Despite its short history, Audiovisual Translation (AVT) is constantly adding to existing types. Its practice dates back to the silent era, when intertitles where introduced between frames in order to narrate the story plot. In fact, there are some researchers —like Gambier (1996: 8)— who assert that cinema has never been silent or mute: “Le cinéma n’a jamais été «muet», grâce à des intertitres ni non plus vraiment «silencieux», grâce aux musiques d’accompagnement d’abord jouées dans les salles de projection”. The aim of this article is to describe the translation modes or types present in our society after a century of AVT practice. AVT modes should be understood as the technical means used to perform the linguistic transfer of an audiovisual text from one language to another (Chaume 2004: 31). We will not merely focus on the major AVT modes —e.g. dubbing and subtitling—, but we will also describe the latest AVT types —such as audio description or surtitling—. However, prior to describing any of those types, an explanation for the expansion of the mode array seems to be necessary. NEW TRENDS IN AUDIOVISUAL TRANSLATION: THE LATEST CHALLENGING MODES

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https://dialnet.unirioja.es/descarga/articulo/2010052.pdf

Closed Captioning Handbook

New trends in audiovisual translation: the latest challenging modes

Research on Audiovisual Translation (AVT) is currently undergoing a flourishing moment. Particularly, one of the most prominent AVT research interests is the disabled community. This audience-oriented approach has resulted in an independent AVT mode specially developed for the blind and visually impaired: audio description (AD). Nowadays, AD has a twofold purpose. On the one hand, AD aims at social integration for the blind and partially sighted community, children and elderly people. But AD also fulfils a cognitive objective, as it broadens our minds by explaining unknown cultural references in some programmes. Consequently, AD may involve three types of transfers: intersemiotic (images > words), interlinguistic (SL > TL), and intralinguistic (certain linguistic features are prioritised). Thus, our purpose is to present and spot AD within AVT, explain the complex transfers AD implies, the underlying linguistic and technical processes, and show the role of AD as an audiovisual and social gap-filler.

 Key words: Audio description, audiovisual translation, semiotics, disabled community, visually impaired. Resumen ?Como pueden traducirse las imagenes? La audiodescripcion, un reto para la integracion audiovisual y social Ana I. HERNANDEZ BARTOLOME, Gustavo MENDILUCE CABRER 

La investigacion en Traduccion Audiovisual (TAV) vive un momento dulce hoy dia. Especial atencion suscitan dentro de ella los discapacitados, como consecuencia del creciente interes por la diversificacion de publicos. Asi nacio la audiodescripcion (AD), una modalidad de TAV concebida preeminentemente para los discapacitados visuales totales o parciales, pues busca su integracion social, sin olvidar la de ninos y mayores. La AD persigue, empero, otra meta mas cognitiva que social, en tanto que amplia el horizonte cultural del oyente al explicarle referencias desconocidas de ciertos programas. Debido a esta naturaleza, la AD puede englobar una triple red de transferencias: intersemiotica (imagen > palabra), interlinguistica (LO > LM) e intralinguistica (prioriza ciertos rasgos linguisticos). Asi pues, en este articulo presentamos y ubicamos en la TAV el concepto de AD, explicamos la complejidad de su lenguaje, proceso tecnico y transferencias para finalmente exponer su papel integrador desde una perspectiva social y audiovisual.

 Palabras clave: audiodescripcion, traduccion audiovisual, semiotica, discapacitados, discapacitados visuales.

https://dialnet.unirioja.es/descarga/articulo/3207840.pdf

Closed Captioning Handbook

Citations

New trends in audiovisual translation: the latest challenging modes

How can images be translated? audio description, a challenging audiovisual and social gap-filler

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