Audio describing the extradiegetic emotive dimension of film
Audio describing the extradiegetic emotive dimension of film
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描述电影外情感维度的音频
DOI：
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发表时间：
2017
期刊：
影响因子：
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通讯作者：
Gert Vercauteren
中科院分区：
文献类型：
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作者：
Gert Vercauteren
早些年，音频描述(AD)主要被认为和定义为一种辅助服务，为盲人和部分视力障碍的受众提供他们无法接触到的产品和事件的视觉和听觉元素，以提高他们对该产品或事件的理解(例如，见《虔诚》，2004年或西班牙Aenor标准UNE 153020,2005年)。后来，这一观点被调整了，现在人们普遍认为，广告不仅应该努力提高观众的理解，而且应该努力提高他们的享受(例如，参见Vercauteren，2016，或Walczak，2017)，这一质量在很大程度上与情感和情感有关。然而，关于广告中的享受和/或情绪的研究仍然相对较少，主要集中在用户体验上(例如，Fryer，2013，Fryer&Freeman，2014，Ramos Caro，2015，Walczak，2017)。本文试图退后几步，从音频描述者的角度来看待这个问题，音频描述者既是原始情感的接受者，也是广告的创造者，在广告中，这些情感是反转的。
In its early years, audio description (AD) was predominantly regarded and defined as an assistive service offering blind and partially sighted audiences access to visual and aural elements of products and events that they did not have access to, in order to improve their understanding of that product or event (see for example Piety, 2004 or the Spanish AENOR standard UNE 153020, 2005). Later this view was adjusted and now it is generally agreed that AD should not only try to improve the audience’s understanding, but also their enjoyment (see for example Vercauteren, 2016, or Walczak, 2017), a quality that is to a very high extent related to feelings and emotions. However, research on enjoyment and/or emotions in AD is still relatively scarce and predominantly focuses on the user experience (e.g. Fryer, 2013, Fryer & Freeman, 2014, Ramos Caro, 2015, Walczak, 2017). The present article wants to take a few steps back and looks at the question from the perspective of the audio describer, who is at the same time the receiver of the original emotions and the creator of the AD in which these emotions are trans-