Training future describers: A practice report from an audio description classroom
DOI:
https://doi.org/10.52034/lanstts.v18i0.517Keywords:
audio descritpion, audiovisual translation, accessibility, teachingAbstract
Over the past few years, we have been observing an exponential growth in audio description (AD). This has resulted in a growing need for trained AD professionals and, consequently, for AD training. While the ADLAB PRO project helped define the professional profile of the audio describer and produced a range of training materials, there is still considerable room for other AD training approaches to be shared with a view to inspiring AD trainers when creating their courses. Thus, this practice report presents selected exercises that I have been developing since 2009, when I first started teaching AD both at university and outside academia (e.g., during dedicated courses for broadcasters, NGOs and cultural institutions), presenting their learning outcomes and framing them within the ADLAB PRO framework of competencies for professional audio describers. All the activities offered in this article are based on my professional experience as an academic teacher and researcher and also as a professional describer and accessibility manager who overlsees the entire AD production process: from negotiating with clients through production (scripting, proofs, recording, quality control) to product delivery and on-site assistance.References
Access2Arts. (n.d.). Thinking about becoming an audio describer? Retrieved from https://access2arts.org.au/wp-content/uploads/2016/10/AD_FAQs_Describers.pdf
ADLAB PRO. (2018). Simplified course structure. Retrieved from https://www.adlabpro.eu/wp-content/uploads/2018/11/Simplified-course-structure-IO3-1.pdf
Audio Description Association. (n.d.). ADA training – screen. Retrieved from http://audiodescription.co.uk/training/accredited-training-screen/
Biel, Ł. (2013). Integracyjne podejście funkcjonalne w dydaktyce przekładu prawniczego. Między Oryginałem a Przekładem, 19(21), 11–27. doi:10.12797/moap.19.2013.21.02
Bittner, H. (2010). Audio description guidelines:A comparison. Retrieved from https://www.unihildesheim.de/media/_migrated/content_uploads/AD_Guidelines_Comparison_-_Read.pdf
Bonwell, C., & Eison, J. (1991). Active learning: Creating excitement in the classroom. Retrieved from https://files.eric.ed.gov/fulltext/ED336049.pdf
Channel 4 (Producer). (2016, July, 14). Audio described: We’re the superhumans [Video file]. Retrieved from https://www.youtube.com/watch?v=EKGOWavFvHc
Chmiel, A., & Mazur, I. (2014). Audiodeskrypcja. Retrieved from https://repozytorium.amu.edu.pl/bitstream/10593/12861/1/Audiodeskrypcja_Chmiel_Mazur_2014.pdf
Chmiel, A., & Mazur, I. (2016). Researching preferences of audio description users: Limitations and solutions. Across Languages and Cultures, 17(2), 271–288. doi:10.1556/084.2016.17.2.7
Heyman, D. (Producer), & Columbus, C. (Director). (2001). Harry Potter and the philosopher’s stone [Motion picture]. United Kingdom: Warner Bros. Pictures.
Díaz-Cintas, J. (2007). Por una preparación de calidad en accesibilidad audiovisual. TRANS: Revista de Traductología, 11, 45–60. doi:10.24310/TRANS.2007.v0i11.3097
European Commission. (2017). European master’s in translation: Competence framework. Retrieved from http://relaunch.ecompetences.eu/wp-content/uploads/2013/11/EQF_broch_2008_en.pdf
Evangelina, K., Peralta, B., Guajardo, A. G., Sotomayor, M., & Lemus, M. Á. (n.d.). Developing audio description competencies as part of a translation education program. Retrieved from http://idiomas.ens.uabc.mx/plurilinkgua/docs/v5/1/developing.pdf
Felder, R. M., Celanese, H., & Brent, R. (2009). Active learning: An introduction*. ASQ Higher Education Brief, 2(4), 1–5. Retrieved from https://www.engr.ncsu.edu/stem-resources/legacy-site/education-related-papers/active-learning-introduction/
Fernández-Torné, A., & Matamala, A. (2015). Text-to-speech vs. human voiced audio descriptions: A reception study in films dubbed into Catalan. JoSTrans: The Journal of Specialized Translation, 24, 61–88.
Fryer, L. (2010). Directing in reverse. In I. Kemble (Ed.), The changing face of translation, proceedings of the 9th Annual Portsmuth Translation Conference (pp. 63–72). Retrieved from http://www.port.ac.uk/media/contacts-and-departments/slas/events/tr09-fryer.pdf
Fryer, L. (2016). An introduction to audio description: A practical guide. London: Routledge. doi:10.4324/9781315707228
Fryer, L., & Freeman, J. (2013). Cinematic language and the description of film: Keeping AD users in the frame. Perspectives: Studies in Translatology, 21(3), 412–426. doi:10.1080/0907676X.2012.693108
Fryer, L., & Freeman, J. (2014). Can you feel what I’m saying?: The impact of verbal information on emotion elicitation and presence in people with a visual impairment. In A. Felnhofer & O. D. Kothgassner (Eds.), Proceedings of the international society for presence research 2014 (pp. 99–107). Wien: Facultas.
Hurtado Albir, A. (Ed.). (2017). Researching translation competence by PACTE group. Amsterdam: John Benjamins. doi:10.1075/btl.127
Hyks, V. (2005). Audio description and translation: Two related but different skills. Translating Today, 4, 6–8.
Igareda, P. (2011). The audio description of emotions and gestures in Spanish-spoken films. In A. Şerban, A. Matamala, & J.-M. Lavaur (Eds.), Audiovisual translation in close-up (pp. 223–238). Bern: Peter Lang.
Jankowska, A. (2015). Translating audio description scripts: Translation as a new strategy of creating audio description. Frankfurt am Main: Peter Lang. doi:10.3726/978-3-653-04534-5
Jankowska, A. (2017). Blended learning in audio description training. Między Oryginałem a Przekładem, 38(4), 101–124. doi:10.12797/MOaP.23.2017.38.05
Jankowska, A. (2018a, June). How AD translation can lead us to quality: Translation, crowdsourcing, collaboration and quality in audio description. Paper presented at UMAQ Conference, Barcelona. Retrieved from https://www.academia.edu/38045979/TRANSLATION_CROWDSOURCING_COLLABORATION_AND_QUALITY_IN_AUDIO_DESCRIPTION
Jankowska, A. (2018b). Patrząc w przeszłość, patrząc w przyszłość: 10 lat audiodeskrypcji filmowej w Polsce. Między Oryginałem a Przekładem, 39, 139–158. doi:10.12797/MOaP.24.2018.40.08
Jankowska, A., Kuniecki, M., Pilarczyk, J., & Wołoszyn-Hohol, K. (2019). Interpreted vs. non-interpreted voicing in audio description. Manuscript submitted for publication.
Kieślowski, K. (Director). (1978). Krótki film o miłości [A short film about love] [Motion picture]. Poland: Studio Filmowe TOR. Retrieved from http://adapter.pl/?movie=krotki-film-o-milosci
Langacker, R. W. (2008). Cognitive grammar: A basic introduction. Oxford: Oxford University Press. doi:10.1093/acprof:oso/9780195331967.001.0001
Maszerowska, A., Matamala, A., & Orero, P. (Eds.). (2014). Audio Description: New perspectives illustrated. Amsterdam: John Benjamins. doi:10.1075/btl.112
Matamala, A. (2006). La accesibilidad en los medios: aspectos lingüísticos y retos de formación. In R. Amat & Á. Pérez-Ugena (Eds.), Sociedad, integración y televisión en España (pp. 293–306). Madrid: Laberinto.
Matamala, A., & Orero, P. (2007). Designing a course on audio description and defining the main competences of the future professional. Linguistica Antverpiensia, New Series – Themes in Translation Studies, 6, 329–344.
Matamala, A., & Rami, N. (2009). Análisis comparativo de la audiodescripción española y alemana de “Goodbye, Lenin”. Hermeneus. Revista de Traducción e Interpretación, 11, 249–266.
Mazur, I. (2014). Projekt ADLAB i funkcjonalizm w przekładzie – w stronę strategii audiodeskrypcyjnych. Przekładaniec, 28, 11–22. doi:10.4467/16891864PC.14.001.1708
Mazur, I., & Chmiel, A. (2012a). Audio description made to measure: Reflections on interpretation in AD based on the pear tree project data. In Audiovisual translation and media accessibility at the crossroads. Media for all 3 (pp. 173–188). Retrieved from http://wa.amu.edu.pl/publications/node/3400 doi:10.1163/9789401207812_011
Mazur, I., & Chmiel, A. (2012b). Towards common European audio description guidelines: Results of the pear tree project. Perspectives, 20(1), 5–23. doi:10.1080/0907676X.2011.632687
Michalek, D. (2012, May, 12). Epic tea time with Alan Rickman [Video file]. Retrieved from https://www.youtube.com/watch?v=eob7V_WtAVg&t=161s
Monteith, A. (2012, May, 14). Alan Rickman: Portraits in real time [Video file]. Retrieved from https://www.youtube.com/watch?v=UYgLVHy2wi4
Navarrete Moreno, F. J. (1997). Sistema AUDESC: el arte de hablar en imágenes. Integración, 23, 70–82. Retrieved from http://www.once.es/new/servicios-especializados-en-discapacidad-visual/publicaciones-sobre-discapacidad-visual/nueva-estructura-revista-integracion/copy_of_numeros-publicados/integracion-pdf/Integracion-23.pdf
Orero, P. (2005). Audio description: Professional recognition, practice and standards in Spain. Translation Watch Quarterly , 1, 7–18.
Ramos Caro, M. (2015). The emotional experience of films: Does audio description make a difference? Translator, 21(1), 68–94. doi:10.1080/13556509.2014.994853
Remael, A., Reviers, N., & Vercauteren, G. (Eds.). (2015). Pictures painted in words: ADLAB audio description guidelines. Trieste: EUT Edizioni Università di Trieste. Retrieved from https://www.openstarts.units.it/handle/10077/11838
Reviers, N. (2018). Studying the language of Dutch audio description. Translation and Translanguaging in Multilingual Contexts, 4(1), 178–202. doi:10.1075/ttmc.00009.rev
Sadowska, A. (2014). Audiodeskrypcja do ilustracji w prasie [Audio description of press illustrations]. Przekładaniec, (28), 124–139. doi:10.4467/16891864PC.14.009.1716
Salway, A. (2007). A corpus-based analysis of audio description. In J. Díaz-Cintas, P. Orero, & A. Remael (Eds.), Media for all: Subtitling for the Deaf, audio description and sign language (pp. 151–174). Amsterdam: Rodopi. doi:10.1163/9789401209564_012
Scott, R. (Director). (2000). Gladiator. United States: Dreamworks Universal Pictures.
Snyder, J. (2014). The visual made verbal: A comprehensive training manual and guide to the history and applications of audio description. Retrieved from http://www.thevisualmadeverbal.net/index.php
Sobieszczański, M. (2011). Urodziny [Birthday] [Motion picture]. Poland: Studio Munka, Stowarzyszenie Filmowców Polskich, Telewizja Polska S.A. Retrieved from https://ninateka.pl/film/urodziny-maciej-sobieszczanski
Sołtysik, A. (Producer), & Machulski, J. (Director) (1983). Seksmisja [Sexmission] [Motion picture]. Poland: Zespół Filmowy Kadr.
Szarkowska, A. (2008). Przekład audiowizualny w Polsce: Perspektywy i wyzwania [Audiovisual translation in Poland: Perspectives and challenges]. Przekładaniec, 20, 8–25.
Szarkowska, A. (2011). Text-to-speech audio description: Towards wider availability of AD. Jostrans. The Journal of Specialised Translation, 15, 142–162.
Szarkowska, A., & Jankowska, A. (2015a). Audio describing foreign films. Jostrans. The Journal of Specialised Translation, (23), 243–269.
Szarkowska, A., & Jankowska, A. (2015b). Audio subtitling multilingual films in Poland: Early developments, current practices and future challenges. In A. Jankowska & A. Szarkowska (Eds.), New points of view on audiovisual translation and media accessibility (pp. 191–218). Oxford: Peter Lang.
Szarkowska, A., & Wasylczyk, P. (2014). Audiodeskrypcja autorska [Auteur audio description]. Przekładaniec, 28, 48–62. doi:10.4467/16891864PC.14.004.1711
Szymańska, B., & Strzymiński, T. (2010). Standardy tworzenia audiodeskrypcji do produkcji audiowizual-nych [Standards for creating audio description to audiovisual productions]. Retrieved from http://avt.ils.uw.edu.pl/files/2010/12/AD-_standardy_tworzenia.pdf
Taylor, J. R. (2002). Cognitive grammar. Oxford: Oxford University Press.
Udo, J. P., & Fels, D. I. (2011). From the describer’s mouth: Reflections on creating unconventional audio description for live theatre. In A. Şerban, A. Matamala, & J.-M. Lavaur (Eds.), Audiovisual translation in close-up (pp. 257–278). Bern: Peter Lang.
Vercauteren, G. (2007). Towards a European guideline for dudio Description. In J. Díaz-Cintas, P. Orero, & A. Remael (Eds.), Media for all: Subtitling for the Deaf, audio description and sign language (pp. 139–150). doi:10.1163/9789401209564_011
Vilaró, A., & Orero, P. (2013). The audio description of leitmotifs. International Journal of Humanities and Social Science, 3(5), 56–64.
Walczak, A. (2017). Immersion in audio description: The impact of style and vocal delivery on users’ experience (Unpublished doctoral dissertation). Universitat Autònoma de Barcelona, Barcelona, Spain.
Walczak, A., & Fryer, L. (2017). Creative description: The impact of audio description style on presence in visually impaired audiences. British Journal of Visual Impairment, 35(1), 6–17. doi:10.1177/0264619616661603
Żórawska, A., Więckowski, R., Künstler, I., & Butkowska, U. (2011). Audiodeskrypcja: Zasady tworzenia [Audio description: Rules for creation]. Retrieved from http://dzieciom.pl/wp-content/uploads/2012/09/Audiodeskrypcja-zasady-tworzenia.pdf
Published
How to Cite
Issue
Section
License
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under the CC BY-NC 4.0 Deed that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal. The material cannot be used for commercial purposes.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).