For the use of sound. Film sound analysis for audio-description: some key issues
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For the use of sound. Film sound analysis for audio-description: some key issues

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For the use of sound. Film sound analysis for audio-description: some key issues

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dc.contributor.author Remael, Aline es
dc.date.accessioned 2014-07-10T07:30:30Z
dc.date.available 2014-07-10T07:30:30Z
dc.date.issued 2012 es
dc.identifier.uri http://hdl.handle.net/10550/37088
dc.description.abstract This article aims to outline the issues involved in the production and reception of film sound with a view to identifying its challenges for audio-description (AD). It thereby hopes to provide insights into the way in which a careful analysis and integration of film sound and sound effects are required for the production of coherence in AD, if it is to function as part of a new filmic text. However, the article also points to the limits of analysis and interpretation, and to the need for reception research as well as collaboration with visually impaired users. A detailed analysis of a scene from Saving Private Ryan (Spielberg 1998), a film that won an Oscar for best sound effect editing, demonstrates how complex and narratively charged the soundscape of a film can be, thereby exposing the challenges for the audio-describer and, again, demonstrating the need for further research involving the target audience. es
dc.description.abstract Cet article concerne la production et la réception de la bande sonore et cherche à dégager quelques défis dans le domaine de l’audiodescription (AD). Il vise à démontrer comment une analyse et une intégration minutieuses de la bande et des effets sonores peuvent contribuer à la cohérence dans l’AD qui doit les incorporer pour créer une nouvelle version cinématographique. Il convient cependant également de souligner les limites de telles analyses et explications. Une étude de la réception ainsi que l’apport de malvoyants viendront avantageusement compléter les méthodes proposées. Une analyse détaillée d’une scène de Il faut sauver le soldat Ryan (Saving Private Ryan, Spielberg 1998), qui a obtenu l‘Oscar du meilleur mixage, mettra en évidence la complexité et l’importance narrative du paysage sonore d’un film et dégagera les défis des audiodescripteurs et la nécessité de recherches ultérieures prenant en compte le public cible. es
dc.description.abstract Part of this article is based on a lecture given in June 2007, part of it has been funded by the European Project AD LAB: Audio-description. Lifelong Access for the Blind with reference no. 517992-LLP-1-2011-1-IT-ERASMUS-ECUE. es
dc.language eng es
dc.rights.uri info:eu-repo/semantics/openAccess es
dc.source REMAEL, Aline. “For the use of sound. Film sound analysis for audio-description: some key issues”. MonTI. Monografías de Traducción e Interpretación. N. 4 (2012). ISSN 1889-4178, pp. 255-276 es
dc.subject Audio-description es
dc.subject Sound effect es
dc.subject Narrative es
dc.subject Sound-image interaction es
dc.subject Reception research es
dc.subject Traducción e Interpretación es
dc.title For the use of sound. Film sound analysis for audio-description: some key issues es
dc.type info:eu-repo/semantics/article en
dc.type info:eu-repo/semantics/publishedVersion en
dc.subject.unesco UNESCO::CIENCIAS DE LAS ARTES Y LAS LETRAS es

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