For the use of sound. Film sound analysis for audio-description: some key issues

Abstract

This article aims to outline the issues involved in the production and reception of film sound with a view to identifying its challenges for audio-description (AD).It thereby hopes to provide insights into the way in which a careful analysis and integration of film sound and sound effects are required for the production of coherence in AD, if it is to function as part of a new filmic text.However, the article also points to the limits of analysis and interpretation, and to the need for reception research as well as collaboration with visually impaired users.A detailed analysis of a scene from Saving Private Ryan (Spielberg 1998), a film that won an Oscar for best sound effect editing, demonstrates how complex and narratively charged the soundscape of a film can be, thereby exposing the challenges for the audio-describer and, again, demonstrating the need for further research involving the target audience. RésuméCet article concerne la production et la réception de la bande sonore et cherche à dégager quelques défis dans le domaine de l'audiodescription (AD).Il vise à démontrer comment une analyse et une intégration minutieuses de la bande et des effets sonores peuvent contribuer à la cohérence dans l'AD qui doit les incorporer pour créer une nouvelle version cinématographique.Il convient cependant également de souligner les limites de telles analyses et explications.Une étude de la réception ainsi que l'apport de malvoyants viendront avantageusement compléter les méthodes proposées.1. Part of this article is based on a lecture given in June 2007, part of it has been funded by the European Project AD LAB: Audio-description.Lifelong Access for the Blind with reference no.517992

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