Audio Description: Seeing With the Mind’s Eye— A Comprehensive Training Manual and Guide to the History and Applications Of Audio Description (2025)

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Audiodescripción para todos: revisión bibliográfica de sus valores pedagógicos en la enseñanza y aprendizaje de lenguas extranjeras

Anna Vermeulen

2017

En 2003, la Unión Europea identificó el acceso a la información como un derecho humano. Desde entonces, se han realizado esfuerzos específicos para garantizar la accesibilidad de todo tipo de productos a todo tipo de personas. Inicialmente, la audiodescripción (AD) se agregó a los eventos culturales (teatro, ópera, cine, televisión, museos, etc.) para satisfacer las necesidades de los discapacitados visuales. En esta contribución, reflexionamos sobre el estatus de la AD como un modo de traducción por derecho propio, y sobre su flexibilidad y aplicabilidad en diferentes contextos y para diferentes propósitos. Basamos nuestros argumentos en el análisis de la investigación actual sobre la traducción audiovisual (AVT), centrada principalmente en estudios de AD realizados en los últimos años. Sostenemos que, como práctica de traducción nueva pero legítima, la AD puede ser muy útil no sólo para mejorar la accesibilidad a los eventos culturales para las personas con discapacidad visual, si...

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Designing a Course on Audio Description and Defining the Main Competences of the Future Professional

Pilar Orero

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Considering Audio Description as a type of intersemiotic translation, and being aware of future opportunities in this field once laws are enforced, a course on Audio Description has been developed within the MA in Audiovisual Translation at the Universitat Autònoma de Barcelona (UAB), compelling us to define the main competences a future professional in audio description will have to acquire. In this article, the skills put forward by various academics and professionals are analysed in order to establish the main competences that should be acquired by an audio describer, and sample activities that are used in class are discussed.

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Exploring Translation Strategies in Video Game Localisation (pp. 385-408)

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Designing a course on audio description: main competences of the future professional (2007, LANS)

Anna Matamala / I AM NOT UPDATING MY PROFILE. CHECK MY WEBSITE FOR PUBLICATIONS: GENT.UAB.CAT/AMATAMALA

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Opera accessibility in the 21st century : new services, new possibilities

Gonzalo Iturregui Gallardo

2019

This article describes the challenges faced by a team of audio describers to take existing access services at Liceu Opera House in Barcelona to a new level by offering more access services, more features to personalise, and in various languages. The first part of the article will describe Liceu existing access services. The second part will analyse, on the basis of tests with end users performed in 2014 and 2015 by UAB and RNIB, the possibilities offered by wireless connections and the many challenges of the new mobile opportunities.

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A template for the audio introduction of operas: A proposal

Gonzalo Iturregui Gallardo

Hikma

Audio Introductions (AI) consist of a brief description of the plot, history and technical aspects of an audiovisual product and are generally presented at the beginning of an operatic event. Despite their prevalence, literature related to the elaboration of AI in audio description (AD) guidelines is scarce. Continuing the investigation carried out by the research group Transmedia Catalonia in the field of AD for opera, this article focuses on the role of AI in opera, not only as an access service for the blind and visually impaired audience, but also for all audience members. Furthermore, a template for AIs is put forward, in which the contents that AIs should cover for the appropriate presentation of the information relevant to the opera are detailed and explained. The article delves into these contents and underscores their importance for enhancing the experience of the opera for both the visually impaired and the general audience. The creation and distribution of a template draws attention to the potential of standardisation of this access service. The article is based on the analysis of a template used at the Gran Teatre del Liceu of Barcelona by the audio describer, also a co-author of the article, employed in the production of AIs throughout the opera season 2016/17. The creation of AIs by means of the template improved the workflow by providing a clear understanding of the topics to be covered beforehand and by outlining the time constraints during the live performance on the contents.

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Opening credit sequences: audio describing films within films (2011, IJT)

Anna Matamala / I AM NOT UPDATING MY PROFILE. CHECK MY WEBSITE FOR PUBLICATIONS: GENT.UAB.CAT/AMATAMALA

This article aims to analyse existing audio descriptions of opening credit sequences to raise awareness at the function and role played by these brief film introductions. It will pave the way to suggest possible ways of dealing with the overload of information provided by the credits. The first section presents an overview of film credits: five main historical phases are identified, and four categories are proposed. The manifold functions and constituents of opening credit sequences are also presented. The second section presents an analysis of a corpus of twenty opening film credits and highlights the various strategies adopted as well as the many problems faced by audio describers.

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Action Research in Motion for Dance Audio Description

Celia Barnés-Castaño

Audio description, an intersemiotic translation modality which makes the visual verbal, enables blind and partially sighted people to access cultural manifestations such as films and pictorial art. Over the last two decades, it has become a burgeoning research theme and an ever-growing accessibility service, especially in the audiovisual sector. However, audio description is still in its early stages in fields such as dance. This article presents step by step the phases of an action research project undertaken with a threefold aim: fostering knowledge transfer between researchers and practitioners, involving the target audience in the audio description process of a contemporary dance performance, and, at the same time, advancing research on dance audio description.

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The making of a protocol for opera audio description (2007, AIETI)

Anna Matamala / I AM NOT UPDATING MY PROFILE. CHECK MY WEBSITE FOR PUBLICATIONS: GENT.UAB.CAT/AMATAMALA

Como citar este artículo: PUIGDOMENÈCH, Laura; MATAMALA, Laura y ORERO, Pilar (2008) «The making of a protocol for opera audio descripton», en PEGENAUTE, L.; DECESARIS, J.; TRICÁS, M. y BERNAL, E. [eds.] Actas del III Congreso Internacional de la Asociación Ibérica de Estudios de Traducción e Interpretación. La traducción del futuro: mediación lingüístca y cultural en el siglo XXI. Barcelona 22-24 de marzo de 2007.

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Audio Description: Seeing With the Mind’s Eye— A Comprehensive Training Manual and Guide to the History and Applications Of Audio Description (2025)
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