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El. knyga: Accessible Filmmaking: Integrating translation and accessibility into the filmmaking process

  • Formatas: 278 pages
  • Išleidimo metai: 01-May-2019
  • Leidėjas: Routledge
  • Kalba: eng
  • ISBN-13: 9780429620652
Kitos knygos pagal šią temą:
Accessible Filmmaking: Integrating translation and accessibility into the filmmaking processDidesnis paveikslėlis
  • Formatas: 278 pages
  • Išleidimo metai: 01-May-2019
  • Leidėjas: Routledge
  • Kalba: eng
  • ISBN-13: 9780429620652
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Translation, accessibility and the viewing experience of foreign, deaf and blind audiences has long been a neglected area of research within film studies. The same applies to the film industry, where current distribution strategies and exhibition platforms severely underestimate the audience that exists for foreign and accessible cinema. Translated and accessible versions are usually produced with limited time, for little remuneration, and traditionally involving zero contact with the creative team.

Against this background, this book presents accessible filmmaking as an alternative approach, integrating translation and accessibility into the filmmaking process through collaboration between translators and filmmakers. The book introduces a wide notion of media accessibility and the concepts of the global version, the dubbing effect and subtitling blindness. It presents scientific evidence showing how translation and accessibility can impact the nature and reception of a film by foreign and sensory-impaired audiences, often changing the film in a way that filmmakers are not always aware of. The book includes clips from the award-winning film Notes on Blindness on the Routledge Translation Studies portal, testimonies from filmmakers who have adopted this approach, and a presentation of the accessible filmmaking workflow and a new professional figure: the director of accessibility and translation.

This is an essential resource for advanced students and scholars working in film, audiovisual translation and media accessibility, as well as for those (accessible) filmmakers who are not only concerned about their original viewers, but also about those of the foreign and accessible versions of their films, who are often left behind.

Recenzijos

"Making films accessible across the world, and to those who have difficulty seeing or hearing, is something we should take seriously. Accessible filmmaking is clearly a very important subject that will give us a lot to think about. This book will make a valuable contribution to this and I wish it well."

- Ken Loach, Film Director

"Up to date, methodical, insightful, innovative and masterly interdisciplinary, this book extends the frontiers of our discipline and is destined to become a seminal contribution to both Film Studies and Translation Studies. Pablos arresting way of communicating ideas confirms his reputation as one of the finest scholars in translation today. A must-read, must-have book!"

- Jorge Dķaz Cintas, University College London, UK

"This wonderfully wide-ranging and thoroughly researched book demonstrates in fascinating detail the extent to which the use (and too frequent abuse) of subtitles, voice overs and different national dubbing practices continue to significantly mediate our experience of watching films on television and in the cinema. Accessible Filmmaking should be read by every kind of practising filmmaker and critic, as well as by media studies lecturers, students, international film distributors and all TV executives."

- Mike Dibb, Bafta- and Emmy-winning director of Ways of Seeing (1972) and The Miles Davis Story (2001)

"In a ground-breaking book, Pablo Romero-Fresco considers why accessibility has been overlooked in film production. He also convincingly proposes strategies for its integration both in the film-making process and in the discipline of Film Studies. Written in a clear style and covering a wide range of interrelated issues concerning production and reception, this timely, clear and thought-provoking book will be essential reading for practitioners, teachers and students interested in the accessibility of films."

- Peter William Evans, Queen Mary University of London, UK

"Accessible Filmmaking: Integrating translation and accessibility into the filmmaking process has arrived just in time. Written by a scholar with a practical and scientific background in Film (Studies), (Audiovisual)Translation and Media Accessibility, it combines innovative research with practice-oriented and original conceptual out-of-the-box thinking. It offers a credible alternative to current Audiovisual Translation and Media Accessibility practice and promotes an affordable, feasible, profitable, artistically sound approach, and, most importantly, one which benefits the viewing experience of all."

- Aline Remael, University of Antwerp, Belgium

Abbreviations viii
List of contributors
ix
Acknowledgements xi
1 Introduction: the end of a long divorce
1(7)
1.1 The divorce
1(2)
1.2 The damage: the maker-expert-user gap
3(2)
1.3 A potential reconciliation: accessible filmmaking
5(3)
2 Setting the scene: in support of a wide notion of accessibility, translation and film
8(32)
2.1 In support of a wide notion of accessibility and translation
8(10)
2.1.1 AVT and MA: a housing problem
8(3)
2.1.2 Access to content
11(1)
2.1.3 Access to creation
12(4)
2.1.4 Concluding thoughts on a wide notion of accessibility and translation
16(2)
2.2 In support of a translation- and accessibility-oriented notion of film studies
18(8)
2.2.1 The invisibility of translation and accessibility within film studies
18(2)
2.2.2 Translation and accessibility as seen by film scholars
20(2)
2.2.3 The global version
22(4)
2.3 A new model: AFM
26(12)
2.3.1 The pioneers of integrated translation
26(4)
2.3.2 The pioneers of integrated accessibility
30(1)
2.3.3 AFM: progress to date
31(1)
2.3.3.1 Training
31(2)
2.3.3.2 Research
33(1)
2.3.3.3 Professional practice
33(5)
2.4 AFM and the global version: a matter of responsibility
38(2)
3 AVT and MA for filmmakers
40(140)
3.1 General translational/accessibility issues
40(2)
3.2 Dubbing
42(17)
3.2.1 The impact of dubbing on the film
42(6)
3.2.2 The impact of dubbing on the viewing experience
48(1)
3.2.2.1 Habituation, the suspension of disbelief and the McGurk effect
48(6)
3.2.2.2 Dubbing and eye tracking: the dubbing effect
54(5)
3.3 Voice-over and the translation of documentaries
59(3)
3.4 Subtitling
62(36)
3.4.1 The impact of subtitling on the film's content
64(2)
3.4.2 The impact of subtitling on how we watch a film
66(1)
3.4.2.1 Original films
67(7)
3.4.2.2 Subtitled films
74(24)
3.5 SDH
98(31)
3.5.1 Background and provision
98(1)
3.5.2 Viewers with hearing loss
99(2)
3.5.3 SDH conventions
101(2)
3.5.3.1 Character identification
103(6)
3.5.3.2 Manner of speaking
109(3)
3.5.3.3 Sound effects
112(9)
3.5.3.4 Music
121(2)
3.5.3.5 Watching film with SDH: a different experience
123(6)
3.6 Integrated titles/creative subtitles
129(43)
3.6.1 Font
131(12)
3.6.2 Size
143(1)
3.6.3 Placement
144(8)
3.6.4 Rhythm and display mode
152(3)
3.6.5 Effects
155(14)
3.6.6 Research
169(3)
3.7 AD
172(8)
3.7.1 Background
172(1)
3.7.2 Guidelines
173(7)
4 Integrating translation and accessibility into the filmmaking process
180(32)
4.1 In development and pre-production
180(6)
4.1.1 Translation in the scriptwriting process
180(2)
4.1.2 Translation of scripts for funding (co-productions)
182(1)
4.1.3 Provision of material for translators
183(3)
4.2 In production
186(13)
4.2.1 On-site translation/interpreting
186(2)
4.2.2 Mise en scene
188(8)
4.2.3 Cinematography
196(2)
4.2.4 The transcription of documentaries
198(1)
4.3 In post-production
199(6)
4.3.1 The rule of six
199(3)
4.3.2 Transition shots and cutaways
202(2)
4.3.3 L-cuts and J-cuts
204(1)
4.4 Before distribution
205(7)
4.4.1 General translation issues
205(1)
4.4.2 Dubbing
206(1)
4.4.3 Voice-over
207(1)
4.4.4 Subtitling
207(2)
4.4.5 SDH
209(1)
4.4.6 Creative/integrated subtitles
209(1)
4.4.7 AD
210(2)
5 Integrating AFM into the filmmaking industry
212(28)
5.1 The director of accessibility and translation (DAT) and sensory-impaired media accessibility consultants
213(3)
5.2 The workflow
216(3)
5.3 The cost
219(2)
5.4 The filmmakers' view
221(19)
5.4.1 Inadvertent accessible filmmakers
221(6)
5.4.2 Accessible filmmakers
227(13)
6 Conclusions
240(3)
Bibliography 243(17)
Index 260
Pablo Romero-Fresco is Ramón y Cajal researcher at Universidade de Vigo (Spain) and Honorary Professor of Translation and Filmmaking at the University of Roehampton (London, UK). He is the author of Subtitling through Speech Recognition: Respeaking (Routledge) and the editor of The Reception of Subtitles for the Deaf and Hard of Hearing in Europe (Peter Lang). He is on the editorial board of the Journal of Audiovisual Translation (JAT) and is currently working with several governments, universities, companies and user associations around the world to introduce and improve access to live events for people with hearing loss. His Accessible Filmmaking Guide is being used by many international public broadcasters, universities and producers to introduce a more inclusive and integrated approach to translation and accessibility in the filmmaking industry. He is the leader of the international research centre GALMA (Galician Observatory for Media Accessibility), for which he is currently coordinating several international projects on media accessibility and accessible filmmaking, including "ILSA: Interlingual Live Subtitling for Access", funded by the EU Commission. Pablo is also a filmmaker. His first documentary, Joining the Dots (2012), was screened during the 69th Venice Film Festival and was used by Netflix as well as film schools around Europe to raise awareness about audiodescription.

Link to the authors site: http://galmaobservatory.eu/member/pablo-romero-fresco/

Link to GALMA: http://galmaobservatory.eu/
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