The independent audio describer is dead: Long live audio description!
The independent audio describer is dead: Long live audio description!
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独立的音频描述已死：音频描述万岁！
DOI：
10.47476/jat.v1i1.52
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发表时间：
2018
影响因子：
--
通讯作者：
L. Fryer
中科院分区：
文献类型：
--
作者：
L. Fryer
传统的口述描述 (AD) 正在让位于集成的口述描述，其中媒体辅助功能不再是附加组件，而是从一开始就与艺术团队合作内置的。随着导演和制片人更愿意让有感官障碍的观众能够欣赏他们的作品，利益相关者之间的权力动态如何改变？ Lewis (1985) 和 Nornes (1999) 提出的滥用翻译形式的想法以及源文本 (ST) 的神圣性得到了重新考虑。还评估了对角色的影响以及专业音频描述员的培训需求。本文利用英国领先的视障人士专业表演艺术公司 Extant 开发的研究项目以及欧洲研究项目 ADLAB PRO 的数据得出结论，即使随着综合 AD 的发展，描述者的技能和能力仍然是必需的。
Traditional audio description (AD) is giving way to integrated audio description in which media accessibility is no longer an add-on but built in from the start in collaboration with the artistic team. As directors and producers take a greater interest in making their work accessible to audience members with a sensory impairment, how are the power dynamics altered between the stakeholders? The idea of abusive forms of translation advanced by Lewis (1985) and Nornes (1999) is reconsidered, together with the sanctity of the source text (ST). Also assessed is the impact on the role and hence the training needs of the professional audio describer. Using data from research projects developed by Extant, the UK’s leading professional performing arts company of visually impaired people, and from the European research project ADLAB PRO, this paper concludes that a describer’s skills and competences are still required even with the evolution of integrated AD.