As more and more countries start to provide audio description services for a growing range of products and events, research into this new discipline is growing and diversifying as well. Two questions that seem to be at the heart of much of this research focus on what should be described and how this should be done, in other words on content selection and formulation of the description. The present article looks at the first of these two questions and approaches it from a narratological point of view. After a general discussion of the use of narratology for audio description, the focus will shift to one particular constituent of narrative, namely time. The different temporal aspects will be discussed in greater detail, after which a strategy for the audio description of time in film will be proposed.
RésuméDe plus en plus de pays commencent à offrir des services d'audio description pour un nombre croissant de produits et évènements. La recherche dans cette nouvelle discipline a de ce fait tendance à se développer et à se diversifier. Deux questions paraissent être au coeur de nombreuses recherches : que faut-il décrire et comment faut-il le faire ? Ou, en d'autres termes, quel contenu choisir et comment formuler la description ? Cet article se penche sur la première question et adopte une approche à partir d'un point de vue narratologique. Après une discussion générale sur l'utilité de la narratologie à des fins d'audio description, l'accent sera mis sur un composant particulier de la narration: le temps. Les différents aspects temporels seront examinés plus en détails et une stratégie d'audio description du temps pour le cinéma sera proposée.
La audiodescripción se está introduciendo progresivamente en los productos audiovisuales y esto tiene como resultado por una parte la necesidad de formar a los futuros audiodescriptores y, por otra parte, formar a los formadores con unas herramientas adecuadas para enseñar cómo audiodescribir. No cabe la menor que como documento de partida para la formación las guías y normas de audiodescripción existentes son de una gran utilidad, sin embargo, éstas no son perfectas ya que no ofrecen respuestas a algunas cuestiones esenciales como qué es lo que se debe describir cuando no se cuenta con el tiempo suficiente para describir todo lo que sucede. El presente artículo analiza una de las cuestiones que normalmente no responden las guías o normas: qué se debe priorizar. Se demostrará cómo una profundización en la narrativa de películas y una mejor percepción de las pistas visuales que ofrece el director puede ayudar a decidir la información que se recoge. Los fundamentos teóricos expuestos en la primera parte del artículo se aplicarán a la secuencia expositiva de la película Ransom. Palabras Calve: audiodescripción, accesibilidad, traducción audiovisual.
Ever more countries are including audio description (ad) in their audiovisual products, which results on the one hand in a need for training future describers and on the other in a need
With the rising popularity of and legal requirements for media accessibility, a need has arisen to train professional audio describers and, to this end, to educate audio description trainers. This paper aims to serve as guidance for trainers who wish to design and conduct their own audio description course. It first identifies shortcomings in the current audio description training literature. We then specify theoretical foundations for course design, including situated and contextualised learning models. Building on the experience from the ADLAB PRO project, we then present a procedure for designing an audio description course based on learning outcomes and such elements as learning through acquisition, inquiry, discussion, practice and collaboration. This typology of course elements serves as the analytical framework for examples of good practices described in the article. It is the first study to date that shows how audio description training can meet the demands of modern learning models and the requirements of an emerging profession. It can be used as a reference point by all those creating curricula and by trainers willing to enrich their teaching approaches.
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