Captioning and Subtitling for d/Deaf and Hard of Hearing Audiences

Captioning and Subtitling for d/Deaf and Hard of Hearing Audiences is a comprehensive guide to the theory and practice of captioning and subtitling, a discipline that has evolved quickly in recent years. This guide is of a practical nature and contains examples and exercises at the end of each chapter. Some of the tasks stimulate reflection on the practice and reception, while others focus on particular captioning and SDH areas, such as paralinguistic features, music and sound effects.The requirements of d/Deaf and hard of hearing audiences are analysed in detail and are accompanied by linguistic and technical considerations. These considerations, though shared with generic subtitling parameters, are discussed specifically with d/Deaf and hard of hearing audiences in mind. The reader will become familiar with the characteristics and needs of d/Deaf and hard of hearing audiences, and the diversity – including cultural and linguistic differences – within this group of people. Based on first-hand experience in the field, the book also provides a step-by-step guide to making live performances accessible to d/Deaf and hard of hearing audiences. As well as exploring all linguistic and technical matters related to the creation of captions, aspects related to the overall set up of the captioned performance are discussed. The guide will be valuable reading to students of audiovisual translation at undergraduate and postgraduate level, to professional subtitlers and captioners, and to any organisation or venue that engages with d/Deaf and hard of hearing people. ; Captioning and Subtitling for d/Deaf and Hard of Hearing Audiences is a comprehensive guide to the theory and practice of captioning and subtitling

Captioning and Subtitling for d/Deaf and Hard of Hearing Audiences

Captioning and Subtitling for d/Deaf and Hard of Hearing Audiences is a comprehensive guide to the theory and practice of captioning and subtitling, a discipline that has evolved quickly in recent years. This guide is of a practical nature and contains examples and exercises at the end of each chapter. Some of the tasks stimulate reflection on the practice and reception, while others focus on particular captioning and SDH areas, such as paralinguistic features, music and sound effects.The requirements of d/Deaf and hard of hearing audiences are analysed in detail and are accompanied by linguistic and technical considerations. These considerations, though shared with generic subtitling parameters, are discussed specifically with d/Deaf and hard of hearing audiences in mind. The reader will become familiar with the characteristics and needs of d/Deaf and hard of hearing audiences, and the diversity – including cultural and linguistic differences – within this group of people. Based on first-hand experience in the field, the book also provides a step-by-step guide to making live performances accessible to d/Deaf and hard of hearing audiences. As well as exploring all linguistic and technical matters related to the creation of captions, aspects related to the overall set up of the captioned performance are discussed. The guide will be valuable reading to students of audiovisual translation at undergraduate and postgraduate level, to professional subtitlers and captioners, and to any organisation or venue that engages with d/Deaf and hard of hearing people. ; Captioning and Subtitling for d/Deaf and Hard of Hearing Audiences is a comprehensive guide to the theory and practice of captioning and subtitling

Lifting the Curtain on Opera Translation and Accessibility: Translating Opera for Audiences with Varying Sensory Ability

In the multicultural world of today, as boundaries continue to merge and evolve, issues of accessibility and translation are brought to the forefront of political and social debate. Whilst considerable progress has already been achieved in this domain, the international social and legal recognition of the human right of accessibility to the media and arts demands further advancement in the development of facilities to provide universal access to various art forms including theatre, cinema, and opera. With rapidly developing technology, digitisation and an increasingly socially-aware society, the notion of media accessibility is evolving in response to shifting audience expectations. Performing arts and media, such as opera, are called upon to advance further to embrace all audiences and related audiovisual translation methods are progressing. These include audio description and touch tours for the blind and partially-sighted, as well as sign language interpreting and surtitles for the deaf and the hard-of-hearing. These relatively new translation modalities which are consumer-oriented by nature require an original research design for investigation of the translation processes involved. This research design follows two fundamental principles: (1) audience reception studies should be an integral part of the investigation into the translation process; and (2) the translation process is regarded as a network. This present work explores the unique translation processes of audio description, touch tours, surtitles and sign language interpreting within the context of live opera, focusing on the UK and from the perspective of actor-network theory. A twofold methodology is employed which brings together a study of the translator’s role and an audience reception survey. The translator’s task is examined through observational methods and dialogue with professional practitioners of the various aforementioned translation modalities. The audience’s perspective is investigated through analysis of data collected in a pioneering audience reception project conducted in May 2011, in collaboration with Opera North at performances of Bizet’s Carmen. The focus is on findings assessing the mutual impact of the translator’s choices and audience reception on the distinctive process of translating opera for the blind and partially-sighted as well as the deaf and the hard-of-hearing

Accessibility at Film Festivals: Guidelines for Inclusive Subtitling

In today's media-dominated world, the imperative for accessibility has never been greater, and ensuring that audiovisual experiences cater to individuals with sensory disabilities has become a pressing concern. One of the key initiatives in this endeavour is inclusive subtitling (IS), a practice rooted in the broader contexts of subtitling for the deaf and hard of hearing (SDH/CC), audiovisual translation studies (AVTS), media accessibility studies (MAS), and the evolving field of Deaf studies (DS). This study aims to offer a comprehensive exploration of how inclusive subtitling contributes to fostering accessible and inclusive audiovisual experiences, with a particular focus on its implications within the unique environment of film festivals. To gain a holistic perspective of inclusive subtitling, it is essential to examine its lineage in relation to analogous practices, which is the focus of the first chapter. Inclusive subtitling is an extension of SDH/CC, designed for individuals with hearing impairments, and SDH/CC, in turn, is a nuanced variation of traditional subtitling extensively explored within the realm of AVTS. To encapsulate the diverse techniques and modalities aimed at making audiovisual content universally accessible, the study recognises the term "Audiovisual Accessibility" (AVA). The second chapter explores the interconnection of accessibility studies (AS), AVTS, and MAS, highlighting their symbiotic relationship and their role in framing inclusive subtitles within these fields. These interconnections are pivotal in shaping a framework for the practice of inclusive subtitling, enabling a comprehensive examination of its applicability and research implications. The third chapter delves into Deaf studies and the evolution of Deafhood, which hinges on the history and culture of Deaf individuals. This chapter elucidates the distinction between ‘deafness’ as a medical construct and ‘Deafhood’ as a cultural identity, crucial to the understanding of audiovisual accessibility and its intersection with the Deaf community's perspectives. In the fourth chapter, the focus turns to the exploration of film festivals, with a specific emphasis on the crucial role of subtitles in enhancing accessibility, particularly when films are presented in their original languages. The chapter marks a critical point, highlighting the inherent connection between subtitles and the immersive nature of film festivals that aspire to promote inclusivity in the cinematic experience. The emphasis on inclusivity extends to the evolution of film festivals, giving rise to more advanced forms, including accessible film festivals and Deaf film festivals. At the core of the chapter is a thorough examination of the corpus, specifically, the SDH/CC of films spanning the editions from 2020 to 2023 of two highly significant film festivals, namely BFI Flare and the London Film Festival. The corpus serves as the foundation upon which my research unfolds, providing a nuanced understanding of the role subtitles play in film festival contexts. The main chapter, chapter five, thoroughly analyses the technical and linguistic aspects of inclusive subtitling, drawing insights from the Inclusive Subtitling Guidelines - a two version document devised by myself - and offering real-world applications supported by a case study at an Italian film festival and another case study of the short film Pure, with the relevant inclusive subtitles file annexed. In conclusion, the research sets the stage for a comprehensive exploration of inclusive subtitling's role in ensuring accessible and inclusive audiovisual experiences, particularly within film festivals. It underscores the importance of accessibility in the world of audiovisual media and highlights the need for inclusive practices to cater to diverse audiences

Design for Accessibility: A Cultural Administrator's Handbook

Contains a guide for integrating older adults and people with disabilities into all aspects of an arts organization -- from planning and design to marketing and technical assistance

Adjusting the margins: Building bridges between deaf and hearing cultures through performance arts

This study addresses a gap in scholarship on leadership styles in the Deaf community. There is an invisible style of leadership differing from the mainstream culture that has not been previously addressed in the literature at any depth. My study was composed of three interlocking parts in a sequence that constitutes the practice of anthropology: fieldwork, analysis, and presentation. The foundation for my fieldwork was an “archeology of the structure of the perceived world” (Merleau-Ponty), using the holding environment of the rehearsal process and the structural process of an acting technique called Del-Sign. Del- Sign is a fusion acting style that I created by combining American Sign Language and the Delsarte method. I also employed current qualitative methods described as “performance ethnography” (Norman Denzin and Ron Pelias). The fieldwork of creating discussion groups, which I call salons, provided the initial material, my analysis process turned that material into a performance script; and audience participation in the form of talk-back sessions after the performance provided documentation for the results of the presentation. I provided data for the fieldwork with journaling and videotaping events in rehearsals and performances, director’s notes, and observations. The participants in this study offered great contributions to the research design, and social and cultural contexts were shifted by their action in the research. Their participation was analyzed in the context of Action Research (Argyris, 1985). The resulting findings from the data were compared to anthropological and folkloric theories of performance and style. I was able to create and study a bridge, created through performance, between a hearing audience and a marginalized and, therefore, often oppressed Deaf culture. Analysis of the data indicted that this performance bridge was the critical element of potential “change” in my study, thus addressing the gap in scholarly literature. Individuals in both the audience and the cast reported a change in perception about the opposing culture. The study results also indicated a unique style of leadership by Deaf people within a Deaf community that is collaborative in nature yet values the individual. I trust further study into that aspect of Deaf leadership will indeed adjust the margins of society

Making Live Theatre more ACCESSIBLE and INCLUSIVE with and for the Deaf and Hard of Hearing; including their families and friends: Design Proposal

This Masters Research Project addresses the main research question, of how best to create an inclusively designed live theatre performance, in order to increase accessibility with and for a Deaf and Hard of Hearing audience, including their families and friends. This research uses a Mixed Methods approach—combining Autoethnography, Deaf History, Cultural Identity and Linguistics—along with a practical intervention that is designed to deconstruct barriers to inclusion within the live performance dynamic, all leading to a Design Proposal for a more inclusive and accessible form of live theatre. This proposed new design model was arrived at through an iterative research process that combined semi-structured interviews and live engagement in the theatre setting, informed by a program of reading and research. The new design was then tested through a staged mock-up/iteration, wherein different scenarios were tested in order to ascertain which might be most beneficial to improved accessibility standards for live shows. This research derives from lived experience(s) –as a Deaf person. The purpose of the research is to make a direct intervention into the current state of theatre performance, where there are demonstrable gaps between the accessibility policies and practices of many theatres, with varying standards of accessibility for Deaf and Hard of Hearing (HoH) audience members. There are also disparate practices in terms of theatres’ scheduling for accessibility provisions. As a researcher, I intend to propose accessibility supports and contribute to theatre experiences for Deaf and Hard of Hearing individuals. I am motivated by this project because of my personal involvement both as a Deaf person and theatre participan

Library Trends 41 (1) 1992: Libraries Serving an Underserved Population: Deaf and Hearing-Impaired Patrons

published or submitted for publicatio

End-user Experiences of Audio Description for Live Theatre: Complexities Beyond Practice

Audio description (AD) scholarship has identified the need for a greater focus on end-user experience. However, much of that AD scholarship has considered end-user experience only in terms of end-user comprehension of the AD content, known in the field as ‘reception’. Such research has focussed on elements of AD quality which have informed the professionalisation of practice. While end-users have identified a preference for high quality and professional AD services, the research so far has not adequately understood or accounted for the embodied experience of end-users accessing AD services, nor has it addressed barriers to engagement with AD that end-users have identified. This project draws on scholarship from a number of different research fields, such as AD, disability studies, theatre studies, and audience studies, to explore barriers to blind/vision-impaired (b/vi) end-user experiences of AD for live performances. In particular, the project investigates those barriers which sit beyond AD practice, and which have not been well understood or accounted for in AD research to date. The project also asks whether improving the quality of AD services adequately addresses those barriers and results in b/vi people’s increased participation in social and cultural experiences. London, Singapore, and Adelaide were the three research sites chosen because they are closely linked in the recent history of the development of AD. London practitioners supported the development of professional AD services in Adelaide, and Adelaide practitioner/trainers were instrumental in establishing AD services in Singapore. Live theatre is the only live performance genre for which AD is readily available across all three research sites. Semi-structured interviews were undertaken with b/vi end-users and with staff working for blind service organisations (BSOs) and for venue/theatre companies, to explore end-user experiences of AD for live theatre, and to investigate the ways in which BSOs and venue/theatre companies impact those end-user experiences. Research has identified that AD end-user experience is something more than comprehension of the information that AD provides. End-user experience is about entering into the world of the story itself and enjoying that embodied experience. Therefore, this project seeks to better understand the end-user experience of live theatre, but without the improvement of AD practice being the primary focus of this research. The project also investigates the broader contexts which impact on b/vi people’s participation and experience of AD. Broader contexts, such as social, cultural, and political environments are also explored in as much as they shape the contexts of daily life of the b/vi end-user respondents, as well as the BSOs and venue/theatre companies that support AD for live theatre. This research identifies that end-user experience of AD for live theatre is complicated and is impacted by complexities that sit beyond AD practice. This study has shown that considering AD practice in isolation does not fully account for barriers to end-user AD experiences that respondents identified. Further, the study shows that improving the quality of the AD has not adequately addressed many of those barriers to participation. This study also finds that different understandings of disability and how it operates in each of the three research sites, creates paradigms which shape the broader social, cultural, and political contexts of daily life for the b/vi end-user respondents. Previous AD scholarship has not accounted for the complex layers of contexts which this study shows to significantly impact on the end-user experience of AD for live theatre. In bringing these two perspectives together, AD practice and elements of the broader disability context, this study complicates previous understandings of AD end-user experiences. This study shows the important social and cultural connections that AD can facilitate for b/vi end-users to ensure their access, inclusion, and participation in community. However, AD end-user experiences sit within a complex cluster of contexts and contingencies, and many of the barriers to b/vi end-user participation have not been well understood or accounted for in prior scholarship. This thesis shows that many barriers to participation sit beyond AD practice, where improving AD quality may not adequately address those barriers.Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 202