
Film reference 47
Reference to live event 47
2 A brief history, legislation and guidelines 48
2.1 Introduction 48
2.2 A brief history 48
2.3 The legal background 53
2.4 Non-broadcast TV 54
2.5 AD in practice 56
2.5.1 Screen-based AD 56
2.5.2 Live AD 56
2.6 Guidelines 58
2.7 Conclusion 59
2.8 Exercises and points for discussion 59
References 59
References to live performances 63
3 Putting the audio into audio description 64
3.1 Introduction 64
3.2 The visual information stream 64
3.3 The auditory information stream 65
3.3.1 Exercises and points for discussion 65
3.3.2 Dialogue 67
3.3.3 Exercises 69
3.4 Cognitive load 69
3.5 Sound effects 71
3.6 Exercises and points for discussion 71
3.7 Translating music 73
3.7.1 Describing live musical events 74
3.7.2 Visual dominance and music 75
3.8 Finding the 'gaps' 76
3.9 The When of AD 77
3.9.1 The When of live AD 80
3.9.2 Touch tours 81
3.9.3 Sound and live events 81
3.9.4 Exercises and points for discussion 84
3.10 Conclusion 84
3.11 Suggested reading 84
References 84
Film references 88
References to live events 89
4 The audience for audio description 90
4.1 Introduction 90
4.2 What is blindness? 90
4.3 Age and blindness 91
4.4 A model of visual processing 92
4.4.1 Mental models, schemata and scripts 92
4.5 A cognitive model of AD 95
4.6 Exercises and points for discussion 96
4.6.1 An extract from the AD script for Notes on Blindness 97
4.6.2 Notes on Blindness 97
4.7 What do AD users want from AD? 97
4.8 Conclusion 100
4.9 Exercises and points for discussion 101
4.10 Suggested reading 101
References 101
Film references 104
Reference to live event 105
5 Audio description skills. Writing 106
5.1 Introduction 106
5.2 The What of AD 107
5.3 Word choice 111
5.3.1 Need to know versus nice to know: narration and description 111
5.3.2 Cultural references 115
5.3.3 Ambiguity 116
5.3.4 Pronouns 117
5.3.5 Tense 117
5.3.6 Articles 120
5.4 Sound symbolism 121
5.4.1 Rhythm and rhyme 121
5.5 Sight-specific references 124
5.5.1 Verbs of vision 124
5.5.2 Colour 124
5.6 Creative use of language 127
5.6.1 Repetition 127
5.6.2 Structure, word order, literary constructions 127
5.6.3 Punctuation 127
5.7 Cues and notes 128
5.8 Conclusion 129
5.9 Exercises and points for discussion 129
References 131
Film references 135
References to live events 135
Reference to TV programme 136
6 Audio description skills. Script preparation 137
6.1 Introduction 137
6.2 Screen software 137
6.2.1 How it works 137
6.2.2 Timecode 139
6.2.3 Speech rate 139
6.2.4 Creating the script 140
6.2.5 Freely available software 141
6.3 Live scripting strategies 142
6.3.1 By hand 142
6.3.2 Electronic scripts 142
6.4 Common scripting faults 144
6.5 Exercises 147
6.5.1 Exercises using software 148
6.5.2 Exercises by hand 149
6.6 Discussion points 149
6.7 The process 149
6.7.1 Screen AD 149
6.7.2 Live AD 150
6.7.3 The process for the AD user at live events 151
6.8 Conclusion 151
References 152
7 Audio description skills. Delivery 154
7.1 Introduction 154
7.2 Delivery and prosody 154
7.2.1 Accent, gender and emotion 155
7.2.2 Stress and segmentation 157
7.2.3 Tone 159
7.2.4 Pace, pitch, segmentation 160
7.2.5 Authenticity, the I-voice and delivery of live AD 161
7.2.6 Pronunciation 162
7.2.7 Fluency 163
7.3 Preparing the voice 163
7.3.1 Warming up 163
7.3.2 Microphone technique 163
7.4 Recording 165
7.4.1 Recording strategies 165
7.4.2 Listening back 165
7.5 Live delivery 167
7.6 Conclusion 169
7.7 Exercises and points for discussion 169
7.8 Suggested reading 169
References 169
Film references 173
References to live events 173
8 Beyond the basics. Audio description by genre 174
8.1 Introduction 174
8.2 Genre and suitability of AD 174
8.3 Movie genres 177
8.3.1 Spectacle 178
8.3.2 Horror 179
8.3.3 Historical films and costume dramas 180
8.4 Intertextuality 182
8.4.1 Intertextuality and historical films 182
8.5 Factual programmes 183
8.5.1 Sport, news and current affairs 183
8.5.2 Documentaries 185
8.5.3 Nature documentaries 185
8.6 Soaps and serials 188
8.7 Children's programmes 190
8.8 Genre and live performance 192
8.9 Conclusion 193
8.10 Exercises and points for discussion 193
References 193
Film references 197
References to live events 197
References to TV programmes 198
9 Beyond the basics. Text on screen 199
9.1 Introduction 199
9.2 Tops and tails 199
9.2.1 Title sequences 199
9.2.2 Logos 201
9.3 Text on screen and delivery 202
9.3.1 Audio subtitles 202
9.4 AD and voice-over 204
9.5 Text and live events 206
9.6 Multilingualism 208
9.7 Simultaneity and asynchrony 208
9.8 End credits 210
9.9 Conclusion 210
9.10 Exercises and points for discussion 212
References 212
Film references 214
References to live events 214
Reference to TV programme 215
10 Beyond the basics. Accessible filmmaking and describing camerawork 216
10.1 Introduction 216
10.2 The language of cinema 216
10.3 Cinematic audio description 218
10.4 AD and the artistic team 223
10.5 Auteur description 225
10.6 Conclusion 227
10.7 Exercises and points for discussion 227
References 229
Film references 231
References to live events 231
11 Audio description and censorship 232
11.1 Introduction 232
11.2 Language 233
11.2.1 Expletives 235
11.3 Sex and AD 237
11.3.1 AD of porn 240
11.4 Blood and gore 243
11.4.1 Blood, gore and live events 245
11.5 Positive aspects of censorship 247
11.6 Political correctness: describing race and disability 247
11.7 Conclusion 250
11.8 Exercises and points for discussion 252
References 252
Film references 254
References to live events 254
12 Audio introductions 255
12.1 Introduction 255
12.2 Audio introductions and timing 255
12.3 Sensitive material 258
12.4 The What of audio introductions 258
12.4.1 Technical language 260
12.5 The process 260
12.6 Cross referencing 264
12.7 Synopses 264
12.8 Conclusion 266
12.9 Exercises and points for discussion 267
References 268
Film references 268
References to live events 268
13 Contentious issues and future directions in audio description 270
13.1 Introduction 270
13.2 Objectivity and subjectivity 270
13.3 Describing facial expression 272
13.4 Reinforcement, repetition and redundancy 275
13.5 AD and persistence 276
13.6 Topics for future research 276
13.7 Conclusion 279
13.8 Exercises and points for discussion 279
References 279
Film reference 283
References to live events 283
14 Afterword 284
14.1 What is audio description, revisited 284
14.2 Conclusion 285
Appendix 1. Answers to Chapter 1, exercise 3 286
Appendix 2. Like Rabbits AD script 287
Introduction 287
Dynamic AD script 287
Index 293