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Current Trends in Audio Description Research

Year 2018, Volume: 29 Issue: 2, 107 - 127, 28.12.2018

Mine Güven

https://doi.org/10.18492/dad.424635
Cited By: 3

Abstract











As a state-of-the-art article
on international audio description research, this study aims to present a
general framework for possible linguistic research on audio description and
stimulate further scientific activities in Turkey. Current studies on audio description
focus on its production, transmission and reception phases. With respect to the
production phase, topics dealt with include audiovisual products/media, types
of (audio) descriptive texts, the nature and language of texts, training of
audio describers, text production time, text production methods and sound
recording. With respect to the transmission phase, research has focused on
transmission technologies in analogue and digital television and affordances of
receiver devices in various environments. As for the reception phase, empirical
studies have been conducted on the perceptual and cognitive aspects of the
reception of audio description texts. Taking such trends on audio description
research into consideration may not only inform linguistic research on audio
description in Turkey but also contribute to the development of
Turkish-specific best practices.    

Keywords

audio description audio describer text production transmission reception

References

  • Badia, T. & Matamala, A. (2007). La docencia en accesibilidad en los medios. Trans Revista De Traductología, 11, 61-71.
  • Baş, N. (2016). Görsel-İşitsel Çeviri, Dublaj ve Sesli Betimleme. Ankara: Grafiker Yayınları.
  • Benecke, B. (2004). Audio-Description. Meta, 49 (1), 78-80. DOI: 10.7202/009022ar.
  • Braun, S. & Orero, P. (2010). Audio description with audio subtitling - an emergent modality of audiovisual localisation. Perspectives, 18 (3), 173-188. DOI: 10.1080/ 0907676X. 2010.485687.
  • Braun, S. (2008). Audiodescription research: state of the art and beyond. Translation Studies in the New Millenium, 6, 14-30.
  • Braun, S. (2011). Creating Coherence in Audio Description. Meta, 56 (3), 645-662. DOI: 10.7202/1008338ar.
  • De Koster, K. & Mühleis, V. (2007). Intersensorial Translation: Visual Art Made up by Word. J. Díaz-Cintas, P. Orero & A. Remael (haz.) Media for All: Subtitling for the Deaf, Audio Description and Sign Language (s. 189-200). Amsterdam: Rodopi.
  • Di Giovanni, E. (2014). Audio introduction meets audio description. inTRAlinea, 14, 1-7. http://www.intralinea.org/archive/article/2072.
  • Díaz Cintas, J. (2007). Por una preparación de calidad en accesibilidad audiovisual. Trans Revista De Traductología, 11, 45-60.
  • Eardley, A. F.; Fryer, L.; Hutchinson, R.; Cock, M.; Ride, P. & Neves, J. (2017). Enriched Audio Description: Working Towards an Inclusive Museum Experience. S. Halder & L.C. Assaf (haz.) Inclusion, Disability and Culture, Inclusive Learning and Educational Equity 3 (s. 195-207). DOI: 10.1007/978-3-319-55224-8_13. New York: Springer.
  • Eardley-Weaver, S. (2014). Lifting the Curtain on Opera Translation and Accessibility: Translating Opera for Audiences with Varying Sensory Ability. Çeviribilim Doktora tezi. Durham Üniversitesi. http://etheses.dur.ac.uk/10590.
  • European Broadcasting Union EBU. (2004). EBU Technical - Information I44: EBU report on Access Services - includes recommendations. Erişim adresi: https://tech.ebu.ch/docs/i/i044.pdf.
  • Fernández Torné, A. (2016). Machine translation evaluation through post-editing measures in audio description. inTRAlinea, 18, 1-10. http:// www.intralinea.org /archive/article/2200.
  • Finbow, S. (2010). The state of audio description in the United Kingdom – from description to narration. Perspectives, 18 (3), 215-229. DOI: 10.1080 /0907676X.2010.485685.
  • Fryer, L. (2013). Putting it into Words: The Impact of Visual Impairment on Perception, Experience and Presence. Psikoloji Doktora tezi. Londra Üniversitesi.
  • Hirvonen, M. (2014). Multimodal Representation and Intermodal Similarity Cues of Space in the Audio Description of Film. Helsinki: Unigrafia.
  • Holsanova, J.; Hildén, A.; Salmson, M. & Tundell, V. K. (2015). Audio description and audio subtitles: A study of user preferences with guidelines for audiovisual media. Lund: Print 24.
  • Jankowska, A. (2015). Translating audio description scripts: Translation as a new strategy of creating audio description. Bern: Peter Lang.
  • Jimenez Hurtado, C. & Soler Gallego, S. (2013). Multimodality, translation and accessibility: a corpus-based study of audio description. Perspectives, 21 (4), 577-594. DOI: 10.1080/0907676X.2013.831921.
  • Krejtz, I., Szarkowska, A., Krejtz, K., Walczak, A. & Duchowski, A. (2012). Audio Description as an Aural Guide of Children's Visual Attention: Evidence an Eye-tracking Study. Proceedings of the Symposium on Eye Tracking Research and Applications (s. 99-106). New York: ACM.
  • Kruger, J-L. (2010). Audio narration: re-narrativising film. Perspectives, 18 (3), 231-249. DOI: 10.1080/0907676X. 2010.485686. López Vera, J. F. (2006). Translating Audio description Scripts: The Way Forward? - Tentative First Stage Project Results. MuTra 2006 -Audiovisual Translation Scenarios: Conference Proceedings. 1-10.
  • Marzà Ibañez, A. (2010). Evaluation criteria and film narrative. A frame to teaching relevance in audio description. Perspectives, 18 (3), 143-153. DOI: 10.1080 /0907676X.2010.485682.
  • Matamala, A. & Orero, P. (2007). Designing a Course on Audio Description and Defining the Main Competences of the Future Professional. Linguistica Antverpiensa, 6, 329-344.
  • Mazur, I. & Chmiel, A. (2012). Audio Description Made to Measure: Reflections on Interpretation in AD based on the Pear Tree Project Data. A. Remael, P. Orero & M. Carroll (haz.) Audiovisual Translation and Media Accessibility at the Crossroads. Media for All 3 (s. 173-188). Amsterdam: Rodopi.
  • McGonigle, F. (2013). Audio description and semiotics: The Translation of Films for Visually-Impaired Audiences. Çeviribilim Doktora tezi. Surrey Üniversitesi.
  • Neves, J. (2012). Multi-Sensory Approaches To (Audio) Describing The Visual Arts. MonTI, 4, 277-293. DOI: 10.6035/MonTI.2012.4.12.
  • Ofcom. (2000). ITC Guidance On Standards for Audio Description. Erişim adresi: http://stakeholders.ofcom.org.uk/ broadcasting/ guidance/ otherguidance/ tv_access_serv/ archive/ audio_description_stnds.
  • Okyayuz, A. Ş., & Kaya, M. (2016). Erişim çağında azınlığa gönderim ve bir çeviri türü olarak sesli betimleme. International Journal of Social Science, 51 (3), 15-32. DOI: 10.9761/JASSS3803.
  • Oncins, E.; Lopes, O.; Orero, P.; Serrano, J. (2013). All Together Now: A multi-language and multi-system mobile application to make live performing arts accessible. The Journal of Specialised Translation, 20, 147-164.
  • Orero, P. & Matamala, A. (2007). Accessible Opera: Overcoming Linguistic and Sensorial Barriers. Perspectives, 15 (4), 262-277. DOI: 10.1080 /13670050802326766.
  • Orero, P. (2007). Sampling audio description in Europe. J. Díaz Cintas, P. Orero & A. Remael (haz.) Media for all. Subtitling for the deaf, audio description, and sign language (s. 111-125). Amsterdam: Rodopi.
  • Rai, S., Greening, J., & Petré, L. (2010). A Comparative Study of Audio Description Guidelines prevalent in different countries. Londra: Royal National Institute of Blind People.
  • Ramos Caro, M. (2016). Testing audio narration: the emotional impact of language in audio description. Perspectives, 24 (4), 606-634. DOI: 10.1080 /0907676X.2015.1120760.
  • Remael, A. & Vercauteren, G. (2007). Audio describing the exposition phase of films. Teachings students what to choose. Trans Revista de traductología, 11, 73-93.
  • Remael, A. & Vercauteren, G. (2010). The translation of recorded audio description from English into Dutch. Perspectives, 18 (3), 155-171. DOI: 10.1080 /0907676X.2010.485684.
  • Remael, A. (2012). Audio Description with Audio Subtitling for Dutch Multilingual Films: Manipulating Textual Cohesion on Different Levels. Meta, 57 (2), 385–407. DOI: 10.7202/1013952ar.
  • Reviers, N. & Remael, A. (2015). Recreating Multimodal Cohesion in Audio Description: A Case Study of Audio Subtitling in Dutch Multilingual Films. New Voices in Translation Studies, 13, 50-78.
  • Reviers, N. (2016). Audio description services in Europe: an update. The Journal of Specialised Translation, 26, 232-247.
  • Rohrbach, A.; Torabi, A.; Rohrbach, M.; Tandon, N.; Pal, C.; Larochelle, H.; Courville, A. & Schiele, B. (2017). Movie Description. International Journal of Computer Vision, 123, 94–120. DOI: 10.1007/s11263-016-0987-1.
  • Romero Fresco, P. (2013). Accessible filmmaking: Joining the dots between audiovisual translation, accessibility and filmmaking. The Journal of Specialised Translation, 20, 201-223.
  • Salway, A. (2007). A Corpus-based Analysis of Audio Description. J. Díaz-Cintas, P. Orero & A. Remael (haz.) Media For All: Subtitling For The Deaf, Audio Description And Sign Language (s. 151-174). Amsterdam: Rodopi.
  • Sanford, J. A. (2012). Universal Design as a Rehabilitation Strategy Design for the Ages. New York: Springer.
  • Snyder, J. (2008). Audio description: The visual made verbal. J. Díaz Cintas (haz.) The Didactics of Audiovisual Translation (s. 191-198). Amsterdam: John Benjamins.
  • Soler Gallego, S. (2013). La traducción accesible en el espacio multimodal museográfico. Çeviribilim Doktora tezi. Córdoba Üniversitesi.
  • Szarkowska, A. (2011). Text-to-speech audio description: towards wider availability of AD. The Journal of Specialised Translation, 15, 142-162.
  • Tanış-Polat, N. (2009). Çeviribilim ve Dilbilim Bağlamında Türkiye’de Sesli Betimlemenin Yeri ve Önemi. Dilbilim Araştırmaları, 2009, 1-10.
  • Tanış-Polat, N. (2013). Raum im (Hör-)Film. Zur Wahrnehmung und Repräsentation von räumlichen Informationen in deutschen und türkischen Audiodeskriptionstexten. Berlin: Frank & Timme.
  • Taylor, C. J. (2003). Multimodal Transcription in the Analysis, Translation and Subtitling of Italian Films, The Translator, 9 (2), 191-205. DOI: 10.1080 /13556509.2003.10799153.
  • Udo, J-P. & Fels, D. I. (2010). Universal design on stage: live audio description for theatrical performances. Perspectives, 18 (3), 189-203. DOI: 10.1080 /0907676X.2010.485683.
  • van der Heijden, M. (2007). Making film and television accessible to the blind and visually impaired. Ses ve Müzik Teknolojisi tezi. Utrecht Üniversitesi.
  • Vandaele, J. (2012). What meets the eye. Cognitive narratology for audio description. Perspectives, 20 (1), 87-102. DOI: 10.1080/0907676X.2011.632683.
  • Vercauteren, G. (2007). Towards a European guideline for audio description. J. Diaz Cintas, P. Orero, & A. Remael (haz.) Media for All: Subtitling for the Deaf, Audio Description, and Sign Language (s. 139-149). Amsterdam: Rodopi.
  • Vercauteren, G. (2016). A Narratological Approach to Content Selection in Audio Description. Çeviribilim Doktora tezi. Antwerpen Üniversitesi.
  • Walczak, A. & Fryer, L. (2018). Vocal delivery of audio description by genre: measuring users’ presence. Perspectives, 26 (1), 69-83. DOI: 10.1080 /0907676X.2017.1298634.
  • Walczak, A. (2018). Audio description on smartphones: making cinema accessible for visually impaired audiences. Univ Access Inf Soc. DOI: 10.1007/s10209-017-0568-2.
  • Whitfield, M. & Fels, D. I. (2013). Inclusive Design, Audio Description and Diversity of Theatre Experiences. The Design Journal, 16 (2), 219-238. DOI: 10.2752 /175630613X13584367984983.
  • Zabalbeascoa, P. (2008). The nature of the audiovisual text and its parameters. J. Díaz Cintas (haz.) The didactics of audiovisual translation (s. 21-37). Amsterdam: John Benjamins.
  • Zabrocka, M. (2018). Rhymed and traditional audio description according to the blind and partially sighted audience: Results of a pilot study on creative audio description. The Journal of Specialised Translation, 29, 212-236.

Sesli Betimleme Araştırmalarında Güncel Yönelimler

Year 2018, Volume: 29 Issue: 2, 107 - 127, 28.12.2018

Mine Güven

https://doi.org/10.18492/dad.424635
Cited By: 3

Abstract

Bu tanıtım yazısının amacı, dünyada sesli betimleme konusunda yürütülen araştırmalardaki güncel yönelimlerden yola çıkarak Türkiye’de sesli betimleme konusunda dilbilim bağlamında gerçekleştirilebilecek bilimsel araştırma ve etkinlikler için genel bir çerçeve çizmektir. Uluslararası alanyazınındaki araştırmalar, sesli betimlemenin üretim, iletim ve tüketim aşamalarına yoğunlaşmaktadır. Üretim aşamasıyla ilgili görsel-işitsel ürün/ortam, sesli betimleme türevleri, metnin nitelikleri ve dili, betimlemeci yetkinlikleri ve eğitimi, metin üretim zamanı, metin üretim yöntemi ve metnin seslendirilmesi konularına değinilmiştir. İletim aşamasıyla ilgili, analog ve sayısal televizyon bağlamında iletim teknolojileriyle çeşitli ortamlardaki alıcı aygıtı olanakları tartışılmıştır. Tüketim aşamasıyla ilgili olaraksa metnin kullanıcı tarafından alımlanması, deneysel çalışmalar bağlamında algısal ve bilişsel yönleriyle ele alınmıştır. Sesli betimleme araştırmalarındaki bu yönelimlerin dikkate alınması, Türkiye’deki dilbilimsel sesli betimleme çalışmaları açısından yol gösterici olabileceği gibi Türkçeye özgü en iyi uygulamaların oluşmasına da katkıda bulunabilir.

Keywords

sesli betimleme betimlemeci metin üretimi iletim alımlama

References

  • Badia, T. & Matamala, A. (2007). La docencia en accesibilidad en los medios. Trans Revista De Traductología, 11, 61-71.
  • Baş, N. (2016). Görsel-İşitsel Çeviri, Dublaj ve Sesli Betimleme. Ankara: Grafiker Yayınları.
  • Benecke, B. (2004). Audio-Description. Meta, 49 (1), 78-80. DOI: 10.7202/009022ar.
  • Braun, S. & Orero, P. (2010). Audio description with audio subtitling - an emergent modality of audiovisual localisation. Perspectives, 18 (3), 173-188. DOI: 10.1080/ 0907676X. 2010.485687.
  • Braun, S. (2008). Audiodescription research: state of the art and beyond. Translation Studies in the New Millenium, 6, 14-30.
  • Braun, S. (2011). Creating Coherence in Audio Description. Meta, 56 (3), 645-662. DOI: 10.7202/1008338ar.
  • De Koster, K. & Mühleis, V. (2007). Intersensorial Translation: Visual Art Made up by Word. J. Díaz-Cintas, P. Orero & A. Remael (haz.) Media for All: Subtitling for the Deaf, Audio Description and Sign Language (s. 189-200). Amsterdam: Rodopi.
  • Di Giovanni, E. (2014). Audio introduction meets audio description. inTRAlinea, 14, 1-7. http://www.intralinea.org/archive/article/2072.
  • Díaz Cintas, J. (2007). Por una preparación de calidad en accesibilidad audiovisual. Trans Revista De Traductología, 11, 45-60.
  • Eardley, A. F.; Fryer, L.; Hutchinson, R.; Cock, M.; Ride, P. & Neves, J. (2017). Enriched Audio Description: Working Towards an Inclusive Museum Experience. S. Halder & L.C. Assaf (haz.) Inclusion, Disability and Culture, Inclusive Learning and Educational Equity 3 (s. 195-207). DOI: 10.1007/978-3-319-55224-8_13. New York: Springer.
  • Eardley-Weaver, S. (2014). Lifting the Curtain on Opera Translation and Accessibility: Translating Opera for Audiences with Varying Sensory Ability. Çeviribilim Doktora tezi. Durham Üniversitesi. http://etheses.dur.ac.uk/10590.
  • European Broadcasting Union EBU. (2004). EBU Technical - Information I44: EBU report on Access Services - includes recommendations. Erişim adresi: https://tech.ebu.ch/docs/i/i044.pdf.
  • Fernández Torné, A. (2016). Machine translation evaluation through post-editing measures in audio description. inTRAlinea, 18, 1-10. http:// www.intralinea.org /archive/article/2200.
  • Finbow, S. (2010). The state of audio description in the United Kingdom – from description to narration. Perspectives, 18 (3), 215-229. DOI: 10.1080 /0907676X.2010.485685.
  • Fryer, L. (2013). Putting it into Words: The Impact of Visual Impairment on Perception, Experience and Presence. Psikoloji Doktora tezi. Londra Üniversitesi.
  • Hirvonen, M. (2014). Multimodal Representation and Intermodal Similarity Cues of Space in the Audio Description of Film. Helsinki: Unigrafia.
  • Holsanova, J.; Hildén, A.; Salmson, M. & Tundell, V. K. (2015). Audio description and audio subtitles: A study of user preferences with guidelines for audiovisual media. Lund: Print 24.
  • Jankowska, A. (2015). Translating audio description scripts: Translation as a new strategy of creating audio description. Bern: Peter Lang.
  • Jimenez Hurtado, C. & Soler Gallego, S. (2013). Multimodality, translation and accessibility: a corpus-based study of audio description. Perspectives, 21 (4), 577-594. DOI: 10.1080/0907676X.2013.831921.
  • Krejtz, I., Szarkowska, A., Krejtz, K., Walczak, A. & Duchowski, A. (2012). Audio Description as an Aural Guide of Children's Visual Attention: Evidence an Eye-tracking Study. Proceedings of the Symposium on Eye Tracking Research and Applications (s. 99-106). New York: ACM.
  • Kruger, J-L. (2010). Audio narration: re-narrativising film. Perspectives, 18 (3), 231-249. DOI: 10.1080/0907676X. 2010.485686. López Vera, J. F. (2006). Translating Audio description Scripts: The Way Forward? - Tentative First Stage Project Results. MuTra 2006 -Audiovisual Translation Scenarios: Conference Proceedings. 1-10.
  • Marzà Ibañez, A. (2010). Evaluation criteria and film narrative. A frame to teaching relevance in audio description. Perspectives, 18 (3), 143-153. DOI: 10.1080 /0907676X.2010.485682.
  • Matamala, A. & Orero, P. (2007). Designing a Course on Audio Description and Defining the Main Competences of the Future Professional. Linguistica Antverpiensa, 6, 329-344.
  • Mazur, I. & Chmiel, A. (2012). Audio Description Made to Measure: Reflections on Interpretation in AD based on the Pear Tree Project Data. A. Remael, P. Orero & M. Carroll (haz.) Audiovisual Translation and Media Accessibility at the Crossroads. Media for All 3 (s. 173-188). Amsterdam: Rodopi.
  • McGonigle, F. (2013). Audio description and semiotics: The Translation of Films for Visually-Impaired Audiences. Çeviribilim Doktora tezi. Surrey Üniversitesi.
  • Neves, J. (2012). Multi-Sensory Approaches To (Audio) Describing The Visual Arts. MonTI, 4, 277-293. DOI: 10.6035/MonTI.2012.4.12.
  • Ofcom. (2000). ITC Guidance On Standards for Audio Description. Erişim adresi: http://stakeholders.ofcom.org.uk/ broadcasting/ guidance/ otherguidance/ tv_access_serv/ archive/ audio_description_stnds.
  • Okyayuz, A. Ş., & Kaya, M. (2016). Erişim çağında azınlığa gönderim ve bir çeviri türü olarak sesli betimleme. International Journal of Social Science, 51 (3), 15-32. DOI: 10.9761/JASSS3803.
  • Oncins, E.; Lopes, O.; Orero, P.; Serrano, J. (2013). All Together Now: A multi-language and multi-system mobile application to make live performing arts accessible. The Journal of Specialised Translation, 20, 147-164.
  • Orero, P. & Matamala, A. (2007). Accessible Opera: Overcoming Linguistic and Sensorial Barriers. Perspectives, 15 (4), 262-277. DOI: 10.1080 /13670050802326766.
  • Orero, P. (2007). Sampling audio description in Europe. J. Díaz Cintas, P. Orero & A. Remael (haz.) Media for all. Subtitling for the deaf, audio description, and sign language (s. 111-125). Amsterdam: Rodopi.
  • Rai, S., Greening, J., & Petré, L. (2010). A Comparative Study of Audio Description Guidelines prevalent in different countries. Londra: Royal National Institute of Blind People.
  • Ramos Caro, M. (2016). Testing audio narration: the emotional impact of language in audio description. Perspectives, 24 (4), 606-634. DOI: 10.1080 /0907676X.2015.1120760.
  • Remael, A. & Vercauteren, G. (2007). Audio describing the exposition phase of films. Teachings students what to choose. Trans Revista de traductología, 11, 73-93.
  • Remael, A. & Vercauteren, G. (2010). The translation of recorded audio description from English into Dutch. Perspectives, 18 (3), 155-171. DOI: 10.1080 /0907676X.2010.485684.
  • Remael, A. (2012). Audio Description with Audio Subtitling for Dutch Multilingual Films: Manipulating Textual Cohesion on Different Levels. Meta, 57 (2), 385–407. DOI: 10.7202/1013952ar.
  • Reviers, N. & Remael, A. (2015). Recreating Multimodal Cohesion in Audio Description: A Case Study of Audio Subtitling in Dutch Multilingual Films. New Voices in Translation Studies, 13, 50-78.
  • Reviers, N. (2016). Audio description services in Europe: an update. The Journal of Specialised Translation, 26, 232-247.
  • Rohrbach, A.; Torabi, A.; Rohrbach, M.; Tandon, N.; Pal, C.; Larochelle, H.; Courville, A. & Schiele, B. (2017). Movie Description. International Journal of Computer Vision, 123, 94–120. DOI: 10.1007/s11263-016-0987-1.
  • Romero Fresco, P. (2013). Accessible filmmaking: Joining the dots between audiovisual translation, accessibility and filmmaking. The Journal of Specialised Translation, 20, 201-223.
  • Salway, A. (2007). A Corpus-based Analysis of Audio Description. J. Díaz-Cintas, P. Orero & A. Remael (haz.) Media For All: Subtitling For The Deaf, Audio Description And Sign Language (s. 151-174). Amsterdam: Rodopi.
  • Sanford, J. A. (2012). Universal Design as a Rehabilitation Strategy Design for the Ages. New York: Springer.
  • Snyder, J. (2008). Audio description: The visual made verbal. J. Díaz Cintas (haz.) The Didactics of Audiovisual Translation (s. 191-198). Amsterdam: John Benjamins.
  • Soler Gallego, S. (2013). La traducción accesible en el espacio multimodal museográfico. Çeviribilim Doktora tezi. Córdoba Üniversitesi.
  • Szarkowska, A. (2011). Text-to-speech audio description: towards wider availability of AD. The Journal of Specialised Translation, 15, 142-162.
  • Tanış-Polat, N. (2009). Çeviribilim ve Dilbilim Bağlamında Türkiye’de Sesli Betimlemenin Yeri ve Önemi. Dilbilim Araştırmaları, 2009, 1-10.
  • Tanış-Polat, N. (2013). Raum im (Hör-)Film. Zur Wahrnehmung und Repräsentation von räumlichen Informationen in deutschen und türkischen Audiodeskriptionstexten. Berlin: Frank & Timme.
  • Taylor, C. J. (2003). Multimodal Transcription in the Analysis, Translation and Subtitling of Italian Films, The Translator, 9 (2), 191-205. DOI: 10.1080 /13556509.2003.10799153.
  • Udo, J-P. & Fels, D. I. (2010). Universal design on stage: live audio description for theatrical performances. Perspectives, 18 (3), 189-203. DOI: 10.1080 /0907676X.2010.485683.
  • van der Heijden, M. (2007). Making film and television accessible to the blind and visually impaired. Ses ve Müzik Teknolojisi tezi. Utrecht Üniversitesi.
  • Vandaele, J. (2012). What meets the eye. Cognitive narratology for audio description. Perspectives, 20 (1), 87-102. DOI: 10.1080/0907676X.2011.632683.
  • Vercauteren, G. (2007). Towards a European guideline for audio description. J. Diaz Cintas, P. Orero, & A. Remael (haz.) Media for All: Subtitling for the Deaf, Audio Description, and Sign Language (s. 139-149). Amsterdam: Rodopi.
  • Vercauteren, G. (2016). A Narratological Approach to Content Selection in Audio Description. Çeviribilim Doktora tezi. Antwerpen Üniversitesi.
  • Walczak, A. & Fryer, L. (2018). Vocal delivery of audio description by genre: measuring users’ presence. Perspectives, 26 (1), 69-83. DOI: 10.1080 /0907676X.2017.1298634.
  • Walczak, A. (2018). Audio description on smartphones: making cinema accessible for visually impaired audiences. Univ Access Inf Soc. DOI: 10.1007/s10209-017-0568-2.
  • Whitfield, M. & Fels, D. I. (2013). Inclusive Design, Audio Description and Diversity of Theatre Experiences. The Design Journal, 16 (2), 219-238. DOI: 10.2752 /175630613X13584367984983.
  • Zabalbeascoa, P. (2008). The nature of the audiovisual text and its parameters. J. Díaz Cintas (haz.) The didactics of audiovisual translation (s. 21-37). Amsterdam: John Benjamins.
  • Zabrocka, M. (2018). Rhymed and traditional audio description according to the blind and partially sighted audience: Results of a pilot study on creative audio description. The Journal of Specialised Translation, 29, 212-236.
There are 58 citations in total.

Details

Primary Language Turkish
Journal Section Review Articles
Authors

Mine Güven

Publication Date December 28, 2018
Published in Issue Year 2018 Volume: 29 Issue: 2

Cite

APA Güven, M. (2018). Sesli Betimleme Araştırmalarında Güncel Yönelimler. Dilbilim Araştırmaları Dergisi, 29(2), 107-127. https://doi.org/10.18492/dad.424635

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Journal DOI: 10.18492/dad