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For the use of sound. Film sound analysis for audio-description: some key issues
8 references·2 citing·33 second hop
For the use of sound. Film sound analysis for audio-description: some key issues (2012)For the use of sound. Film sound analysis…Audio Description from a discourse perspective: a socially relevant framework for research and training (2021)Audio Description from a disc…A tool for social integration? Audiovisual translation from different angles (2021)A tool for social integration…Narrative Comprehension and Film (2013)Narrative Comprehension and F…Looking at Movies : An Introduction to Film (2009)Looking at Movies : An Introd…Towards a European guideline for audio description (2007)Towards a European guideline …Sound theory/sound practice (1993)Sound theory/sound practiceNarrative comprehension and film (1993)Narrative comprehension and f…An Introduction to Film (1980)An Introduction to FilmAudio Description in the UK: What works, what doesn’t, and understanding the need for personalising access (2018)Audio Description in the UK: …Audio-description reloaded: An analysis of visual scenes in2012andHero (2014)Audio-description reloaded: A…The Cinema of Attractions Early Film, Its Spectator and the Avant-Garde (1990)The Classical Hollywood Cinema (2003)The independent audio describer is dead: Long live audio description! (2018)Scripts, plans, goals, and understanding : an inquiry into human knowledge structures. By Roger C. Schank and Robert P. Abelson. Hillsdale, NJ: Lawrence Erlbaum Associates, 1977. Pp. 248. (1978)Strategies of Discourse Comprehension (1985)Relevance: Communication and Cognition (1986)Audiodescription Research: State of the Art and Beyond (2008)The rogue poster-children of universal design: closed captioning and audio description (2009)Creating Coherence in Audio Description (2012)Dubbing as an Expression of Nationalism (2002)Introduction (2003)Media for All: Subtitling for the Deaf, Audio Description, and Sign Language (2007)intralingual open subtitling in Flanders: audiovisual translation, linguistic variation and audience needs (2008)The Soundscape: Our Sonic Environment and the Tuning of the World (1993)Adding Audio Description: Does it Make a Difference? (2001)Creative description: The impact of audio description style on presence in visually impaired audiences (2017)The Coherence of Visual Narratives (1991)To show the world as it is, or as it is not: the gaze of Hollywood films about Africa (2010)One Hundred Years of Photoplay: Hugo Münsterberg's Lasting Contribution to Cognitive Movie Psychology (2017)The Illusion of Continuity: Active Perception and the Classical Editing System (2011)The Illusion of Continuity: Active Perception and the Classical Editing System (2011)Dubbing vs. subtitling (2018)The knowledge management puzzle: Human and social factors in knowledge management (2001)The Non-diegetic Fallacy: Film, Music, and Narrative Space (2010)Visual Narrative Structure (2012)Audio describing the exposition phase of films. Teaching students what to choose (2007)Evaluation criteria and film narrative. A frame to teaching relevance in audio description (2010)Audio description as an aural guide of children's visual attention (2012)Aesthetics as Philosophy of Perception (2016)The Empathic Screen (2019)Is There a Field Called Sound Culture Studies? And Does It Matter? (2005)Sound Souvenirs : Audio Technologies, Memory and Cultural Practices (2009)Sonic geographies (2013)
this work references cited by second hop

References

  • 1993Narrative comprehension and film610 cited
  • 1993Sound theory/sound practice570 cited
  • 2013Narrative Comprehension and Film444 cited
  • 2009Looking at Movies : An Introduction to Film85 cited
  • 2021Audio Description from a discourse perspective: a socially relevant framework for research and training84 cited
  • 2007Towards a European guideline for audio description79 cited
  • 1980An Introduction to Film44 cited
  • 2021A tool for social integration? Audiovisual translation from different angles29 cited

Cited by

  • 2014Audio-description reloaded: An analysis of visual scenes in2012andHero23 cited
  • 2018Audio Description in the UK: What works, what doesn’t, and understanding the need for personalising access22 cited

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