Descubriendo la diversidad de estilos de audiodescripción en persa

Contenido principal del artículo

Fatemeh Jomhouri
https://orcid.org/0009-0001-4886-9595
Masood Khoshsaligheh
https://orcid.org/0000-0002-6508-1986
Azadeh Eriss
https://orcid.org/0000-0002-7789-7608

Resumen

La audiodescripción (AD) es indispensable para garantizar que los medios visuales sean plenamente accesibles para las personas ciegas y con discapacidad visual (BVI), lo que les permite participar activamente en películas y programas de televisión y disfrutarlos junto con el público vidente. Aunque la AD constituye un pilar fundamental de la accesibilidad e inclusividad mediática, la rica diversidad de estilos de AD en la práctica ha recibido sorprendentemente poca atención académica, y aún menos en contextos no occidentales como Irán. Este estudio busca llenar este vacío mediante una investigación exhaustiva de la AD en lengua persa, con un enfoque principal en identificar y categorizar las variaciones de sus estilos distintivos. La metodología de investigación comienza con una revisión y síntesis exhaustiva de la literatura internacional existente sobre los estilos de AD, lo cual guía la construcción de un marco analítico detallado. Este marco finalmente abarca siete estilos bien definidos, cada uno caracterizado por tres elementos fundamentales. Para poner en práctica este marco, la recopilación de datos continúa hasta alcanzar la saturación de datos, momento en el cual la presencia o ausencia de los estilos de AD identificados en la literatura se observó de manera consistente en las muestras. Finalmente, se seleccionaron 21 películas dramáticas (audiodescritas por Sevina y Gooshkon), las cuales fueron sometidas a un análisis minucioso de sus guiones. Los resultados de este análisis de guiones muestran claras preferencias estilísticas dentro de la AD en persa. El estilo objetivo surgió como el más utilizado, con un 33,3 % del total de las instancias. Le siguió el estilo descriptivo, que representó el 28,5 % y prioriza los elementos visuales para mejorar la comprensión del público. El estilo mixto, que combina estratégicamente otras técnicas subjetivas, representó el 23,8 %, mientras que el estilo narrativo, un enfoque narratológico en la selección de contenido, alcanzó el 14,2 %. Al establecer esta tipología, el estudio contribuye de manera significativa a la comprensión académica de las prácticas de AD en Irán y proporciona una base para futuras mejoras en los estándares de accesibilidad y en la formación especializada.

Descargas

Los datos de descargas todavía no están disponibles.

Detalles del artículo

Sección
Artículos
Biografía del autor/a

Masood Khoshsaligheh, Ferdowsi University of Mashhad

Full Professor, Department of English, Ferdowsi University of Mashhad

Citas

Abu-Rayyash, H., & Shiyab, S. M. (2023). Taming the beast: Bullying and censorship in interlingual subtitling. Media and Intercultural Communication: A Multidisciplinary Journal, 1(2), 1-20. https://doi.org/https://doi.org/10.22034/mic.2023.175730

AENOR. (2005). Norma UNE 153020: Audiodescripción para personas con discapacidad visual. Requisitos para la audiodescripción y elaboración de audioguías. AENOR.

American Council of the Blind. (2009). American council of the blind. http://www.acb.org/adp/docs/ADP_Standards.doc

Bardini, F. (2017). Audio description style and the film experience of blind spectators: Design of a reception study. Rivista Internazionale di Tecnica della Traduzione/International Journal of Translation, 19, 49-73. https://doi.org/http://dx.doi.org/10.13137/2421-6763/17351

Bardini, F. (2020). Film language, film experience and film interpretation in a reception study comparing conventional and interpretative audio description styles. In S. Braun & K. Starr (Eds.), Innovation in audio description research (pp. 76-96). Routledge. DOI: https://doi.org/10.4324/9781003052968-5

Benecke, B., & Dosch, E. (2004). Wenn aus bildern worte werden : Durch audio-description zum hörfilm. Bayerischer Rundfunk.

Bordwell, D. (1997). On the history of film style. Harvard University Press.

Braun, S. (2008). Audiodescription research: State of the art and beyond. Translation Studies in the New Millennium, 6, 14-30.

Cao, P., Eriss, A., Jomhouri, F., Ghaffari, M. R., Kaur Mehar Singh, M., & Khoshsaligheh, M. (2025). Neutral and emotive styles of audio description: A reception case study. Humanities and Social Sciences Communications, 12(1), 1-10. DOI: https://doi.org/10.1057/s41599-025-05201-3

Caro, M. R. (2016). Testing audio narration: The emotional impact of language in audio description. Perspectives, 24(4), 606-634. https://doi.org/https://doi.org/10.1080/0907676X.2015.1120760 DOI: https://doi.org/10.1080/0907676X.2015.1120760

Caro, M. R., & López, A. M. R. (2014). “Feeling” audio description: Exploring the impact of AD on emotional response. Translation Spaces, 3(1), 133-150. https://doi.org/https://doi.org/10.1075/ts.3.06ram DOI: https://doi.org/10.1075/ts.3.06ram

Chmiel, A., & Mazur, I. (2012). AD reception research: Some methodological considerations. In E. Perego (Ed.), Emerging topics in translation: Audio description (pp. 57-80). EUT Edizioni Università di Trieste.

Chmiel, A., & Mazur, I. (2016). Researching preferences of audio description users—Limitations and solutions. Across Languages and Cultures, 17(2), 271-288. https://doi.org/http://dx.doi.org/10.1556/084.2016.17.2.7 DOI: https://doi.org/10.1556/084.2016.17.2.7

Di Giovanni, E. (2014). Visual and narrative priorities of the blind and non-blind: Eye tracking and audio description. Perspectives, 22(1), 136-153. https://doi.org/https://doi.org/10.1080/0907676X.2013.769610 DOI: https://doi.org/10.1080/0907676X.2013.769610

Djoussouf, L., Romeo, K., Chottin, M., Thompson, H., & Eardley, A. (2023). Inclusion for cultural education in museums, audio and touch interaction. Studies in Health Technology and Informatics, 306, 471-477. https://doi.org/https://doi.org/10.3233/shti230663 DOI: https://doi.org/10.3233/SHTI230663

Dörnyei, Z. (2007). Research methods in applied linguistics: Quantitative, qualitative, and mixed methodologies. Oxford University Press.

Fels, D. I., Udo, J. P., Diamond, J. E., & Diamond, J. I. (2006). A comparison of alternative narrative approaches to video description for animated comedy. Journal of Visual Impairment & Blindness, 100(5), 295-305. https://doi.org/https://doi.org/10.1177/0145482X0610000507 DOI: https://doi.org/10.1177/0145482X0610000507

Fernández-Torné, A., & Matamala, A. (2015). Text-to-speech vs. human voiced audio descriptions: A reception study in films dubbed into Catalan. The Journal of Specialised Translation, 24, 61-88. DOI: https://doi.org/10.26034/cm.jostrans.2015.323

Fresno, N., Castellà, J., & Soler, O. (2014). Less is more. effects of the amount of information and its presentation in the recall and reception of audio described characters. International Journal of Sciences: Basic and Applied Research (IJSBAR), 14, 169-196.

Fryer, L. (2016). An introduction to audio description: A practical guide. Routledge. DOI: https://doi.org/10.4324/9781315707228

Fryer, L., & Freeman, J. (2013). Cinematic language and the description of film: Keeping AD users in the frame. Perspectives, 21(3), 412-426. https://doi.org/https://doi.org/10.1080/0907676X.2012.693108 DOI: https://doi.org/10.1080/0907676X.2012.693108

Gambier, Y. (2023). Audiovisual translation and multimodality: What future? Media and Intercultural Communication: A Multidisciplinary Journal, 1(1), 1-16. https://doi.org/https://doi.org/10.22034/mic.2023.167451

Homayouni, G., & Khoshsaligheh, M. (2024). Audio description technology: Enhancing communication of culture-bound elements in films. Journal of Business, Communication & Technology, 3(1), 66-84. DOI: https://doi.org/10.56632/bct.2024.3106

Hutchinson, R., & Eardley, A. F. (2022). Visitor studies: Interdisciplinary methods for understanding the impact of inclusive museum audio description experiences. In C. Taylor & E. Perego (Eds.), The routledge handbook of audio description (pp. 232-245). Routledge. DOI: https://doi.org/10.4324/9781003003052-18

Hyks, V. (2005). Audio description and translation. Two related but different skills. Translating Today, 4(July), 6-8.

Ibáñez, A., & Vermeulen, A. (2013). Audio description as a tool to improve lexical and phraseological competence in foreign language learning. In D. Tsagari & G. Floros (Eds.), Translation in language teaching and assessment (pp. 41–65). Newcastle upon Tyne: Cambridge Scholars Publishing.

Jakobson, R. (1959). On linguistic aspects of translation. In L. Venuti (Ed.), The tranlation studies reader (pp. 113-118). Routledge.

Jekat, S. J., & Carrer, L. (2018). A reception study of descriptive vs. interpretative audio description. Second Barrier-Free Communication Conference 2018, Geneva, Switzerland, 9-10 November 2018,

Jekat, S. J., Prontera, D., & Bale, R. J. (2015). On the perception of audio description: Developing a model to compare films and their audio described versions. Trans-kom-Zeitschrift für Translationswissenschaft und Fachkommunikation, 8(2), 446-464. https://doi.org/https://doi.org/10.21256/zhaw-1938

Khoshsaligheh, M., & Shafiei, S. (2021). Audio description in Iran: The status quo. Language and Translation Studies (LTS), 54(2), 1-30.

Khoshsaligheh, M., Shokoohmand, F., & Delnavaz, F. (2022). Persian audio description quality of feature films in Iran: The case of sevina. International Journal of Society, Culture & Language, 10(3), 58-72.

Kruger, J.-L. (2010). Audio narration: Re-narrativising film. Perspectives: Studies in Translatology, 18(3), 231-249. https://doi.org/https://doi.org/10.1080/0907676X.2010.485686 DOI: https://doi.org/10.1080/0907676X.2010.485686

Kruger, J.-L. (2012). Making meaning in AVT: Eye tracking and viewer construction of narrative. Perspectives, 20(1), 67-86. https://doi.org/http://dx.doi.org/10.1080/0907676X.2011.632688 DOI: https://doi.org/10.1080/0907676X.2011.632688

Kruger, J.-L., & Orero, P. (2010). Audio description, audio narration–a new era in AVT. Perspectives: Studies in Translatology, 18(3), 141-142. https://doi.org/https://doi.org/10.1080/0907676X.2010.487664 DOI: https://doi.org/10.1080/0907676X.2010.487664

Lothe, J. (2000). Narrative in fiction and film: An introduction. Oxford University Press.

Malzer-Semlinger, N. (2012). Narration or description: What should audio description look like? In E. perego (Ed.), Emerging topics in translation: Audio description (pp. 29-36). EUT Edizioni Università di Trieste.

Mazur, I. (2020). Audio description: Concepts, theories and research approaches. In M. Deckert & Ł. Bogucki (Eds.), The Palgrave Handbook of audiovisual translation and media accessibility (pp. 227-247). Springer. DOI: https://doi.org/10.1007/978-3-030-42105-2_12

Mazur, I., & Chmiel, A. (2016). Should audio description reflect the way sighted viewers look at films? Combining eye-tracking and reception study data. In P. Orero & A. Matamala (Eds.), Researching audio description: New approaches (pp. 97-121). Springer. DOI: https://doi.org/10.1057/978-1-137-56917-2_6

Morisset, L., & Gonant, F. (2008). La Charte de l’audiodescription https://www.csa.fr/content/download/19660/329348/file/Charte%20de%20l'audiodescription.%20Principes%20et%20Orientations.pdf

Orero, P. (2005). Audio description: Professional recognition, practice and standards in Spain. Translation Watch Quarterly, 1(1), 7-18.

Orero, P. (2008). Three different receptions of the same film: ‘The Pear Stories Project’applied to audio description. European Journal of English Studies, 12(2), 179-193. https://doi.org/https://doi.org/10.1080/13825570802151454 DOI: https://doi.org/10.1080/13825570802151454

Perego, E. (2023). Audio description for the arts: A linguistic perspective. Taylor & Francis. https://doi.org/http://dx.doi.org/10.4324/9781003134237 DOI: https://doi.org/10.4324/9781003134237

Piety, P. J. (2004). The language system of audio description: An investigation as a discursive process. Journal of Visual Impairment & Blindness, 98(8), 453-469. https://doi.org/https://doi.org/10.1177/0145482X0409800802 DOI: https://doi.org/10.1177/0145482X0409800802

Rai, H. (2002). Audio Description: art or industry? http://www.rainahaig.com/pages/AudioDescriptionAorI.html

Rai, S., Greening, J., & Petré, L. (2010). A comparative study of audio description guidelines prevalent in different countries. Royal National Institute of Blind People.

Remael, A., & Vercauteren, G. (2007). Audio describing the exposition phase of films. Teaching students what to choose. TRANS Revista de Traductología(11), 73-93. https://doi.org/10.24310/TRANS.2007.v0i11.3099 DOI: https://doi.org/10.24310/TRANS.2007.v0i11.3099

Rodríguez Posadas, G. (2010). Audio description as a complex translation process: A protocol. In J. Neves, A. Matamala, & J. D. Cintas (Eds.), New insights into audiovisual translation and media accessibility (pp. 195-211). Brill. DOI: https://doi.org/10.1163/9789042031814_015

Shokoohmand, F., & Khoshsaligheh, M. (2024). Image recognition and content comprehension in media accessibility: A study on the reception of audiences with limited hearing. Media and Intercultural Communication: A Multidisciplinary Journal, 2(2), 1-20. https://doi.org/10.22034/mic.2024.451622.1017

Snyder, J. (2008). Audio description: The visual made verbal. In J. Díaz-Cintas (Ed.), The didactics of audiovisual translation (pp. 191-198). John Benjamins. DOI: https://doi.org/10.1075/btl.77.18sny

Szarkowska, A. (2013). Auteur description: From the director's creative vision to audio description. Journal of Visual Impairment & Blindness, 107(5), 383-387. https://doi.org/https://doi.org/10.1177/0145482X1310700507 DOI: https://doi.org/10.1177/0145482X1310700507

Taylor, C., & Perego, E. (2020). New approaches to accessibility and audio description in museum environments. In S. Braun & K. Starr (Eds.), Innovation in audio description research (pp. 33-54). Routledge. https://doi.org/http://dx.doi.org/10.4324/9781003052968-3 DOI: https://doi.org/10.4324/9781003052968-3

Udo, J. P., Acevedo, B., & Fels, D. I. (2010). Horatio audio-describes Shakespeare’s Hamlet: Blind and low-vision theatre-goers evaluate an unconventional audio description strategy. British Journal of Visual Impairment, 28(2), 139-156. https://doi.org/https://doi.org/10.1177/0264619609359753 DOI: https://doi.org/10.1177/0264619609359753

Vercauteren, G. (2006). Practical guidelines for audio description Euroconference Audiovisual Translation Scenarios,

Vercauteren, G. (2012). A narratological approach to content selection in audio description. Towards a strategy for the description of narratological time. MonTI. Monografías de Traducción e Interpretación(4), 207-231. https://doi.org/https://doi.org/10.6035/MONTI.2012.4.9 DOI: https://doi.org/10.6035/MonTI.2012.4.9

Vercauteren, G., & Orero, P. (2013). Describing facial expressions: much more than meets the eye. Quaderns: Revista de Traducció(20), 187-199.

Walczak, A. (2017a). Creative description: Audio describing artistic films for individuals with visual impairments. Journal of Visual Impairment & Blindness, 111(4), 387-391. https://doi.org/http://dx.doi.org/10.1177/0145482X1711100410 DOI: https://doi.org/10.1177/0145482X1711100410

Walczak, A. (2017b). Measuring immersion in audio description with Polish blind and visually impaired audiences. Rivista Internazionale di Tecnica della Traduzione, 19, 33-48.

Walczak, A., & Fryer, L. (2017). Creative description: The impact of audio description style on presence in visually impaired audiences. British Journal of Visual Impairment, 35(1), 6-17. https://doi.org/https://doi.org/10.1177/0264619616661603 DOI: https://doi.org/10.1177/0264619616661603