Abbreviations |
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viii | |
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ix | |
Acknowledgments |
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xi | |
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1 Introduction: the end of a long divorce |
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1 | (7) |
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1 | (2) |
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1.2 The damage: the maker-expert-user gap |
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3 | (2) |
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1.3 A potential reconciliation: accessible filmmaking |
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5 | (3) |
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2 Setting the scene: in support of a wide notion of accessibility, translation and film |
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8 | (32) |
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2.1 In support of a wide notion of accessibility and translation |
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8 | (1) |
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2.1 A AVT and MA: a housing problem |
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8 | (10) |
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11 | (1) |
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12 | (4) |
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2.1.4 Concluding thoughts on a wide notion of accessibility and translation |
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16 | (2) |
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2.2 In support of a translation' and accessibility-oriented notion of film studies |
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18 | (8) |
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2.2.1 The invisibility of translation and accessibility within film studies |
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18 | (2) |
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2.2.2 Translation and accessibility as seen by film scholars |
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20 | (2) |
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22 | (4) |
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26 | (12) |
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2.3.1 The pioneers of integrated translation |
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26 | (4) |
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2.3.2 The pioneers of integrated accessibility |
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30 | (1) |
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2.3.3 AFM: progress to date |
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31 | (1) |
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31 | (2) |
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33 | (1) |
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2.3.3.3 Professional practice |
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33 | (5) |
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2.4 AFM and the global version: a matter of responsibility |
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38 | (2) |
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3 AVT and MA for filmmakers |
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40 | (140) |
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3.1 General translational/accessibility issues |
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40 | (2) |
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42 | (17) |
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3.2.1 The impact of dubbing on the film |
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42 | (6) |
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3.2.2 The impact of dubbing on the viewing experience |
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48 | (1) |
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3.2.2.1 Habituation, the suspension of disbelief and the McGurk effect |
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48 | (6) |
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3.2.2.2 Dubbing and eye tracking: the dubbing effect |
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54 | (5) |
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3.3 Voice-over anA the translation of documentaries |
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59 | (3) |
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62 | (36) |
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3.4.1 The impact of subtitling on the film's content |
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64 | (2) |
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3.4.2 The impact of subtitling on how we watch a film |
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66 | (1) |
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67 | (7) |
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74 | (24) |
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98 | (31) |
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3.5.1 Background and provision |
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98 | (1) |
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3.5.2 Viewers with hearing loss |
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99 | (2) |
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101 | (2) |
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3.5.3.1 Character identification |
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103 | (6) |
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3.5.3.2 Manner of speaking |
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109 | (3) |
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112 | (9) |
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121 | (2) |
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3.5.3.5 Watching film with SDH: a different experience |
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123 | (6) |
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3.6 Integrated titles/creative subtitles |
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129 | (43) |
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131 | (12) |
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143 | (1) |
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144 | (8) |
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3.6.4 Rhythm and display mode |
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152 | (3) |
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155 | (14) |
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169 | (3) |
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172 | (8) |
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172 | (1) |
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173 | (7) |
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4 Integrating translation and accessibility into the filmmaking process |
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180 | (32) |
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4.1 In development and pre-production |
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180 | (6) |
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4.1.1 Translation in the scriptwriting process |
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180 | (2) |
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4.1.2 Translation of scripts for funding (co-productions) |
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182 | (1) |
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4.1.3 Provision of material for translators |
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183 | (3) |
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186 | (13) |
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4.2.1 On-site translation/interpreting |
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186 | (2) |
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188 | (8) |
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196 | (2) |
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4.2.4 The transcription of documentaries |
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198 | (1) |
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199 | (6) |
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199 | (3) |
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4.3.2 Transition shots and cutaways |
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202 | (2) |
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204 | (1) |
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205 | (7) |
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4.4.1 General translation issues |
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205 | (1) |
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206 | (1) |
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207 | (1) |
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207 | (2) |
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209 | (1) |
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4.4.6 Creative/integrated subtitles |
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209 | (1) |
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210 | (2) |
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5 Integrating AFM into the filmmaking industry |
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212 | (28) |
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5.1 The director of accessibility and translation (DAT) and sensory-impaired media accessibility consultants |
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213 | (3) |
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216 | (3) |
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219 | (2) |
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221 | (19) |
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5.4.1 Inadvertent accessible filmmakers |
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221 | (6) |
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5.4.2 Accessible filmmakers |
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227 | (13) |
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240 | (3) |
Bibliography |
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243 | (17) |
Index |
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260 | |