Innovation in Audio Description Research

Description

This state-of-the-art volume covers recent developments in research on audio description, the professional practice dedicated to making audiovisual products, artistic artefacts and performances accessible to those with supplementary visual and cognitive needs. Harnessing the power of the spoken word, the projects covered in this book illustrate the value of audiovisual content descriptions not only in relation to the role of breaking down physical, cognitive and emotional barriers to entertainment, but also in informing broader media practices such as video archive retrieval, video gaming development and application software creation. The first section maps out the field, discusses key concepts in relation to new developments and illustrates their application; the second part focuses on new audiences for AD, whilst the third part covers the impact of new technologies. Throughout this book contributors focus on methodological innovation, regarding audio description as an opportunity to engage in multi-dimensional linguistic and user-experience analysis, as it intersects with and contributes to a range of other research disciplines.　 This book is key reading for researchers, advanced students and practitioners of audiovisual translation, media, film and performance studies, as well as those in related fields including cognition, narratology, computer vision and artificial intelligence. Cover Half Title Series information Title Page Copyright Page Dedication Table of contents List of Contributors Introduction: Mapping new horizons in audio description research References 1 Immersion, presence and engagement in audio described material 1.1 Introduction 1.2 Audio description and the search for quality 1.3 What is presence? 1.4 What is engagement? 1.5 Engagement and curiosity 1.6 Emotion, engagement and movement 1.7 Immersion 1.8 Systems of measurement 1.9 Interactivity, AD and future directions 1.10 Describing a virtual art gallery: a case study 1.11 Conclusion Note References 2 New approaches to accessibility and audio description in museum environments 2.1 Introduction 2.2 New audiences 2.3 Accessibility 2.4 New forms of access 2.4.1 ‘Maximilian e Manet – un incontro multimediale’ 2.4.2 Ethnographic museums 2.4.3 The Fan Museum 2.4.4 Outdoor areas 2.4.4.1 Miramare Castle 2.4.4.2 The National Angkor Museum (Cambodia) 2.4.5 The museum at the university: a case study 2.4.6 Easy-to-Read language to enhance museum accessibility 2.5 Concluding remarks Acknowledgements Notes References 3 Easier audio description: Exploring the potential of Easy-to-Read principles in simplifying AD 3.1 Introduction 3.2 Audio description audiences and functions 3.3 The two departing points for easier audio description 3.3.1 Text simplification and Easy-to-Read 3.3.2 Easy-to-listen audio descriptions 3.4 Easy-to-understand audio descriptions 3.4.1 Steps in the creation of an easier-to-understand audio description 3.4.1.1 First step 3.4.1.2 Second step 3.4.1.3 Third step 3.4.2 Language adaptation for Easy AD 3.5 Conclusion Acknowledgements Notes References 4 Film language, film experience and film interpretation in a reception study comparing conventional and interpretative au 4.1 Introduction 4.2 Methodology 4.2.1 AD styles 4.2.2 Experimental groups and procedure 4.3 Results 4.3.1 Story reconstruction 4.3.1.1 Narrative space and time 4.3.1.2 Narrative theme 4.3.2 Film language reception 4.3.3 Emotional reception 4.3.4 Immersion 4.3.5 Comprehension issue 4.3.6 AD evaluation 4.4 Conclusions Notes References 5 Audio description 2.0: Re-versioning audiovisual accessibility to assist emotion recognition 5.1 Introduction 5.2 Emotion recognition difficulties and autism 5.3 Remodelling AD for new audiences 5.3.1 Re-versioning AD for cognitive diversity 5.3.1.1 Form and functionality 5.3.1.2 Determining translation strategies 5.3.1.3 BVI-AD: audio description for the blind and visually impaired 5.3.1.4 EMO-AD: audio description for people with emotion recognition difficulties (descriptive) 5.3.1.5 CXT-AD: audio description for individuals with emotion recognition difficulties (interpretive) 5.4 Analysis of texts 5.4.1 Extract 1: Quite enough (‘criticised’) 5.4.1.1 Narrative description 5.4.1.2 Audio descriptions 5.4.2 Extract 2: Bathroom guest (‘unfriendly’) 5.4.2.1 Narrative Description 5.4.2.2 Audio descriptions 5.4.3 Extract 3: Nose-blowing (‘Annoyed’) 5.4.3.1 Narrative description 5.4.3.2 Audio descriptions 5.5 Discussion 5.6 Concluding remarks Notes References 6 Towards a user specification for immersive audio description 6.1 Introduction 6.2 Literature review 6.3 Research methodology 6.4 Focus group 6.4.1 Technology preferences 6.4.2 Sight level 6.5 Results 6.5.1 AD within linear storytelling 6.5.2 AD within the interactive aspects of 360-degree video 6.5.3 Spatial audio within 360-degree environment 6.5.4 Establishing user preference for tools required to access 360-degree content 6.6 Discussion 6.7 Conclusions Funding statement or declaration of conflicting interests (mandatory) Note References 7 Mainstreaming audio description through technology 7.1 Introduction 7.2 Cinema accessibility in Poland 7.3 The AudioMovie app 7.4 Overview of the current study 7.4.1 Research method 7.4.2 Participants 7.5 Results and discussion 7.5.1 Digital profile of the participants 7.5.2 Cinema profile of the participants 7.5.3 Usability 7.5.4 App’s evaluation 7.5.4.1 General evaluation 7.5.4.2 Audio subtitles 7.5.4.3 Some technical considerations 7.6 Users’ awareness 7.7 Conclusions Acknowledgements Notes References 8 Comparing human and automated approaches to visual storytelling 8.1 Introduction 8.2 Human understanding and description of audiovisual content 8.2.1 Cognitive-pragmatic frameworks of human storytelling 8.2.2 Visual storytelling through the cognitive-pragmatic lens 8.3 Computer vision and automated description of audiovisual content 8.4 Methodological approach 8.4.1 Materials Selection of materials Compiling the audiovisual corpus and identifying ‘story arcs’ 8.4.2 Data processing and annotation Annotation models and levels Transcription and annotation workflow Validity of human annotations Example of annotation 8.5 Initial observations 8.6 Conclusions and next steps Note References Index