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Chapter 7. The importance of sound for audio description

image of Chapter 7. The importance of sound for audio description
  • Author(s): Agnieszka Szarkowska 1  and Pilar Orero 2
  • View Affiliations Hide Affiliations
    Affiliations:
    1 Institute of Applied Linguistics, University of Warsaw, Poland
    2 Centre d’Accessibilitat i Intel·ligència Ambiental de Catalunya cDepartament de Traducció i d’Interpretació, Universitat Autònoma de Barcelona, Spain
  • Source: Audio Description , pp 121-140
  • Publication Date October 2014
  • Affiliations: 1: Institute of Applied Linguistics, University of Warsaw, Poland; 2: Centre d’Accessibilitat i Intel·ligència Ambiental de Catalunya cDepartament de Traducció i d’Interpretació, Universitat Autònoma de Barcelona, Spain

References

  1. Bal, Mieke
    1997 Narratology. An Introduction to the Theory of Narrative. Toronto: University of Toronto Press.
     [Google Scholar]
  2. Bordwell, David , and Kristin Thompson
    2008 Film Art. An Introduction. 8th ed. New York: McGraw Hill.
     [Google Scholar]
  3. Casacuberta, David , Anna Maszerowska , and Pilar Orero
    . Forthcoming. “Audio Describing Silence: Lost for Words.”InPoints of View in Audiovisual Translation ed. by Anna Jankowska , and Agnieszka Szarkowska . Frankfurt: Peter Lang.
     [Google Scholar]
  4. Cox, David
    2009 “Inglourious Basterds is Cinema’s Revenge on Life.”The Guardian, August20. AccessedApril 20, 2013. www.guardian.co.uk/film/filmblog/2009/aug/20/inglourious-basterds-tarantino-change-history.
     [Google Scholar]
  5. Crook, Tim
    1999 Radio Drama Theory and Practice. London: Routledge.
     [Google Scholar]
  6. Díaz Cintas, Jorge
    2005 “Accessibility for All.”Translating Today4: 3–5.
     [Google Scholar]
  7. Duran, Cristian
    2013 “Inglourious Basterds: Tarantino’s Depiction of War.” Whatculture! AccessedApril 20, 2013. whatculture.com/film/inglourious-basterds-tarantinos-depiction-of-war.php.
     [Google Scholar]
  8. French, Philip
    2009 “Inglourious Basterds.” The Observer, August23. AccessedApril 20, 2013. www.guardian.co.uk/film/2009/aug/23/inglourious-basterds-philip-french.
     [Google Scholar]
  9. Fryer, Louise
    2010 “Audio Description as Audio Drama – a Practitioner’s Point of View.”Perspectives: Studies in Translatology18 (3): 205–213. doi: 10.1080/0907676X.2010.485681
     https://doi.org/10.1080/0907676X.2010.485681 [Google Scholar]
  10. Genette, Gérard
    1980 Narrative Discourse. An Essay in Method. Translated by Jane E. Lewin . Ithaca/London: Cornell University Press.
     [Google Scholar]
  11. Gottlieb, Henrik
    1998 “Subtitling.”InRoutledge Encyclopedia of Translation Studies, ed. by Mona Baker , 244–248. London and New York: Routledge.
     [Google Scholar]
  12. Horowitz, Seth S
    2012 The Universal Sense: How Hearing Shapes the Mind. New York: Bloomsbury.
     [Google Scholar]
  13. Independent Television Commission (ITC)
    2000 Guidance on Standards for Audio Description. AccessedMarch 20, 2013. www.ofcom.org.uk/static/archive/itc/itc_publications/codes_guidance/audio_description/index.asp.html.
     [Google Scholar]
  14. Igareda, Paula
    2012 “Lyrics Against Images: Music and Audio Description.”MonTI4: 233–254. doi: 10.6035/MonTI.2012.4.10
     https://doi.org/10.6035/MonTI.2012.4.10 [Google Scholar]
  15. Milligan, Beverley , and Deborah Fels. N.d
    . Descriptive Video Production and Presentation Best Practices Guide for Digital Environments. AccessedMarch 20, 2013. www.itu.int/ITUD/sis/PwDs/Documents/DVBPGDE%20Version%201.pdf.
     [Google Scholar]
  16. Mingant, Nolwenn
    2010 “Tarantino’s Inglourious Basterds. A Blueprint for Dubbing Translators.”Meta55 (4): 712–731. doi: 10.7202/045687ar
     https://doi.org/10.7202/045687ar [Google Scholar]
  17. O’Sullivan, Carol
    2011 Translating Popular Film. Basingstroke: Palgrave Macmillan. doi: 10.1057/9780230317543
     https://doi.org/10.1057/9780230317543 [Google Scholar]
  18. Quinn, Anthony
    2009 “Inglourious Basterds. Dog Soldiers”. The Independent, August 21. AccessedApril 20, 2013. www.independent.co.uk/arts-entertainment/films/reviews/inglourious-basterds-18-1774995.html.
     [Google Scholar]
  19. Remael, Aline
    2012a “For the Use of Sound. Film Sound Analysis for Audio Description: Some Key Issues.”MonTI4: 255–276. doi: 10.6035/MonTI.2012.4.11
     https://doi.org/10.6035/MonTI.2012.4.11 [Google Scholar]
  20. 2012b “Audio Description with Audio Subtitling for Dutch Multilingual Films: Manipulating Textual Cohesion on Different Levels.”Meta57 (2): 385–407. doi: 10.7202/1013952ar
     https://doi.org/10.7202/ 1013952ar [Google Scholar]
  21. Schlickers, Sabine
    2009 “Focalisation, Ocularisation, and Auricularization in Film and Literature.”InPoint of View, Perspective, and Focalization Modeling Mediation in Narrative, ed. by Peter Hühn , Wolf Schmid , and Jörg Schönert , 243–257. Amsterdam: De Gruyter.
     [Google Scholar]
  22. Snyder, Joel
    2008 “Audio Description: The Visual Made Verbal.”InThe Didactics of Audiovisual Translation, ed. by Jorge Díaz Cintas , 191–198. Amsterdam: John Benjamins. doi: 10.1075/btl.77.18sny
     https://doi.org/10.1075/btl.77.18sny [Google Scholar]
  23. Sternberg, Meir
    1981 “Polylingualism as Reality and Translation as Mimesis.”Poetics Today2 (4): 221–239. doi: 10.2307/1772500
     https://doi.org/10.2307/1772500 [Google Scholar]
  24. Szarkowska, Agnieszka , Jagoda Żbikowska , and Izabela Krejtz
    2013 “Subtitling for the Deaf and Hard of Hearing in Multilingual Films.”International Journal of Multilingualism 10 (3): 292–312. AccessedApril 20, 2013. www.tandfonline.com/doi/abs/10.1080/14790718.2013.766195. doi: 10.1080/14790718.2013.766195
     https://doi.org/10.1080/14790718.2013.766195 [Google Scholar]
  25. Szarkowska, Agnieszka , and Anna Jankowska
    . Forthcoming. “Audio Describing Foreign Films.” Jostrans23.
     [Google Scholar]
  26. Szymańska, Barbara , and Tomasz Strzymiński
    2010 Audiodeskrypcja. Obraz słowem malowany. Standardy tworzenia audiodeskrypcji do produkcji audiowizualnych [Audio description. A picture painted with words. Standards for creating audio descriptions to audiovisual productions]. AccessedApril 20, 2013. avt.ils.uw.edu.pl/en/publikacje/.
     [Google Scholar]
  27. Thom, Randy
    1999 “Designing A Movie For Sound.” FilmSound.org . Learning Space dedicated to the Art and Analyses of Film Sound Design . AccessedApril 20, 2013. filmsound.org/articles/designing_for_sound.htm.
  28. Vercauteren, Gert
    2007 “Towards a European Guideline for Audio Description.”InMedia for All: Subtitling for the Deaf, Audio Description and Sign Language, ed. by Jorge Díaz Cintas , Pilar Orero , and Aline Remael , 139–149. Amsterdam: Rodopi.
     [Google Scholar]
  29. Vilaró, Anna , and Pilar Orero
    2013 “Leitmotif in Audio Description: Anchoring Information to Optimise Retrieval.”International Journal of Humanities and Social Science3 (5): 56–64.
     [Google Scholar]
  30. Wahl, Christoph
    2005 “Discovering a Genre: The Polyglot Film.”Cinemascope – Independent Film Journal1: 1–8.
     [Google Scholar]
  31. Wood, Michael
    2009 “At the Movies. Inglourious Basterds.”London Review of Books31 (17): 18. AccessedApril 20, 2013. www.lrb.co.uk/v31/n17/michael-wood/at-the-movies.
     [Google Scholar]
  32. Zak, Robert
    2013 “Quentin Tarantino’s Interview Outburst Tarnishes Violent Cinema.” The Independent, January, 14. AccessedApril 20, 2013. www.independent.co.uk/voices/comment/quentin-tarantinos-interview-outburst-tarnishes-violent-cinema-8450453.html.
     [Google Scholar]
  33. No author
    2013 “Cinema Violence: What Does Tarantino Really Think?” AccessedApril 20, 2013. www.channel4.com/news/tarantino-cinema-violence-django-unchained-quentin.

References

  1. Bal, Mieke
    1997 Narratology. An Introduction to the Theory of Narrative. Toronto: University of Toronto Press.
     [Google Scholar]
  2. Bordwell, David , and Kristin Thompson
    2008 Film Art. An Introduction. 8th ed. New York: McGraw Hill.
     [Google Scholar]
  3. Casacuberta, David , Anna Maszerowska , and Pilar Orero
    . Forthcoming. “Audio Describing Silence: Lost for Words.”InPoints of View in Audiovisual Translation ed. by Anna Jankowska , and Agnieszka Szarkowska . Frankfurt: Peter Lang.
     [Google Scholar]
  4. Cox, David
    2009 “Inglourious Basterds is Cinema’s Revenge on Life.”The Guardian, August20. AccessedApril 20, 2013. www.guardian.co.uk/film/filmblog/2009/aug/20/inglourious-basterds-tarantino-change-history.
     [Google Scholar]
  5. Crook, Tim
    1999 Radio Drama Theory and Practice. London: Routledge.
     [Google Scholar]
  6. Díaz Cintas, Jorge
    2005 “Accessibility for All.”Translating Today4: 3–5.
     [Google Scholar]
  7. Duran, Cristian
    2013 “Inglourious Basterds: Tarantino’s Depiction of War.” Whatculture! AccessedApril 20, 2013. whatculture.com/film/inglourious-basterds-tarantinos-depiction-of-war.php.
     [Google Scholar]
  8. French, Philip
    2009 “Inglourious Basterds.” The Observer, August23. AccessedApril 20, 2013. www.guardian.co.uk/film/2009/aug/23/inglourious-basterds-philip-french.
     [Google Scholar]
  9. Fryer, Louise
    2010 “Audio Description as Audio Drama – a Practitioner’s Point of View.”Perspectives: Studies in Translatology18 (3): 205–213. doi: 10.1080/0907676X.2010.485681
     https://doi.org/10.1080/0907676X.2010.485681 [Google Scholar]
  10. Genette, Gérard
    1980 Narrative Discourse. An Essay in Method. Translated by Jane E. Lewin . Ithaca/London: Cornell University Press.
     [Google Scholar]
  11. Gottlieb, Henrik
    1998 “Subtitling.”InRoutledge Encyclopedia of Translation Studies, ed. by Mona Baker , 244–248. London and New York: Routledge.
     [Google Scholar]
  12. Horowitz, Seth S
    2012 The Universal Sense: How Hearing Shapes the Mind. New York: Bloomsbury.
     [Google Scholar]
  13. Independent Television Commission (ITC)
    2000 Guidance on Standards for Audio Description. AccessedMarch 20, 2013. www.ofcom.org.uk/static/archive/itc/itc_publications/codes_guidance/audio_description/index.asp.html.
     [Google Scholar]
  14. Igareda, Paula
    2012 “Lyrics Against Images: Music and Audio Description.”MonTI4: 233–254. doi: 10.6035/MonTI.2012.4.10
     https://doi.org/10.6035/MonTI.2012.4.10 [Google Scholar]
  15. Milligan, Beverley , and Deborah Fels. N.d
    . Descriptive Video Production and Presentation Best Practices Guide for Digital Environments. AccessedMarch 20, 2013. www.itu.int/ITUD/sis/PwDs/Documents/DVBPGDE%20Version%201.pdf.
     [Google Scholar]
  16. Mingant, Nolwenn
    2010 “Tarantino’s Inglourious Basterds. A Blueprint for Dubbing Translators.”Meta55 (4): 712–731. doi: 10.7202/045687ar
     https://doi.org/10.7202/045687ar [Google Scholar]
  17. O’Sullivan, Carol
    2011 Translating Popular Film. Basingstroke: Palgrave Macmillan. doi: 10.1057/9780230317543
     https://doi.org/10.1057/9780230317543 [Google Scholar]
  18. Quinn, Anthony
    2009 “Inglourious Basterds. Dog Soldiers”. The Independent, August 21. AccessedApril 20, 2013. www.independent.co.uk/arts-entertainment/films/reviews/inglourious-basterds-18-1774995.html.
     [Google Scholar]
  19. Remael, Aline
    2012a “For the Use of Sound. Film Sound Analysis for Audio Description: Some Key Issues.”MonTI4: 255–276. doi: 10.6035/MonTI.2012.4.11
     https://doi.org/10.6035/MonTI.2012.4.11 [Google Scholar]
  20. 2012b “Audio Description with Audio Subtitling for Dutch Multilingual Films: Manipulating Textual Cohesion on Different Levels.”Meta57 (2): 385–407. doi: 10.7202/1013952ar
     https://doi.org/10.7202/ 1013952ar [Google Scholar]
  21. Schlickers, Sabine
    2009 “Focalisation, Ocularisation, and Auricularization in Film and Literature.”InPoint of View, Perspective, and Focalization Modeling Mediation in Narrative, ed. by Peter Hühn , Wolf Schmid , and Jörg Schönert , 243–257. Amsterdam: De Gruyter.
     [Google Scholar]
  22. Snyder, Joel
    2008 “Audio Description: The Visual Made Verbal.”InThe Didactics of Audiovisual Translation, ed. by Jorge Díaz Cintas , 191–198. Amsterdam: John Benjamins. doi: 10.1075/btl.77.18sny
     https://doi.org/10.1075/btl.77.18sny [Google Scholar]
  23. Sternberg, Meir
    1981 “Polylingualism as Reality and Translation as Mimesis.”Poetics Today2 (4): 221–239. doi: 10.2307/1772500
     https://doi.org/10.2307/1772500 [Google Scholar]
  24. Szarkowska, Agnieszka , Jagoda Żbikowska , and Izabela Krejtz
    2013 “Subtitling for the Deaf and Hard of Hearing in Multilingual Films.”International Journal of Multilingualism 10 (3): 292–312. AccessedApril 20, 2013. www.tandfonline.com/doi/abs/10.1080/14790718.2013.766195. doi: 10.1080/14790718.2013.766195
     https://doi.org/10.1080/14790718.2013.766195 [Google Scholar]
  25. Szarkowska, Agnieszka , and Anna Jankowska
    . Forthcoming. “Audio Describing Foreign Films.” Jostrans23.
     [Google Scholar]
  26. Szymańska, Barbara , and Tomasz Strzymiński
    2010 Audiodeskrypcja. Obraz słowem malowany. Standardy tworzenia audiodeskrypcji do produkcji audiowizualnych [Audio description. A picture painted with words. Standards for creating audio descriptions to audiovisual productions]. AccessedApril 20, 2013. avt.ils.uw.edu.pl/en/publikacje/.
     [Google Scholar]
  27. Thom, Randy
    1999 “Designing A Movie For Sound.” FilmSound.org . Learning Space dedicated to the Art and Analyses of Film Sound Design . AccessedApril 20, 2013. filmsound.org/articles/designing_for_sound.htm.
  28. Vercauteren, Gert
    2007 “Towards a European Guideline for Audio Description.”InMedia for All: Subtitling for the Deaf, Audio Description and Sign Language, ed. by Jorge Díaz Cintas , Pilar Orero , and Aline Remael , 139–149. Amsterdam: Rodopi.
     [Google Scholar]
  29. Vilaró, Anna , and Pilar Orero
    2013 “Leitmotif in Audio Description: Anchoring Information to Optimise Retrieval.”International Journal of Humanities and Social Science3 (5): 56–64.
     [Google Scholar]
  30. Wahl, Christoph
    2005 “Discovering a Genre: The Polyglot Film.”Cinemascope – Independent Film Journal1: 1–8.
     [Google Scholar]
  31. Wood, Michael
    2009 “At the Movies. Inglourious Basterds.”London Review of Books31 (17): 18. AccessedApril 20, 2013. www.lrb.co.uk/v31/n17/michael-wood/at-the-movies.
     [Google Scholar]
  32. Zak, Robert
    2013 “Quentin Tarantino’s Interview Outburst Tarnishes Violent Cinema.” The Independent, January, 14. AccessedApril 20, 2013. www.independent.co.uk/voices/comment/quentin-tarantinos-interview-outburst-tarnishes-violent-cinema-8450453.html.
     [Google Scholar]
  33. No author
    2013 “Cinema Violence: What Does Tarantino Really Think?” AccessedApril 20, 2013. www.channel4.com/news/tarantino-cinema-violence-django-unchained-quentin.

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