There is evidence suggesting that watching movies usually provokes an emotional response in the audience that may differ according to the type of film viewed. For example, Grodal (2009) argues that the type of response provoked by mainstream cinema is different from that elicited by avant-garde films. In visually impaired audiences, the emotional impact of films is inevitably mediated by the Audio Description (AD) provided. In most countries AD norms do not cater for variations between different types of films. There exists, therefore, the possibility that the emotional impact of the film could be affected or altered by the AD. This paper aims to explore possible differences in the response of sighted versus unsighted audiences when watching avant-garde and narrative films. A pilot study is designed to measure the emotional response through self-response questionnaires. Our results indicate that differences between both types of audience are more prominent for avant-garde films.
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Cited by (15)
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2020. Decision-Making: Putting AVT and MA into Perspective. In The Palgrave Handbook of Audiovisual Translation and Media Accessibility [Palgrave Studies in Translating and Interpreting, ], ► pp. 483 ff.
2020. Audio description in the theater: Assessment of satisfaction and quality of the experience among individuals with visual impairment. British Journal of Visual Impairment 38:3 ► pp. 299 ff.
2017. The Role of Emotions. In The Handbook of Translation and Cognition, ► pp. 369 ff.
Walczak, Agnieszka & Louise Fryer
2017. Creative description: The impact of audio description style on presence in visually impaired audiences. British Journal of Visual Impairment 35:1 ► pp. 6 ff.
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2018. Vocal delivery of audio description by genre: measuring users’ presence. Perspectives 26:1 ► pp. 69 ff.
Caro, Marina Ramos
2016. Testing audio narration: the emotional impact of language in audio description. Perspectives 24:4 ► pp. 606 ff.
Ramos, Marina
2015. The emotional experience of films: does Audio Description make a difference?. The Translator 21:1 ► pp. 68 ff.
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