Training experts in inclusive practices for an equity on access to culture in Europe

Access to cultural content should be offered by several services available by default. If access services are thought, and budgeted, in the production phase, they are better integrated, and cultural content can be enjoyed by all patrons. How to integrate access services in the production of any cultural good relays on education. Until accessibility enters the syllabus in primary and secondary education curricula, and also in higher education, much work needs to be done. Until such a time when accessibility is normalized as a must-carry requirement, the work of experts in media accessibility will be needed to add accessibility in postproduction stages. The main focus of the chapter is training in postproduction accessibility. The enterprise is looked from many angles, but in all cases putting the end user at the center to understand their needs and expectations. To illustrate our approach to the subject, three European projects funded under the Erasmus + scheme will be used as examples: ACT (Accessible Culture and Training), ADLAB PRO (field of audio description), and ILSA (Interlingual Live Subtitling for Access

Variations on the Pear Tree Experiment : different variables, new results?

Inspired by the Pear Stories Project, the Pear Tree Project has investigated how different cultures and languages describe the same film in order to apply its findings to audio description (AD). Participants from different countries were asked to "write down what they saw" in a controlled setting. This article proposes an alternative experiment, also based on the original Pear Stories Project, which aims to shed light on two issues: how different describer profiles (translation students with AD training/without AD training) and different instructions concerning the target audience profiles (blind/non-blind) could alter the final production. The results are analysed in this paper, taking into account the elements covered in the original Pear Stories Project as well as some additional elements proposed by the authors

Terminological challenges in the translation of science documentaries: a case-study

This article aims to describe some of the main terminological problems audiovisual translators have to face when dealing with the translation of science documentaries, specifically in the English-Catalan combination. The first section of the article presents some theoretical concepts which underlie this research and which are taken, for the most part, from Cabré's Communicative Theory of Terminology. Then, specific terminological problems audiovisual translators have to solve are described using the data provided by a corpus of four science documentaries lasting approximately 50 minutes each. These challenges include identifying a term, understanding a term, finding the right equivalent, dealing with the absence of an adequate equivalent, solving denominative variations, choosing between in vivo and in vitro terminology, and overcoming mistranscriptions

Audio Description Washes Brighter? A Study in Brand Names and Advertising

Dealing with objects in audio description, and particularly with those objects that have a clear designer imprint or branding, is a complex matter when a brand name is part of the scene in a film. Deciding whether to describe or not, and how, becomes more than a technical matter that depends on text–image synchronization: it is a complex decision-making process comparable to other forms of audiovisual translation that needs to be approached as a paradigmatic example of intersemiotic translation. Dávila-Montes and Orero address the audio description of branded objects in movies, and their intersemiotic translation from images to spoken words, a complex issue that may harbour additional insights into topics of a wider scope

Regimenting languages on Korean television: Subtitles and institutional authority

10.1515/TEXT.2009.029Text and Talk295547-57

Media accessibility within and beyond audiovisual translation

The chapter discusses the new position reached by media accessibility as a consequence of several shifts. After placing access as a necessary requirement for the enjoyment of human rights for all, the chapter summarises: (a) the shift from particularist accounts of accessibility to a universalist account; (b) the shift from maker-centred to user-centred approaches; and (c) the shift from reactive to proactive approaches. Greco and Jankowska then present a first classification of some modalities and services according to the universalist definition of media accessibility. Following this, the chapter highlights various pedagogical and theoretical implications. The chapter concludes by addressing the need for media accessibility to move beyond audiovisual translation and translation studies, and embrace its status as an area within the interdisciplinary field of accessibility studie