Putting the Accessible Filmmaking Model into Practice: An Exploration of Media Accessibility and Translation as a Collaborative Process

为感觉障碍者和外国观众制作的无障碍和翻译版本的电影通常是在电影制作的发行阶段制作的，电影人的投入最少（Zdenek, 2015）。这种模式可能会对这些版本的质量产生负面影响，因为它们的制作仍然不受电影人的控制（Romero-Fresco, 2013），导致无障碍专业人士的误解（udo&fels, 2009），并在翻译中违背电影人的意愿对电影进行修改（de Higes-Andino,2014）。我的研究涉及一种叫做无障碍电影制作的替代模式，它将电影制作人、媒体无障碍专业人士和翻译人员聚集在一起，共同制作无障碍和翻译版本的电影，目的是提高它们的可访问性（Romero-Fresco, 2013）。为了探索这种合作过程以及无障碍和翻译在不同制作阶段的整合，本研究将无障碍电影制作应用于即将上映的故事片《卓别林》（Middleton &Spinney），该片由英国电影协会资助。它还将扩展这一模式，将终端用户作为感觉受损的顾问纳入这一过程。作为这部电影的无障碍和翻译总监，我将通过参与式观察进行民族志田野调查。我将协调无障碍版本的制作（为听障人士提供字幕；为视障人士提供音频描述），并为外语字幕制作指南。实地工作将在片场进行，并在电影制作人和无障碍专业人员的会议中进行，我将通过录音、实地记录和采访收集数据。书面论文将报告可访问性和翻译成功融入电影制作的程度。它将分析这一合作过程对无障碍版本和翻译版本以及原始电影的影响，它还将介绍新的专业人物（感觉受损的顾问和无障碍导演）

Accessible and translated versions of films for sensory-impaired and foreign viewers are typically producedduring the distribution stage of film production, with minimal input from filmmakers (Zdenek, 2015). Thismodel can have negative effects on the quality of these versions, as their production remains outsidefilmmakers' control (Romero-Fresco, 2013), leading to mis-interpretations by accessibility professionals (Udo& Fels, 2009) and to the alteration of films in translation against filmmakers' wishes (de Higes-Andino,2014).My research concerns an alternative model called accessible filmmaking which brings together filmmakers,media accessibility professionals and translators to collaboratively produce accessible and translatedversions of films with the aim of improving their accessibility (Romero-Fresco, 2013). To explore thiscollaborative process and the integration of accessibility and translation into the different productionstages, the research applies accessible filmmaking to the forthcoming feature film Chaplin (Middleton &Spinney), funded by the BFI. It will also extend the model by including end users in this process as sensory-impaired consultants.Working as the film's director of accessibility and translation, I will conduct ethnographic fieldwork throughparticipant observation. I will coordinate the production of the accessible versions (subtitles for the hearing-impaired; audio description for the visually-impaired) and create a guide for foreign-language subtitlers.The fieldwork will take place on set and in meetings between filmmakers and accessibility professionals,and I will collect data via audio recordings, fieldnotes and interviews.The written thesis will report on the extent to which accessibility and translation were successfullyintegrated into the film's production. It will analyse the impact of this collaborative process on theaccessible and translated versions and on the original film, and it will also present new professional figures(sensory-impaired consultants and the director of accessibility and