Chapter published in:
Audio Description: New perspectives illustrated
Edited by Anna Maszerowska, Anna Matamala and Pilar Orero
[Benjamins Translation Library 112] 2014
► pp. 81102
References

References

AENOR
2005Norma UNE 153020. Audiodescripción para personas con discapacidad visual. Requisitos para la audiodescripción y elaboración de audioguías [Audio description for visually impaired people. Guidelines for audio description procedures and for the preparation of audio guides]. Madrid: AENOR(English version in Rai, Greening and Petré 2010, Annexe 1).Google Scholar
Audio Description: Lifelong Access for the Blind (ADLAB)
2013Report on Text Analysis and Development. Report no. 2, ADLAB Project. Accessed March 20, 2013. http://​www​.adlabproject​.eu/.Google Scholar
Audio Description Project (An Initiative of the American Council of the Blind, Formerly AD International) (ADP)
2009 Accessed March 20, 2013. http://​www​.acb​.org​/adp​/adi​.html.
Bardini, Floriane
2013“Audio Description of Cinematographic Language: A Comparative Study of Several Describers’ Approaches.” Paper presented at the 4th Advanced Research Seminar on Audio Description, Barcelona, Spain, March 13–14, 2013.
Barsam, Richard
2007Looking at Movies. An Introduction to Film. New York: W. W. Norton & Company.Google Scholar
Bellamy, Jason, and Ed Howard
2009 “The Conversations: Quentin Tarantino (Part 2).” Accessed February 4, 2014. http://​www​.slantmagazine​.com​/house​/2009​/02​/the​-conversations​-quentin​-tarantino​-part​-2.
Benecke, Bernd, and Elmar Dosch
2004Wenn aus Bildern Worte werden. Durch Audio-Description zum Hörfilm [When pictures become words – creating talking movies with audio description]. Munich: Bayerischer Rundfunk.Google Scholar
Bertolino, Marco
2009“Da Bastards a Basterds.” Cineforum 489: 13–14.Google Scholar
Bianchi, Pietro
2009“Quentin e… Sigmund.” Cineforum 489: 10–12.Google Scholar
Bordoni, Andera, and Matteo Marino
2009“La vendetta: un piatto che va consumato caldo” [Revenge: A dish best eaten hot]. Cineforum 489: 7–9.Google Scholar
Braun, Sabine
2007“Audio Description from a Discourse Perspective: A Socially Relevant Framework for Research and Training.” Linguistica Antverpiensia New Series 6: 357–369.Google Scholar
Busarello, Eraldo, and Fabio Sordo
2011Manuale per aspiranti audio descrittori di audiofilm per non vedenti [Manual for would-be audio describers of audiofilms for the blind]. Scurelle (TN): Cooperativa Sociale Senza Barriere ONLUS.Google Scholar
Casetti, Federico, and Francesco di Chio
2009Analisi del film [Film analysis]. 16th ed. Milano: Bompiani.Google Scholar
The Described and Captioned Media Program (DCMP)
2008Description Key: One of the DCMP’s Keys to Access. U.S. Department of Education: The Described and Captioned Media Program. Accessed February 4, 2014. http://​www​.descriptionkey​.org/.Google Scholar
De Beni, Rossana, and Cesare Cornoldi
1985“The Effects of Imaginal Mnemonics on Congenitally Totally Blind and on Normal Subjects.” In Imagery, ed. by David F. Marks, and David G. Russel, 54–59. Dunedin, New Zealand: Human Performance Associates.Google Scholar
Dell’Orto, Mariapaola
2012 “Tradurre per l’accessibilità. audiodescrizione e audiointroduzione del film Slumdog Millionaire ” [Translating for accessibility: audio description and audio introduction of Slumdog Millionaire ].” MA diss., University of Trieste, Italy.
Dima, Vlad
2009“Tarantino’s Inglourious Basterds 1. Film Kills.” Bright Lights Film Journal 66. Accessed February 4, 2014. http://​brightlightsfilm​.com​/66​/66ig1dima​.php.Google Scholar
Emerson, Jim
2010a“Cutting the Basterds.” [Web log post] Scanners: Blog, October 2. Accessed February 4, 2014. http://​www​.blogs​.suntimes​.com​/scanners​/2010​/10​/cutting​_the​_basterds​.html.Google Scholar
2010b“Cutting the Basterds.” [Video file] Scanners: Blog, October 2. Accessed February 4, 2014. http://​www​.blogs​.suntimes​.com​/scanners​/2010​/10​/cutting​_the​_basterds​.html.Google Scholar
Foundas, Scott
2009“Kino über Alless.” Film Comment 45 (4): 28–33.Google Scholar
Frasca, Giampiero
2009“L’universo in una stanza.” Cineforum 489: 15–16.Google Scholar
Fryer, Louise
2010“Directing in Reverse.” In The Changing Face of Translation, Proceedings of the 9th Annual Portsmouth Translation Conference, ed. by Ian Kemble, 63–72. Portsmouth: University of Portsmouth.Google Scholar
Fryer, Louise, and Jonathan Freeman
2012a“Presence in Those with and without Sight: Implications for Virtual Reality and Audio Description.” Journal of CyberTherapy and Rehabilitation 5 (1): 15–23.Google Scholar
2012b“Cinematic Language and the Description of Film: Keeping AD Users in the Frame.” Perspectives: Studies in Translatology 21 (3): 412–426. CrossrefGoogle Scholar
Garsoffky, Bärbel, Markus Huff, and Stephen Schwan
2007“Changing Viewpoints during Dynamic Events.” Perception 36 (3): 366–374. CrossrefGoogle Scholar
Georgakopoulou, Yota
2008“Audio Description Guidelines for Greek: A Working Document.” In A Comparative Study of Audio Description Guidelines Prevalent in Different Countries, ed. by Sonali Rai, Joan Greening, and Leen Petré (2010), 105–108. London: Media and Culture Department, Royal National Institute of Blind People (RNIB).Google Scholar
Gonant, Frédéric, and Laure Morisset
2008La charte de l’audiodescription [The audio description chart]. Accessed February 4, 2014. http://​www​.social​-sante​.gouv​.fr​/IMG​/pdf​/Charte​_de​_l​_audiodescription​_300908​.pdf.Google Scholar
Grissemann, Stefan
2009“The Good Bad Nazi.” Film Comment 45 (4): 34–35.Google Scholar
Haig, Raina
2005 “Audio Description: Art or Industry?” Accessed February 4, 2014. http://​www​.rainahaig​.com​/pages​/AudioDescriptionAorI​.html.
Holland, Andrew
2013“Matter or Meaning? The Use of Description in Museums and Galleries.” Paper presented at the 4th Advanced Research Seminar on Audio Description , Barcelona, Spain, March 13–14, 2013.
Huckin, Thomas, and James Coady
1999“Incidental Vocabulary Acquisition in a Second Language: A Review.” Studies in Second Language Acquisition 21 (2): 181–193. CrossrefGoogle Scholar
Independent Television Comission (ITC)
Ingrassia, Paul
2009 “The Split-Screen Aesthetic: Connecting Meaning between Fragmented Frames.” MA diss., Montana State University, Bozeman, Montana.
Jiménez, Catalina, Ana Rodríguez, and Claudia Seibel
2010Un corpus de cine. Teoría y práctica de la audiodescripción [A cinema corpus: Audio description theory and practice]. Granada: Tragacanto.Google Scholar
Kost, Claudia, Pamelo Foss, and John Lenzini
1999“Textual and Pictorial Glosses: Effectiveness on Incidental Vocabulary Growth when Reading in a Foreign Language.” Foreign Language Annals 32 (1): 89–113. CrossrefGoogle Scholar
Kruger, Jan Louis
2010Audio narration: Re-narrativising film. Perspectives: Studies in Translatology 18 (3): 231–249. CrossrefGoogle Scholar
Kuhn, Annette, and Guy Westwell
2012Oxford Dictionary of Film Studies. Oxford: Oxford University Press. CrossrefGoogle Scholar
Magny, Joel
2004Il punto di vista. Dalla visione del regista allo sguardo dello spettatore [Point of view. From the director’s vision to the viewer’s]. Turin: Lindau.Google Scholar
Maszerowska, Anna
2012“Casting the Light on Cinema – How Luminance and Contrast Patterns Create Meaning”. MonTI 4: 65–85. CrossrefGoogle Scholar
Media Access Australia (MAA)
Menke, Sally
2009“Quentin Tarantino and I clicked.” The Observer , December 6. Accessed February 4, 2014. http://​www​.guardian​.co​.uk​/film​/2009​/dec​/06​/sally​-menke​-quentin​-tarantino​-editing.Google Scholar
Messaris, Paul
2008The Language of Movies. Notes for educational classroom purposes. Michigan, MI: Yaffe Center, University of Michigan’s Ross School of Business.Google Scholar
Mjschneider
2009 “Inglourious Basterds. d. Quentin Tarantino, 2009”. Catecinem, March 20. Accessed February 4, 2014. http://​www​.catecinem​.wordpress​.com​/2011​/03​/20​/inglourious​-basterds/.Google Scholar
Monaco, James
2009How to Read a Film. Movie, Media and Beyond. 4th ed. Oxford: Oxford University Press.Google Scholar
Nation, Paul
2001Learning Vocabulary in Another Language. Cambridge: Cambridge University Press. CrossrefGoogle Scholar
Neves, Joselia
2011Guia de audiodescrição. Imagens que se ouvem [Audio description guide: Images that are heard]. Leiria: Instituto Politécnico de Leiria.Google Scholar
Ofcom
Orero, Pilar
2008“Audio Description Behavior: Universals, Regularities and Guidelines.” International Journal of Humanities and Social Science 2 (17): 195–202.Google Scholar
Pinel, Vincent
2004Il montaggio. Lo spazio e il tempo del Film [Montage: Film space and time]. Turin: Lindau.Google Scholar
Rai, Sonali, Joan Greening, and Leen Petré
2010A Comparative Study of Audio Description Guidelines Prevalent in Different Countries. London: Media and Culture Department, Royal National Institute of Blind People (RNIB).Google Scholar
Remael, Aline, and Gert Vercauteren
2011 “Basisprincipes voor audiobeschrijving voor televisie en film” [Basics of audio description for television and film].” Workshops AD 2013 . Antwerp: Departement Vertalers and Tolken, Artesis Hogeschool.
Snyder, Joel
2007“Audio Description: The Visual Made Verbal.” The International Journal of the Arts in Society 2: 99–104.Google Scholar
Tarantino, Quentin
2008 “Inglourious Basterds”. Film script.
Teasley, Alan, and Ann Wilder
1997Reel Conversations: Reading Films with Young Adults. Portsmouth: Heinemann.Google Scholar
Vecchi, Tomaso
1998“Visuo-Spacial Imagery in Congenitally Totally Blind People.” Memory 6 (1): 91–102. CrossrefGoogle Scholar
Vercauteren, Gert
2012 “Guided by Sound and Light. How do Film Techniques Guide our Attention in Film Processing”. Paper presented at the 25th Cats Conference, Victoria, BC, May 31, 2012.
Walter, Richard
2010Essentials of Screenwriting: The Art, Craft, and Business of Film and Television. New York: Plume.Google Scholar
Wohl, Michael
2008“The Language of Films”. Ken Stone’s Final Cut Pro Website, June 30. Accessed February 4, 2014. http://​www​.kenstone​.net​/fcp​_homepage​/language​_of​_film​.html.Google Scholar
Cited by

Cited by 2 other publications

Lopez, Mariana, Gavin Kearney, Krisztian Hofstädter & Gianluca Balla
2020. Enhancing audio description: accessible filmmaking, sound design and the importance of educating filmmakers. Media Practice and Education 21:4  pp. 289 ff. Crossref logo
Maszerowska, Anna
2015. Highlight the lights: Towards strategies for audio describing lighting in film. Perspectives 23:3  pp. 406 ff. Crossref logo

This list is based on CrossRef data as of 02 may 2021. Please note that it may not be complete. Sources presented here have been supplied by the respective publishers. Any errors therein should be reported to them.