Audio description is one of the many services available to guarantee accessibility to audiovisual media. It describes and narrates images and sounds and resulting audio is then mixed with the original soundtrack. Audio description is a complex process that touches production, distribution and reception. Researching Audio Description: New Approachesgathers academic information and data from the many existing research projects, practices, and training across the world. The book has a telescopic approach, from two introductory chapters where accessibility in general is contextualised as a human right, and the basic concepts of disability and impairment are explored. Research on specific features for audio description script drafting are focused in the second part of the book, with a view to revising existing funded projects and their outcomes. The book offers a wealth of information on both the practical and philosophical, from different approaches in perception and cognition, and different research methodologies. Project information contained in the contributions identifies trends in current research-funded studies which will be valuable as a pointer towards future proposals. The book shows the dynamic state of audio description practice, training and research, while contributing towards the growing critical mass needed in building the field of accessibility studies.
Audio description (AD) is a narrative technique which provides complementary information regarding the where, who, what and how of any audiovisual content. It translates the visuals into words. The principal function of this ad hoc narrative is to make audiovisual content available to all: be it a guided city tour of Barcelona, a 3D film, or a Picasso painting. Audio description is one of the younger siblings of Audiovisual Translation, and it is epigonic to the audiovisual translation modality chosen. This book is the first volume on the topic written in English and it brings together an international team of leading audio description teachers, scholars, and practitioners to address the basic issues regarding audio description strategies. Using one stimulus, Quentin Tarantino’s film Inglourious Basterds (2009), the authors analysed what, when, where and how to audio describe. The book is written in a collaborative effort, following a bottom up approach. The many issues that surfaced in the process of the analysis were grouped in broader categories represented in the ten chapters this book contains. A good example of a successful international collaboration, the volume sets a robust practical and theoretical framework for the many studies on audio description to come in the future. Considering the structure of the individual contributions, the book is not only oriented towards the identification of the challenges that await the describer, but it also offers an insight into their possible solutions.