Violence in Audio Description: a descriptive study of three films by Quentin Tarantino
A descriptive study of three films by Quentin Tarantino
DOI:
https://doi.org/10.24310/TRANS.2020.v0i24.9519Keywords:
audiovisual translation, accessibility, audio description, violence, TarantinoAbstract
This paper aims to analyse how audio description (AD) deals with violence. The study focuses on a preliminary descriptive analysis of the AD of violent scenes in three Quentin Tarantino films, namely, Pulp Fiction, Inglorious Basterds and The Hateful Eight. To carry out the analysis, the concept of film violence has been defined. Violent scenes from the abovementioned films have been selected and these scenes have been classified according to the strategy used to elaborate the AD (retention, generalization, specification or omission). Results have allowed us to establish trends in the AD of violence in films.
Downloads
Metrics
References
ADI (2002): Guidelines for Audio Description, <http://www.acb.org/adp/guidelines.html>.
AENOR (2005): Audiodescripción para personas con discapacidad visual. Requisitos para la audiodescripción y la elaboración de audioguías, Madrid: AENOR.
American Council of the Blind (2009): Audio Description Standards, <http://www.acb.org/adp/docs/ADP_Standards.doc>.
ÁVILA-CABRERA, José Javier (2014): The subtitling of Offensive and Taboo Language: A Descriptive Study, España: Universidad Nacional de Educación a Distancia
BAI (2019): BAI Access Rules, <https://www.bai.ie/en/media/sites/2/dlm_uploads/2019/01/AccessRules_2019_vFinal.pdf>.
BARROSO, Jaime (1991): Introducción a la realización televisiva, Madrid: I.O.R.T.V.
BENECKE, Bernd y Elmar Dosch (2004): Wenn aus Bildern Worte werden, Munich: Bayerischer Rundfunk.
CABEZA CÁCERES, Cristóbal (2013): Audiodescripció i recepción. Efecte de la velocitat de narració, l’entonació y l’explicitació en la comprensió fílmica, Barcelona: Universitat Autònoma de Barcelona.
CLEMENTE, Miguel y Miguel Ángel Vidal Velázquez (1996): Violencia y televisión, Madrid: Noesis.
FRASER, John (1974): Violence in the Arts, Cambridge: Cambridge University Press.
FRESNO, Nazaret (2012): «Experimenting with Characters: an Empirical Approach to the Audio Description of Fictional Characters». En Aline REMAEL, Pilar ORERO y Mary CARROLL (eds.) Audiovisual Translation and Media Accessibility at the Crossroads: Media for all 3,
Amsterdam – New York: Rodopi B.V., 147-171.
FRYER, Louise (2016). An introduction to audiodescription: a practical guide. Londres: Routledge.
GEORGAKOPOULOU, Yota (2010): «Audio Description Guidelines for Greek- A Working Document». En S. Rai, J. Greening y L. Petre (eds.) A Comparative Study of Audio Description Guidelines Prevalent in Different Countries. London: RNIB.
GONANT Frédéric y Laure Morisset (2008): La charte de l’audiodescription. Paris: Ministe?re des Affaires Sociales et de la Sante?, <http://www.social-sante.gouv.fr/IMG/pdf/Charte_de_l_audiodescription_300908.pdf>.
HURTADO ALBIR, Amparo (2001): Traducción y traductología, Madrid: Cátedra.
IGAREDA, Paula. (2011): «The Audio Description of Emotions and Gestures in Spanish-Spoken Films». En Adriana SERBAN, Anna MATAMALA y Jean-Marc LAVAUR (eds.) Audiovisual Translation in Close-up: Practical and Theoretical Approaches, Nueva York: Peter Lang, 223-
IMBERT, Gerard (1992): Los escenarios de la violencia: conductas anómicas y orden social en la España actual, Barcelona: Icaria editorial.
International Organization for Standardization (2015): ISO/IEC TS 20071-21:2015(E) Information technology –User interface component accessibility– Part 21: Guidance on audio descriptions. ISO.
ITC (2000): ITC Guidance on Standards for Audio Description, <http://audiodescription.co.uk/uploads/general/itcguide_sds_audio_desc_word3.pdf>.
JIMÉNEZ HURTADO, Catalina, Ana Rodríguez Domínguez y Claudia Seibel (2010): Un corpus de cine. Teoría y práctica de la audiodescripción, Granada: Tragacanto
KENDRICK, James (2010): Film violence: history, ideology, genre, Nueva York: Wallflower.
LIMBACH, Christiane (2013): «El aspecto de la neutralidad en la audiodescripción fílmica». En Emilio ORTEGA ARJONILLA (ed.) Translating Culture, Traduire la Culture, Traducir la Cultura, Granada: Comares, 793–806
MARTÍNEZ SIERRA, Juan José (2010): «Approaching the audio description of humour», Entreculturas, 2, 87-103.
MASZEROWSKA, Anna y Carme Mangiron (2014): «Strategies for dealing with cultural references in audio description». En Anna MASZEROWSKA, Anna MATAMALA y Pilar ORERO (eds.) Audio description: New perspectives illustrates, Ámsterdam: Benjamins, 159–178.
MATAMALA, Anna y Pilar Orero (2013): «Standardising audio description». Italian Journal of Special Education for Inclusion, 1, 149-155.
MATAMALA, Anna y Naila Rami (2009): «Análisis comparativo de la audiodescripción española y alemana de Good Bye, Lenin!» Hermeneus, 11, 249–266.
MAZUR, Iwona y Agnieszka Chmiel (2012a): Audio Description Made to Measure: Reflections on Interpretation in AD Based on the Pear Tree Project Data, <https://pdfs.semanticscholar.org/7d50/5dc4f112633517c9ca8a0d4d2d73e7d3539e.pdf>.
MAZUR, Iwona y Agnieszka Chmiel (2012b): AD reception research: Some methodological considerations, <https://www.openstarts.units.it/bitstream/10077/6361/1/Chmiel_Mazur_EmergingTopics.pdf>.
MIKUL, Chris (2010): Audio Description Background Paper, <http://www.mediaaccess.org.au/sites/default/files/MAA%20-%20Audio%20Description%20Background%20Paper.doc>.
Ministério da Cultura (2016): Guia para produções audiovisuais acessíveis, <https://inclusao.enap.gov.br/wp-content/uploads/2018/05/Guia-para-Producoes-Audiovisuais-Acessiveis-com-audiodescricao-das-imagens-1.pdf>.
MOLINA, Lucía y Amparo Hurtado Albir (2002): «Translation Techniques Revisited: A Dynamic and Functionalist Approach» Meta, 47(4), 498–512.
NETFLIX (2019): Netflix Audio description style guide v2.1, <https://partnerhelp.netflixstudios.com/hc/en-us/articles/215510667-Audio-Description-Style-Guide-v2-1>.
OFCOM (2010): OfCom Code on Television Access Services, <http://stakeholders.ofcom.org.uk/binaries/broadcast/other-codes/ctas.pdf>.
PEDERSEN, Jan (2011): Subtitling Norms for Television: An Exploration Focussing on Extralinguistic Cultural references, Ámsterdam: John Benjamins.
RAI, Sonali, Joan Greening y Petre Leen (2010): A Comparative Study of Audio Description Guidelines Prevalent in Different Countries, London: RNIB.
RAMOS CARO, Marina (2016) «Testing audio narration: the emotional impact of language in audio description» Perspectives, 24(4), 606-634, doi: 10.1080/0907676X.2015.1120760
REMAEL, Aline, Nina Reviers y Gert Vercauteren (2015) (eds.) Pictures Painted in Words: ADLAB Audio Description Guidelines, Trieste: EUT.
ROJO LÓPEZ, Ana María, Marina Ramos Caro y Javier Valenzuela (2014). «The Emotional Impact of Translation: a Heart Rate Study» The Journal of Pragmatics, 7, 31-44.
ROMERO, Lupe y Antonella De Laurentiis (2016): «Aspectos ideológicos en la traducción para el doblaje de Física o Química» MOnTI. Monografías de traducción e Interpretación, 3, 157–179.
SANZ-MORENO, Raquel (2017a): Audiodescripción de referentes culturales: estudio descriptivo-comparativo y de recepción, Valencia: Universitat de València.
SANZ-MORENO, Raquel (2017b). «La (auto)censura en audiodescripción. El sexo silenciado» Parallèles, 29(2), 46–63.
SOLER PARDO, Betlem (2013): «Translating and Dubbing Verbal Violence in Reservoir Dogs. Censorship in the Linguistic Transference of Quentin Tarantino’s (Swear) Words» JosTrans. The Journal of Specialised Translation, 20, 122–133.
SZARKOWSKA, Agnieszka y Anna Jankowska (2015): «Audio describing foreign films», JosTrans. The Journal of Specialised Translation, 23, 243–269.
WALCZAK, Agnieszka y Louis Fryer (2017). «Creative description: The impact of audio description style on presence in visually impaired audiences». British Journal of Visual Impairment, 35(1), 6 –17, doi: https://doi.org/10.1177/0264619616661603
ZAVALA, Lauro (2014): «La representación de la violencia en el cine de ficción» En Mónica SATARAIN (ed.) Fundido Encadenado. Reflexiones, ficciones, documental, bandas sonoras, Buenos Aires: Editorial de la Facultad de Filosofía y Letras (UBA), 85–101.
ŽIŽEK, Slavoj (2008): Sobre la violencia. Seis reflexiones marginales, Barcelona: Austral.
FILMOGRAFÍA
GODARD, Jean-Luc (1965): Pierrot el loco, Rome Paris Films. S.N.C. Dino de Laurentiis Cinematographica.
DEMME, Jonathan (1991): El silencio de los corderos, Orion Pictures.
SMARZOWSKI, Wojciech (2014): The Mighty Angel, Fundacja EDM+, HBO, Kino Swiat, Profil Film, TVP S.A Telewizja Polska.
TARANTINO, Quentin (1995): Pulp Fiction, Miramax, Band Apart, Jersey Films.
TARANTINO, Quentin (2009): Malditos bastardos, Universal Pictures, The Weinstein Company, Neunte Babelsberg Film.
TARANTINO, Quentin (2015): Los odiosos ocho, The Weinstein Company, Double Feature Films, FilmColony.
Downloads
Published
How to Cite
Issue
Section
License
All contents published in TRANS. Revista de Traductología are protected under the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) license. All about this license is available in the following link: <http://creativecommons.org/licenses/by-nc-sa/4.0>
Users can copy, use, redistribute, share and exhibit publicly as long as:
- The original source and authorship of the material are cited (Journal, Publisher and URL of the work).
- It is not used for comercial purposes.
- The existence of the license and its especifications are mentioned.
- ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original.
There are two sets of authors’ rights: moral and property rights. Moral rights are perpetual prerogatives, unrenounceable, not-transferable, unalienable, imprescriptible and inembargable. According to authors’ rights legislation, TRANS. Revista de Traductología recognizes and respects authors moral rights, as well as the ownership of property rights, which will be transferred to University of Malaga in open access.
The property rights are referred to the benefits that are gained by the use or the dissemination of works. TRANS. Revista de Traductología is published in an open access form and it is exclusively licenced by any means for doing or authorising distribution, dissemination, reproduction, , adaptation, translation or arrangement of works.
Authors are responsable for obtaining the necessary permission to use copyrighted images.
21.png)
