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Accessible productions

Explore the possibilities of a new audio description workflow that integrates accessibility into the filmmaking process, addressing challenges and empowering filmmakers to maintain their artistic vision.

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Accessible productions

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  1. Accessibleproductions Module 6 Unit 7 Anna jankowska UniversitatautÒnoma de barcelona

  2. Audio description in the distribution workflow • AD is usually created in the postproduction stage. • Some productions make it impossible to insert AD. • Describers are not part of the creative team. • Film creators loose power over their artistic vision.

  3. Is New audio description workflow possible?

  4. New audio description workflow • Udo, J.P., & Fels, D. (2009). The Rogue Poster Children of Universal Design: Closed Captioning and Audio Description. Ted Rogers School of Information Technology Management Publications and Research, Paper 18, 1-32.

  5. New audio description workflow • Benvenuto, S. (2013). Audiodescrição para cinema: Uma proposta de produção cinematográfica acessível parapessoas com deficiência visual. (M.A. dissertation).

  6. New audio description workflow • Romero Fresco, P. (2013). Accessible filmmaking: Joining the dots between audiovisual translation, accessibility and filmmaking. JoSTrans13, 201-223. • Romero Fresco, P. (2017). Accessible Filmmaking in Documentaries. inTRAlinea Special Issue: Building Bridges between Film Studies and Translation Studies.

  7. Accessible filmmaking

  8. Accessible filmmaking “Integration of AVT and accessibility as part of the filmmaking process.” (Romero-Fresco, 2013)

  9. Accessible filmmaking • Subtitling for the deaf and hard of hearing. • Subtitling. • Dubbing. • Voice-over.

  10. Accessible filmmaking • Romero-Fresco, P. (2013). Accessible filmmaking: Joining the dots between audiovisual translation, accessibility and filmmaking. JoSTrans 13, 201-223.

  11. Accessible filmmaking:how does it work? • Film is planned so that AD could be included. • In editing images without dialogues are introduced. • In editing some dialogues can be moved to make space for AD. • Describers receive information from the creative team.

  12. Accessible filmmakingin practice

  13. Accessible filmmakingin practice • Drive (dir. R. Haig, 1997). • Screen (UK). • VRT (Belgium). (Romero-Fresco, 2013)

  14. Accessible filmmakingin practice • Nicolás (Spain). (Utray, Pereira and Orero, 2009)

  15. Accessible filmmakingin training • Kingston University (UK). • Central School of Speech and Drama (UK). • University of Valladolid (Spain). • University of Roehampton (UK). (Romero-Fresco, 2013)

  16. Accessibility: a necessaryevil? “You have a group of artists: writer, director, actors, and designers, who collaborate on a creative project, the film. Well, the audio describer to my mind is just one more participant in that project, and how can they work as part of an otherwise highly qualified team, without a sound basis in how film works? (...) I'd like to see screen writers and filmmakers training and working as audio describers.” (Haig, 2002)

  17. Accessible productions Module 6 Unit 7 Anna jankowska Universitat autÒnoma de barcelona

  18. The preparation of this presentation was supported byADLAB PRO (Audio Description: A Laboratory for the Development of a New Professional Profile), financed by the European Union under the Erasmus+ Programme, Key Action 2 – Strategic Partnerships, Project number:2016-1-IT02-KA203-024311. 

  19. The information and views set out in this presentation are those of the authors and do not necessarily reflect the official opinion of the European Union. Neither the European Union institutions and bodies nor any person acting on their behalf may be held responsiblefor the use which may be made of the information contained therein.

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