Audio Description

The paper will delve into the significance of audio description as a powerful tool for
enhancing translation competences. The framework for translator and translation
competence, initially released by the European Master's in Translation (EMT) network
in 2009, underwent significant revisions in 2017 and 2022. It has since evolved into
a prominent benchmark for translator education across the European Union and
globally, influencing both academic institutions and professional sectors. It defines
five main areas of competence: language and culture, translation, technology,
personal and interpersonal, and service provision. In Latvia, there are approximately
20,000 individuals with vision impairment and blindness.
The visually impaired and blind community faces barriers to integration into society.
Fortunately, a solution has emerged in the form of audio description, a practice that
has been available globally for several decades. This transformative approach makes
films, pictures, TV series, performances, football matches accessible to those with
visual impairments. Across the Baltic region, initiatives have been undertaken to
incorporate audio description, reflecting a commitment to inclusivity. In Lithuania, the
first film with audio description was created in 2017. Estonia demonstrated its
dedication to accessibility in 2019. Latvia, joined this movement in 2022 with the
production of the first Latvian film featuring audio description, "Māsas" by Linda Olte.
In the same year the students of Baltic International Academy (Riga, Latvia)
audiodescribed a French silent film A Trip to the Moon directed by Georges Méliès.
In 2021, Baltic International Academy embarked on a groundbreaking initiative in
Latvia by introducing a new course centred around media accessibility. This
innovative course is meticulously designed to empower students with the requisite
expertise and acumen to actively participate in the realm of translation and
interpreting, with heightened emphasis on the sphere of media accessibility. The core
objective is to facilitate the adaptation of diverse media forms, including art exhibitions
and films, to cater to individuals with visual impairments. Central to this agenda is the
integration of audio description techniques, which play a pivotal role in enhancing
accessibility and fostering inclusivity. Through a strategic timeline spanning from
2021 to 2024, the rollout of five distinct audio description projects signifies a
concerted effort towards addressing the unique needs of individuals with visual
impairments and augmenting their engagement with various forms of media. In
summary, working on audio description projects provides students with a multifaceted
learning experience that goes beyond traditional translation tasks. It aligns with
various competences, offering valuable insights into service provision, interpersonal
dynamics, technological applications, translation strategies, and cultural awareness
within the context of accessibility.

The paper will delve into the significance of audio description as a powerful tool for
enhancing translation competences. The framework for translator and translation
competence, initially released by the European Master's in Translation (EMT) network
in 2009, underwent significant revisions in 2017 and 2022. It has since evolved into
a prominent benchmark for translator education across the European Union and
globally, influencing both academic institutions and professional sectors. It defines
five main areas of competence: language and culture, translation, technology,
personal and interpersonal, and service provision. In Latvia, there are approximately
20,000 individuals with vision impairment and blindness.
The visually impaired and blind community faces barriers to integration into society.
Fortunately, a solution has emerged in the form of audio description, a practice that
has been available globally for several decades. This transformative approach makes
films, pictures, TV series, performances, football matches accessible to those with
visual impairments. Across the Baltic region, initiatives have been undertaken to
incorporate audio description, reflecting a commitment to inclusivity. In Lithuania, the
first film with audio description was created in 2017. Estonia demonstrated its
dedication to accessibility in 2019. Latvia, joined this movement in 2022 with the
production of the first Latvian film featuring audio description, "Māsas" by Linda Olte.
In the same year the students of Baltic International Academy (Riga, Latvia)
audiodescribed a French silent film A Trip to the Moon directed by Georges Méliès.
In 2021, Baltic International Academy embarked on a groundbreaking initiative in
Latvia by introducing a new course centred around media accessibility. This
innovative course is meticulously designed to empower students with the requisite
expertise and acumen to actively participate in the realm of translation and
interpreting, with heightened emphasis on the sphere of media accessibility. The core
objective is to facilitate the adaptation of diverse media forms, including art exhibitions
and films, to cater to individuals with visual impairments. Central to this agenda is the
integration of audio description techniques, which play a pivotal role in enhancing
accessibility and fostering inclusivity. Through a strategic timeline spanning from
2021 to 2024, the rollout of five distinct audio description projects signifies a
concerted effort towards addressing the unique needs of individuals with visual
impairments and augmenting their engagement with various forms of media. In
summary, working on audio description projects provides students with a multifaceted
learning experience that goes beyond traditional translation tasks. It aligns with
various competences, offering valuable insights into service provision, interpersonal
dynamics, technological applications, translation strategies, and cultural awareness
within the context of accessibility.

Audio description is one of the sub-branches of audiovisual translation, which has achieved significant growth in recent years. The current study examined the description of characters' facial expressions of emotion in Persian audio described films. Facial expressions of emotions were initially analyzed based on Ekman and Friesen's (2003) model. Next, we designed a questionnaire based on the proposed model and asked 50 participants to answer the questions. It was found that 60.18% of the emotions were lost in translation. The most frequently described emotions were sadness, surprise, anger, happiness and fear, in that order. The results of the first and second phases were consistent since the participants mentioned that the description of emotions were insufficient.

Gedruckt auf säurefreiem, alterungsbeständigem Papier. www.frank-timme.de Cover illustration © Jon Anders Wiken -stock.adobe.com CC-BY-NC-ND To my family, and to all the COVID-19 victims, helpers and carers, who have been struggling selflessly while I had the duty and the privilege of staying home, and finishing this book.

Foreign language acquisition research has shown that spaced repetition and exposure to authentic materials can support vocabulary learning and retention and can reduce non-advanced learner's anxiety when working with authentic sources. However, there is limited research on this with highschool learners of Spanish as a foreign language. This study aims to replicate Johnson and Heffernan (2006) and examines whether a recycling methodology combining short readings and movie trailers improves engagement, vocabulary acquisition. Learners' confidence with authentic materials is also measured. This study utilized a pre/post-test design with 50 high-school students (Grades 9-12) at an international school in Qatar. Data were collected through a Spanish vocabulary performance test and a Likert-scale test for confidence before and after a two-week intervention. Paired-samples ttests were used for data analysis, and a checklist was used for engagement. Results showed a significant improvement in vocabulary performance and in learner confidence. The findings suggest that integrating readings, movie trailers, and spaced repetition in language courses can enhance vocabulary learning and learner confidence with authentic materials. Despite limitations related to engagement and school constraints, the study supports recycling methodologies and calls for longerterm and curriculum-integrated research.

In audiovisual translation (AVT) there may be an intralingual, interlingual, or intersemiotic transfer of audiovisual texts of multimodal nature that convey complex information through the visual and the acoustic communication channels. Occasionally the tactile channel may also convey haptic information in audiovisual products like videogames, as suggested by Mejías-Climent (2021). Through these channels, different encoded sign systems (linguistic, paralinguistic, musical, iconographic, graphic, mobility, haptic, among others) interrelate to create meaning. Although there are various ways of categorizing AVT typology (usually called modes), dubbing, subtitling, or audio description (AD), among others, are commonly regarded as examples of AVT modes. The latter, AD, is an AVT mode that aims to make audiovisual products and events accessible to blind or partially sighted users. Moreover, given the current development of AVT research, one of the emerging disciplines in this field, didactic audiovisual translation or DAT (Talaván, et al., 2024) will be addressed. Since DAT envisions AVT as a tool for language teaching and learning, this proposal will focus on the use of DAT to enhance students' understanding of linguistic variation, a challenging notion in AVT training and professional practice Chaume, 2012). Therefore, an exploratory study is proposed to use didactic audio description (DAD) so that Spanish-speaking Translation and Interpreting undergraduates learn about their mother tongue (L1) linguistic variation (specifically about register and dialect) in audiovisual contexts, thus, improving their linguistic skills as future audiovisual translators. To assess the viability of DAD for studying linguistic variation, the impact of incorporating original and manipulated ADs containing register and dialect markers was evaluated in relation to students' training and exam outcomes. For this purpose, §II explores AVT from a didactic perspective, §III focuses on linguistic variation and its impact on AVT, §IV

aprimoramento de cada uma das habilidades comunicativas do idioma. A discussão corrobora esses dados positivos e, em conclusão, este estudo fornece à comunidade educacional dados reais sobre práticas ativas e inovadoras para melhorar a competência de comunicação linguística, deixando em aberto a possibilidade de usar outros idiomas e outras modalidades de TAD para pesquisas futuras.

O presente artigo objetiva apresentar, considerando a escassez de pesquisas e diretrizes acerca da audiodescrição (AD) para o público infantil, o processo de audiodescrição do IaraApp, um aplicativo para o ensino de Ciências voltado a crianças de oito a dez anos. Durante o projeto, foram enfrentados diferentes desafios, como a definição da ordem de descrição dos elementos e o tamanho dos roteiros de AD, tanto de imagens estáticas quanto de imagens dinâmicas. Ao final do projeto, concluiu-se que estratégias como a padronização das descrições, a escolha cautelosa do vocabulário e o emprego de comparações ajudaram na produção das ADs.

This article aims to describe the methodology used to accessibilize visual arts exhibitions aimed mainly at visually impaired people. The methodology involves audio description, tactile photographs, and a tracking system. By means of two 40-hour workshops, audio description scripts that harmonized with the tactile pieces, planned simultaneously with the preparation of the scripts, were discussed. Participated in the
research project researchers in the areas of audio description, museology, and computational design. The methodology is being tested, with the mounting of an exhibition at the Museum of Photography by researchers from UECE and UFC. The project’s blind consultant assessed the interaction between the three accessibility resources as positive. The audio description allowed the identification of the elements,
the tactile piece, its distribution, and the tracking allowed her autonomy to create her mental images.

"Accessibilità audiovisiva e inclusione: prospettive socioculturali" is a transnational and interdisciplinary volume that examines how accessibility can be systematically integrated into the domains of communication, education, culture, and health. Rather than viewing accessibility as a compensatory measure, the volume frames it as a structural principle and a cultural right, underscoring its significance in eliminating barriers to audiovisual content and fostering inclusive public participation. Comprising twelve chapters written by scholars and professionals in audiovisual translation, pedagogy, linguistics, cultural mediation, healthcare, and sensory accessibility, the volume offers a rich array of theoretical perspectives, empirical studies, and applied case analyses. Topics addressed include accessible assessment for students with learning disabilities, the role of audiovisual translation in higher education, inclusive pedagogical practices, assistive technologies, accessibility in museum settings, and the evolving professional landscape of sign language interpreters. The volume underscores the critical importance of proactively designing environments and content that are universally accessible, thereby avoiding the need for post hoc modifications. Drawing upon key international frameworks such as the United Nations Convention on the Rights of Persons with Disabilities (2006), it calls for a paradigmatic shift – from conceiving inclusion as an exception to recognizing it as the normative standard. This publication makes a meaningful contribution to ongoing debates on media accessibility and inclusive practices across multiple sectors. It encourages interdisciplinary dialogue and seeks to inspire educators, professionals, policymakers, and researchers to reimagine their strategies through an ethical and transformative lens. As the volume reminds us: “NULLA SU DI NOI SENZA DI NOI”.

This article details the development of a computational patch designed for real-time processing in the composition of Chronos IIIc, originally written by Brazilian composer Roberto Victório for solo cello. In this version, the piece incorporates an additional layer of electronic elements. Initially, we provide a historical and structural analysis of Victório's compositional project. Following that, we explore the functioning of Somax2, a computational system dedicated to real-time improvisation embedding reactive multi-agent interaction and an AI model based on machine listening and statistical learning. Building on this understanding, we present the process of electronic realization of the piece, investigating how the parameterizations of available modules can replicate the interactions envisioned by the composer between the cello and

This study focuses on the linguistic and socio-cultural components in the translation process of Japanese humour. The cultural apparatus plays a key role in the development of humour exchanges but is still insufficiently explored. Heydon and Kianbakht (2020) argue that there is no greater challenge than to deal in translation with references directly related to cultural aspects of other, often distant and different languages. All of this contributes to historical theories on the untranslatability of humour (Delabastita 1994), even though more recent research favours a predominantly functional approach especially in the field of audiovisual translation (Dore 2020). In this context, this study, in addition to providing a brief examination of the main characteristics of Japanese-made humour-an area almost unexplored by previous studies-has the primary aim of intercepting the rendering in English subtitles of culture-specific references (CSRs) in the Japanese comedy programme Hitoshi Matsumoto presents Dokyumental. The programme counts thirteen seasons, but now only two are available in translation on the Amazon Italia platform. In particular, I try to analyse the strategies adopted by the translator to convey a type of humour that often significantly transcends Western canons (Davis, 2006; Swan, 2022b). As Ranzato (2010: 42) points out, the problem of cultural references has not been exhaustively explored in the context of audiovisual translation yet. Although research in cultural references has been fruitful in the recent years, the statement of Ranzato remains valid for what concerns the Japanese context. This is why the present study may prove significant in the fields of Audiovisual Translation Studies, Humour Studies and Japanese Studies.

In 2006, the National Association of the Deaf (NAD) received entered into a new five-year $7.5 million cooperative agreement with the U.S. Department of Education (ED) for management of the Described and Captioned Media Program (DCMP). The American Foundation for the Blind has partnered with NAD on this project and leads an activity to develop and validate guidelines for creating educational video description. Video description refers to an additional narration track for blind and visually impaired viewers of educational media that supplements the audio track with explanatory information about characters, plot, scenery, and action. An extensive literature review was the first step in developing guidelines and documenting best practice in video description. This report presents the results of that review and documents the scientifically-based evidence available to support descriptive video practices with children and youth who are visually impaired.

En partant du concept de dismédiation, issu des disability studies anglophones, cet article met en relation la théorie des média et du handicap dans le champ cinématographique, en tentant d’ouvrir une perspective poétique des technologies d’accessibilité. En renversant nos hiérarchies phénoménologiques, nos habitudes rhétoriques et les conceptions des média qui les véhiculent, nous tentons d’esquisser ce que pourrait être un cinéma aveugle si nous prenions le parti dismédiatique de ne pas y entendre un oxymore.

This article examines the accessibility of theater performances for Deaf audiences in Slovakia, with a main focus on the provision of Theater Sign Language Interpreting (TSLI). Drawing on analysis of current access strategies, the authors highlight examples of good practice aligned with more user-centred, inclusive and participatory access-provision models. Based on the results of an exploratory qualitative research interview with the  key representative of  the  Deaf community involved in their development in the country, the main principles within these strategies are
identified. Through this exploration, the article advocates for further enhancement of integrated and inclusive access strategies in Slovak theaters and further reveals the characteristics as well as the potential of professional TSLI.

Audio description (also known as audio commentary for the visually
impaired) is an important tool for creating a barrier-free environment in var-
ious spheres of life, including science, culture, art, and sports. The demand
for audio description is growing every day, yet the number of trained spe-
cialists is insufficient to fully meet this need. At the same time, the rapid
development of information technologies, particularly computer vision
technologies, inspires cautious optimism and allows for the consideration of
neural networks as a means of automating the audio description process.

Dnia 4 lutego 2017 r. w Londynie odbyła się międzynarodowa konferencja branżowa poświęcona przekładowi prawnemu i prawniczemu pt. Words to Deeds 2017. Legal translation to the next level, którą zorganizowała dr Juliette Scott, autorka poczytnego bloga Words to Deeds (). Konferencja odbyła się w pięknym historycznym budynku adwokatury brytyjskiej The Honourable Society of Gray's Inn. To kolejna w ciągu dwóch ostatnich lat międzynarodowa konferencja poświęcona zagadnieniom przekładu prawnego i prawniczego -po dużej konferencji naukowej Transius w 2015 r. (Conference on Law, Translation and Culture, Uniwersytet Genewski, Szwajcaria) oraz konferencji w Sewilli w 2016 r. (From Legal Translation to Jurilinguistics: Interdisciplinary Approaches to the Study of Language and Law, Universidad Pablo de Olavide, Sewilla, Hiszpania). To, co odróżniało tę konferencję, to jej charakter branżowy i formuła szkoleniowo-zawodowa. Konferencja Words to Deeds była skierowana głównie do praktykujących tłumaczy, a wśród prelegentów znaleźli się naukowcy, prawnicy oraz tłumacze. Konferencję otworzyła krótka prelekcja Eleanor V. E. Sharpston, QC, rzecznik generalnej w Trybunale Sprawiedliwości Unii Europejskiej oraz wykład plenarny adwokat Susan Belgrave pt. "Lawyers and linguists: more in common than a love of language?". Obie prelegentki podkreśliły wagę współpracy między prawnikami i tłumaczami. W ostatniej prelekcji w sesji porannej pt. "Why insist on a translation brief?" Juliette Scott przedstawiła wyniki badania ankietowego nad specyfikacją tłumaczenia, które przeprowadziła na potrzeby swojej rozprawy doktorskiej. Według badania tylko 9% tłumaczy dostaje od klientów informację o celu tłumaczenia, natomiast zaledwie 6% jest informowanych o odbiorcach tłumaczenia. Dr Scott zaapelowała do tłumaczy, aby domagali się od klientów specyfikacji tłumaczenia.

Language Value seeks to become a scholarly arena for the exploration of the attitudes and values conveyed by users of the English language in different contexts and situations. Scholars, teachers and researchers interested in this topic are welcome to submit their proposals. The journal also accepts discussion articles, which present criticisms of articles previously published in the journal and are subject to the same review process as the rest of the articles. General comments are not accepted. The discussion articles should make a significant contribution to the works already published and should provoke debate between authors and readers. Monographic issues within the scope of the journal are also welcome. The journal also publishes book reviews and multimedia material in the field of applied linguistics and discourse analysis. If you wish to send a copy of the volume or product for the journal to publish a review, please contact the editors. Language Value, the first online magazine published by the Universitat Jaume I, is published by the Department of English Studies at least once a year in the third quarter. All research articles in this journal follow a rigorous double-blind peer review.

Advances in Information and Communication Technology (ICT) have significantly influenced second language (L2) learning by increasing access to English through digital media. This study investigates the evolving role of audiovisual input among 91 prospective primary-school teachers in Spain, a traditionally dubbing country. Employing a mixed-methods approach, it examines participants' preferences for viewing English-language media with interlingual (Spanish) versus intralingual (English) subtitles or no subtitles at all, as well as their motivations for doing so. Results showed a marked preference for subtitled content, with significant differences between the two modalities. The main reasons provided were driven by a desire to improve comprehension and specific language skills, such as vocabulary, pronunciation, grammar, and spelling. Participants also viewed audiovisual input as a source of increased motivation and a means to acquire conversational English suited to informal contexts. These findings reflect evolving media consumption patterns in dubbing contexts and highlight the pedagogical value of incorporating subtitled media for L2 learning.

With an increasing amount of information that needs to be adapted for people with special cognitive needs, a serious shortage of specialists is observed. Therefore, the development of software for automatic and automated audio description is of particular relevance. This paper  suggests ways to use artificial intelligence to write audio description and create a dataset for automatic audio description

Streaming platforms have marked a watershed in today’s film industry, revolutionising mainstream TV distribution systems and reshaping viewers’ consumption habits (Jenner, 2018; Pedersen, 2018). Users are now holding the reins of their own entertainment experience and enjoy relatively more freedom in deciding when, where and how to view media products. The way in which this new reality is impacting audiovisual translation (AVT) and media accessibility (MA) with respect to producers, practitioners, audiences and workflows is worth bringing into focus. 
The global success of subscription-based services—such as Netflix, HBO Max, Amazon Prime, Hulu and Disney+—has brought with it a growing demand for localised content, substantially increasing the availability of audiovisual products translated into multiple languages through captioning and revoicing techniques (Chaume, 2019). According to Los Angeles Times, in 2021 Netflix released 5 million minutes of dubbed programming and subtitled 7 million minutes (Lee, 2022). Localisation has thus become a game changer for streaming companies wishing to attract a wider audience and to lead an international market that is no longer dominated by English-language originals (Hayes, 2021). As a matter of fact, many of the latest most-watched on-demand series are non-English shows from South Korea (Squid Game), France (Lupin) or Spain (La Casa de Papel), to name but a few. This new AVT landscape has exerted a dramatic impact on localisation demands and trends such as the rise in the consumption of dubbed material in English-speaking markets (Chaume, 2018; Ranzato & Zanotti, 2019; Hayes, 2021; Sánchez-Mompeán, 2021; Spiteri Miggiani, 2021) or the faster speed at which fan-based translations are being generated to anticipate professionally released versions (Díaz-Cintas, 2018; Dwyer, 2021).
The surge in the popularity of AVT and MA practices has favoured the expansion of non-local productions beyond their language barriers, but it has also left translated content increasingly prone to comparisons and criticism due to the relative easiness of access to the different localised versions. Although negative comments are not always justified, especially when disregarding the nature of translation and the constraints attached to it (Orrego-Carmona, 2021), some have served to fight for higher quality levels, up-to-date conventions and better working conditions (Spiteri Miggiani, 2021, 2022), thus turning AVT and MA into hot topics of discussion nowadays.
Notwithstanding that the work of translators seems to be gradually raising its visibility in society, the challenges faced by practitioners as well as the dominant trends in the production and consumption of localised content for over-the-top platforms and the current technological developments such as cloud-based localisation services (Bolaños-García-Escribano & Díaz-Cintas, 2020; Chaume & de los Reyes Lozano, 2021; Georgakopoulou, 2021) are still unexplored from the point of view of academic research and practice.

1670 AS A "NEW GENERATION SERIES" IN RUSSIAN TRANSLATION The article discusses the Russian subtitles for the Polish comedy series 1670 (Netflix), considering it an example of a "new generation series." The translation strategy is analyzed, with particular emphasis on the rendering of humour, intertextual references, and cultural elements. The author notes the higher reading speed of subtitles on streaming platforms compared to traditional media, which allows for less modification of the source text (text loss at approx. 9%). As the analysis shows, the series' translator adopted a strategy of faithful cultural transfer, preserving Polish realities, names, and language games, while refraining from adaptation. This approach is suitable for active viewers who independently seek context online. On the one hand, it allows for preserving the original style and some of the humour; on the other hand, it carries the risk of local allusions being misunderstood and some linguistic-visual gags being lost. The article thus highlights the evolution of audiovisual translation in the context of new media and shifting reception practices.

In the following article I consider a catalog of audio description porn videos available on the online adult entertainment platform Pornhub. Attending to the visual and aural elements of the original source video and their simultaneous narration in the audio descriptive tracks, I argue that this transcription offers us, the viewer/auditor, an ekphrastic encounter with the pornographic moving image mediated by the acousmatic gendered voice of the audio describer. While academic scholarship on pornography informs my discussion of the source videos, theories of ekphrasis ranging from its usage in Ancient Greek rhetoric, to its formulation in twentieth-century anglophone literary theory, and finally to its application in digital visual culture, will underpin my analysis of the audio description. Through ekphrasis I ultimately distinguish the audio description of pornography as a creative genre in its own right, as well as offer an extensive and interdisciplinary approach that extends beyond the recursive or self-reflexive lens of porn studies scholarship, and newly positions hardcore film pornography within a larger body of academic inquiry in conversation with epic poetry and art history.

Paulina Burokaitė-Grabauskienė gimė 1896 m. rugsėjo 8 d. Girvalakių kaime, dabartiniame Kupiškio rajone. Apie jos vaikystę išlikę nedaug duomenų-žinoma, kad tėvai Juozas ir Ieva buvo valstiečiai, valdę nedidelį ūkį. Pirmosios išsamesnės žinios apie Paulinos gyvenimą siekia 1916-uosius metus. Tų metų gegužės 22 d. ji baigė septynių klasių kursą O. G. Krotovos mergaičių gimnazijoje Sankt Peterburge ir įgijo teisę dirbti pradžios mokyklų mokytojos pareigose. 1 Siekdama aukštesnio išsilavinimo, ji įstojo į Latvijos fizinio lavinimo institutą, kurį baigė 1925 m. kovo mėnesį. Iškart po to tęsė mokslus Švedijos medicininės mankštos ir masažo mokykloje, veikusioje Rygoje. 2 1927 m. Paulina Burokaitė-Grabauskienė aktyviai įsitraukė į Latvijos lietuvių bendruomenės veiklą ir tapo Latvijos lietuvių "Tėvų" draugijos valdybos nare. Dalyvavimas šioje ir kitose Latvijos lietuvių įsteigtose organizacijose ilgainiui tapo svarbia P. Burokaitės-Grabauskienės gyvenimo dalimi. Nuo 1930 m. balandžio mėnesio P. Burokaitė-Grabauskienė dirbo Kalkūnų latvių pagrindinėje mokykloje, kurioje veikė ir lietuvių mokinių skyrius. 3 Šioje mokykloje ji vedė pamokas įvairių tautybių vaikams, o lietuvių skyriuje, kuriame tuo metu mokėsi 40 mokinių, dėstė gimtąją kalbą. 4 Tačiau mokytojos veikla Kalkūnų mokykloje neapsiribojo vien mokytojavimu. P. Burokaitė-Grabauskienė aktyviai prisidėjo ir prie mokyklos kultūrinio gyvenimo-vadovavo mokinių chorui, organizavo įvairius meninius pasirodymus, spektaklius ir šventes. Vienas pirmųjų jos inicijuotų renginių buvo "Tėvų diena", surengtas 1930 m. lapkričio mėnesį. 5 Spaudoje apie šį renginį buvo rašyta: "Programa buvo įvairi. Visi turėjo didelio pasisekimo,

ABSTRACT
This doctoral thesis addresses the possibility of providing a more immersive audio description (AD) by combining objective and subjective descriptions. To this end, the research is structured into two parts: a first descriptive phase and a second experimental phase. In the first descriptive phase, an AD corpus is compiled to detail what sign systems, modes, or meaning codes configurate AD scripts. According to the initial descriptive data, AD mainly relies on four sources of information: movement, iconography, spatiotemporal changes, and graphic elements. Based on this data, the descriptive phase also aims to identify whether ADs are objective or subjective in the corpus. The descriptive results indicate that objectivity and subjectivity coexist in ADs. Subsequently, in the experimental phase, the first goal is to analyze sighted participants’ attention patterns recorded using an eye-tracking device in order to propose an alternative experimental AD script. According to the results, the sign systems or meaning codes detected by the eye-tracker are the same as those identified in the AD corpus. However, there appears to be a systematic attention bias: spatiotemporal changes attract participants’ gaze most frequently, followed by movement, iconography, and lastly, textual elements on screen. Finally, the experimental phase employs a heart rate sensor on partially sighted participants to analyze which combination of objective and subjective descriptions results in a more immersive experience for users. Based on the results, it is proposed that an immersive AD is possible through the objective description of graphic elements, the subjective description of spatiotemporal changes, and a combination of both objective and subjective descriptions of movement and iconography.

Este estudio investiga las medidas de accesibilidad que ofrecen los teatros de Valencia para las personas con discapacidad sensorial durante la temporada 2023-2024. Para ello, se exploraron 26 teatros de la ciudad con el objetivo de describir si ofrecen representaciones accesibles y mediante qué servicios propios de la traducción audiovisual y la accesibilidad (subtitulación, audiodescripción o interpretación en lengua de signos). Igualmente, comprobamos si disponen de otras medidas de accesibilidad, por ejemplo, en relación con la reserva de butacas, la movilidad por el edificio, los programas adaptados, etc., y si sus webs recogen su posible oferta accesible con claridad. Para recabar los datos, se hizo un análisis de las webs y se consultó con los teatros. Los resultados apuntan a una oferta accesible limitada en lo referido a la adaptación de contenidos y prácticamente inexistente de otros servicios de accesibilidad relacionados con la experiencia de ir al teatro.

Audio description as a subcategory of revoicing in audiovisual translation enables blind and visually impaired to access to audiovisual contents. The description of essential visual elements becomes challenging when dealing with emotion and facial expressions/features in movies as they can covey important narrative points. The present study aims to assess the extent to which character emotions expressed through facial xpressions and nonverbal behavior were conveyed, particularly in the scenes that had a crucial impact on the comprehension of the audience regarding the storyline. To investigate this, a total of 139 scenes from three episodes of the series Tasiyan were analyzed. These scenes of the episodes contained facial expressions and nonverbal behavior that conveyed emotions and directly influenced the plot. The scenes of the episodes were extracted and categorized according to Lazarus's (1991) emotion classification system (Anger, anxiety, guilt, shame, etc.) and Ekman and Friesen's (1976) facial action code; subsequently, their audio descriptions on the Filmio platform were examined to determine whether the emotional content was adequately described or omitted. The analysis revealed that 52 scenes were audio-described, while 87 scenes conveying intense emotions through facial expressions and nonverbal behavior were left without description. The omission of such descriptions in 87 out of 139 scenes may hinder the comprehension of visually impaired or blind audience. The research emphasizes the importance of considering the needs of audience regarding emotional intensity of characters' facial expressions and nonverbal behavior.