LEADER 05691nam 2200709 450 001 9910463813803321 005 20200903223051.0 010 $a90-272-6942-4 035 $a(CKB)2670000000571621 035 $a(EBL)1813938 035 $a(SSID)ssj0001349516 035 $a(PQKBManifestationID)12502971 035 $a(PQKBTitleCode)TC0001349516 035 $a(PQKBWorkID)11398913 035 $a(PQKB)10219021 035 $a(MiAaPQ)EBC1813938 035 $a(Au-PeEL)EBL1813938 035 $a(CaPaEBR)ebr10953792 035 $a(CaONFJC)MIL651868 035 $a(OCoLC)893333163 035 $a(EXLCZ)992670000000571621 100 $a20141025h20142014 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 00$aAudio description $enew perspectives illustrated /$fedited by Anna Maszerowska , Anna Matamala, Pilar Orero 210 1$aAmsterdam, Netherlands ;$aPhiladelphia, Pennsylvania :$cJohn Benjamins Publishing Company,$d2014. 210 4$dİ2014 215 $a1 online resource (224 p.) 225 1 $aBenjamins Translation Library,$x0929-7316 ;$vVolume 112 300 $aDescription based upon print version of record. 311 $a90-272-5852-X 311 $a1-322-20588-4 320 $aIncludes bibliographical references at the end of each chapters and index. 327 $aAudio Description; Editorial page; Title page; LCC data; Dedication page; Table of contents; Introduction. From source text to target text ; 1. The project ; 2. The partners ; 3. The book ; 4. The film ; 5. The chapters ; References ; Film references ; Chapter 1. Audiointroductions ; 1. Literature review ; 2. Audiointroduction for Inglourious Basterds ; 3. Strategies ; 3.1 The process ; 3.2 Characters ; 3.3 Locations ; 3.4 Visual style ; 3.5 Background information ; 3.6 Synopsis ; 3.7 Putting it all together ; 4. Language ; 5. Conclusions and suggestions for further research ; References 327 $aFilm references Chapter 2. Intertextuality ; 1. Introduction ; 2. Verbal intertextuality and Inglourious Basterds ; 3. Nonverbal intertextuality and Inglourious Basterds ; 4. Context of situation and context of culture ; 5. Author intent and audience interpretation ; 6. Intertextuality and Tarantino ; 7. Conclusion ; References ; Film references ; Chapter 3. Textual cohesion ; 1. Theoretical introduction ; 2. Inglourious Basterds. Initial comments ; 3. Audio description of Inglourious Basterds ; 4. Another example text - The English Patient ; 5. A longer perspective ; 6. Conclusion 327 $aReferences Film references ; Appendix 1. Original screenplay of The English Patient ; Appendix 2. Long-term cohesion in continuous and discontinuous phases (Inglourious Basterds) ; Chapter 4. Spatio-temporal setting ; 1. Introduction ; 2. Examples: Analysis ; 3. Theory and bibliography ; 3.1 Literature on the audio description of spatio-temporal settings ; 3.2 The narratological take on spatio-temporal settings for AD ; 3.3 The basic components of spatio-temporal settings ; 3.4 The construction of spatio-temporal settings by the author 327 $a3.5 The reconstruction of spatio-temporal settings by the audience 4. A possible strategy for audio describing spatio-temporal settings ; 5. The language ; 6. Conclusion ; References ; Film references ; Chapter 5. Film language and tools ; 1. Introduction ; 2. Analysis of the examples ; 2.1 Aesthetic breaks ; 2.2 Split screen ; 2.3 Sharp scene cuts ; 2.4 Parallel editing ; 2.5 Close-ups ; 2.6 Slow motion ; 2.7 Camera pedding ; 3. Theory and bibliography ; 4. AD strategies: Alternative possibilities ; 4.1 Aesthetic breaks ; 4.2 Split screen ; 4.3 Sharp scene cuts ; 4.4 Parallel editing 327 $a4.5 Close-ups 4.6 Slow motion ; 4.7 Camera pedding ; 5. Concluding remarks ; References ; Film references ; Chapter 6. Audio describing text on screen ; 1. Text on screen in Inglourious Basterds: An introduction ; 2. Text on screen in audio description: Guidelines and research ; 3. Text on screen and AD: Possible strategies ; 3.1 Logos and credits ; 3.2 Inserts or superimposed titles ; 3.3 Various types of text on screen ; 3.4 Subtitles ; 4. Conclusions ; References ; Film references ; Chapter 7. The importance of sound for audio description ; 1. Introduction ; 2. The opening scene 327 $a3. AD as a type of audiovisual translation 330 $aAudio description (AD) is a narrative technique which provides complementary information regarding the where, who, what and how of any audiovisual content. It translates the visuals into words. The principal function of this ad hoc narrative is to make audiovisual content available to all: be it a guided city tour of Barcelona, a 3D film, or a Picasso painting. Audio description is one of the younger siblings of Audiovisual Translation, and it is epigonic to the audiovisual translation modality chosen. This book is the first volume on the topic written in English and it brings together an inte 410 0$aBenjamins translation library ;$vVolume 112. 606 $aAudio-visual materials$xTranslating 606 $aBlind$xAudio-visual aids 606 $aMass media and language 608 $aElectronic books. 615 0$aAudio-visual materials$xTranslating. 615 0$aBlind$xAudio-visual aids. 615 0$aMass media and language. 676 $a302.2301/4 702 $aMaszerowska$b Anna 702 $aMatamala$b Anna$f1973- 702 $aOrero$b Pilar 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910463813803321 996 $aAudio description$91941135 997 $aUNINA