Part of
Audio Description: New perspectives illustrated
Edited by Anna Maszerowska, Anna Matamala and Pilar Orero
[Benjamins Translation Library 112] 2014
► pp. 199212
References (34)
References
AENOR. 2005. Norma 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.Google Scholar
Braun, Sabine. 2011. “Creating Coherence in Audio Description.” Meta 56 (3): 645–662. DOI logoGoogle Scholar
Cabeza-Cáceres, Cristóbal. 2013. “Audiodescripció i recepció. Efecte de la velocitat de narració, l’entonació i l’explicitació en la comprensió fílmica” [Audio description and reception. The effect of speed of narration, intonation and explicitation in film comprehension]. PhD diss., Universitat Autònoma de Barcelona.
Chafe, Wallace. 1980. The Pear Stories: Cognitive, Cultural and Linguistic Aspects of Narrative Production. Norwood, NJ: Ablex.Google Scholar
Dávila, Josep, and Pilar Orero. Forthcoming. “Audio Description Washes Brighter? A Study in Brand Names and Advertising.” Translation Studies.
Di Giovanni, Elena. 2014. “Visual and Narrative Priorities of the Blind and Non-blind: Eye Tracking and Audio Description.” Perspectives: Studies in Translatology 22 (1): 136–153. DOI logoGoogle Scholar
Finbow, Steve. 2010. “The State of Audio Description in the United Kingdom – From Description to Narration.” Perspectives: Studies in Translatology 18 (3): 215–229. DOI logoGoogle Scholar
Findlay, John. M. 1984. “Properties of the Saccadic Eye Movement System: Introduction.” In Theoretical and Applied Aspects of Eye Movement Research, ed. by Alastair G. Gale, and Frank Johnson, 51–53. Amsterdam: Elsevier.Google Scholar
Fryer, Louise. 2013. “An Ecological Approach to Audio Description.” The Psychologist 26 (6): 458 – 460.Google Scholar
Fryer, Louise, and Jonathan Freeman. 2012b. “Cinematic Language and the Description of Film: Keeping AD Users in the Frame.” Perspectives: Studies in Translatology 21 (3): 412–426. DOI logoGoogle Scholar
Goldstein, Robert B., Russell L. Woods, and Eli Peli. 2007. “Where People Look When Watching Movies: Do All Viewers Look at the Same Place?” Computers in Biology and Medicine 37 (7): 957–964. DOI logoGoogle Scholar
Holland, Andrew. 1999. “Audiodescription from the Point of View of the Describer.” Viewpoint 53: 73–75.Google Scholar
Itti, Laurent. 2004. “Automatic Attention-based Prioritization of Unconstrained Video for Compression.” In SPIE Human Vision and Electronic Imaging: Conference 9 , San Jose, United States, 272–283.
Krejtz, Izabela, Agnieszka Szarkowska, Krzysztof Krejtz, Agnieszka Walczak, and Andrew Duchowski. 2012. “Audio Description as an Aural Guide of Children’s Visual Attention: Evidence from an Eye-tracking Study.” In ETRA ‘12, Proceedings of the Symposium on Eye Tracking Research and Applications , 99–106. New York: ACM.
Kruger, Jan-Louis. 2010. “Audio Narration: Re-narrativising Film.” Perspectives: Studies in Translatology 18 (3): 231–249. DOI logoGoogle Scholar
. 2012. “Making Meaning in AVT: Eye tracking and Viewer Construction of Narrative.” Perspectives: Studies in Translatology 20 (1): 67–86. DOI logoGoogle Scholar
Lotto, Beau R., Dale Purves, and Surajit Nundy. 2002. “Why We See What We Do.” American Scientist 90 (3): 236–243. DOI logoGoogle Scholar
Marchant, Paul, David Raybould, Tony Renshaw, and Richard Stevens. 2009. “Are You Seeing What I’m Seeing? An Eye-tracking Evaluation of Dynamic Scenes.” Digital Creativity 20 (3): 153–163. DOI logoGoogle Scholar
Maszerowska, Anna. 2012. “Casting the Light on Cinema – How Luminance and Contrast Patterns Create Meaning”. MonTI 4: 65–85. DOI logoGoogle Scholar
Matamala, Anna, and Naila Rami. 2009. “Análisis comparativo de la audiodescripción española y alemana de ‘Good-bye, Lenin’” [Comparative analysis of the Spanish and German audio description in ‘Good-bye Lenin’].” Hermeneus 11: 249–266.Google Scholar
Matamala, Anna, and Pilar Orero. 2011. “Opening Credit Sequences: Audio Describing Films within Films.” International Journal of Translation 23 (2): 35–58.Google Scholar
Nord, Christiane. 1997. Translating as a Purposeful Activity. Functionalist Approaches Explained. Manchester: St. Jerome.Google Scholar
Orero, Pilar, and Anna Vilaró. 2012. “Eye-tracking Analysis of Minor Details in Films for Audio Description.” MonTI 4: 295–319. DOI logoGoogle Scholar
Privitera, Claudio M., and Lawrence W. Stark. 2000. “Algorithms for Defining Visual Regions-of-interest: Comparison with Eye Fixations.” IEEE Transactions on Pattern Analysis and Machine Intelligence 22 (9): 970–982. DOI logoGoogle Scholar
Smith, Tim J. 2005. “An Attentional Theory of Continuity Editing.” PhD diss., Edinburgh University.
Snyder, Joel. 2008. “Audio Description: The Visual Made Verbal.” In The Didactics of Audiovisual Translation, ed. by Jorge Díaz Cintas, 191–198. Amsterdam: John Benjamins. DOI logoGoogle Scholar
Stelmach, Lew B., Wa James Tam, and Paul J. Hearty. 1991. “Static and Dynamic Spatial Resolution in Image Coding: An Investigation of Eye Movements.” Human Vision, Visual Processing and Digital Display 1453 (147): 147–152. DOI logoGoogle Scholar
Tarantino, Quentin. 2008. Inglourious Basterds. Accessed March 22, 2014. [URL].Google Scholar
Tosi, Virgilio, Luciano Mecacci, and Elio Pasquali. 1997. “Scanning Eye Movements Made When Viewing Film: Preliminary Observations.” International Journal of Neuroscience 92 (1–2): 47–52. DOI logoGoogle Scholar
Vandaele, Jeroen. 2012. “What Meets the Eye. Cognitive Narratology for Audio Description.” Perspectives: Studies in Translatology 20 (1): 87–102. DOI logoGoogle Scholar
Vercauteren, Gert. 2012. “A Narratological Approach to Content Selection in Audio Description. Towards a Strategy for the Description of Narratological Time.” MonTI 4: 207–231. DOI logoGoogle Scholar
Vesterby, Tore, Jonas C. Voss, John Paulin Hansen, Arne John Glenstrup, Dan Witzner Hansen, and Mark Rudolph. 2005. “Gazeguided Viewing of Interactive Movies.” Digital Creativity 16 (4): 193–204. DOI logoGoogle Scholar
Vilaró, Anna, Andrew T. Duchowski, Pilar Orero, Tom Grindinger, Stephen Tetreault, and Elena di Giovanni. 2012. “How Sound Is The Pear Tree? Testing the Effect of Varying Audio Stimuli on Visual Attention Distribution.” Perspectives: Studies in Translatology 20 (1): 55–65. DOI logoGoogle Scholar
Vilaró, Anna, and Pilar Orero. 2013. “Leitmotif in Audio Description: Anchoring Information to Optimise Retrieval.” International Journal of Humanities and Social Science 3 (5): 56–64.Google Scholar
Cited by (1)

Cited by one other publication

Fernández Gil, Susana
2023. Quality Assessment of the English Subtitles in Five International Award-Winning Colombian Films. Íkala, Revista de Lenguaje y Cultura 28:2  pp. 1 ff. DOI logo

This list is based on CrossRef data as of 14 july 2024. 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.