accessiblefilmmaking

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Accessible filmmaking database < Atrás
Database
Database
  • SL: Audiovisual works that feature sign language, either as the main language or as a secondary language.
  • AFM: Audiovisual works created with a broad concept of accessible filmmaking—in other words, audiovisual works in which media translation and accessibility are taken into account early on in the production process and, therefore, accessibility and translation are two integrated audiovisual elements and not afterthoughts—.
Basic information
Accessible filmmaking
Accessibility consultant
Representation of disability
Crew member with disability
Topic: disability
Audiovisual Translation Mode
Is the translation/accessibility official, experimental or non-official?
The audiovisual translation mode(s) used in the AV work can be the following:
  • eSLT (oral-SL): non-integrated translation, from an oral language into a sign language
  • eSLLT (oral-SL): non-integrated live translation, from an oral language into a sign language
  • eSLI (oral-SL): non-integrated interpreting, from an oral language into a sign language
  • dSLT (SL-oral-SL): integrated translation, from an oral language into a sign language and vice versa
  • dSLLT (SL-oral-SL): integrated live translation, from an oral language into a sign language and vice versa
  • dSLI (SL-oral-SL): integrated interpreting, from an oral language into a sign language and vice versa
  • eSLT (SL-SL): non-integrated translation, from a sign language into another sign language
  • eSLLT (SL-SL): non-integrated live translation, from a sign language into another sign language
  • Revoicing (SL-oral): translation from a sign language into an oral language (narration, voice-over...)
  • Captioning (SL-written): translation from a sign language into an oral language in written mode (SDH, CC, creative subtitles...)
  • No translation: there is no translation, whatsoever
  • AD: standard audio description
  • Creative AD: AD that does not follow current guidelines or which is integrated in the production
  • Creative subtitles: non-standard subtitles, visually different due to its use of font-types, colours, positioning or other visual effects for their presentation on screen
  • Multi-language subtitles: subtitles in more than one language are displayed simultaneously.
  • Partial subtitles: use of subtitles when a foreign language is spoken in the AV work.
  • SDH: standard subtitles for the d/Deaf and hard of hearing.
  • Self-translation: a character in a film translates for another character(s).
  • SL: sign-language interpreting or integrated sign language performances.
  • Subtitles: standard subtitles for the whole production
  • Voice over: actor voices are recorded over the original audio track, which can be heard in the background.
  • Script translation: translation of the written script
Language:
Stages and role of the sign languages
Stage of implementation of SL
The moment in which the sign language was thought of and implemented. It can be:
  • Pre-production: the sign language was thought of from pre-production. This is the case when the sign language is the main language (L1) or a secondary language (L3) of the production
  • Post-production: the sign language was thought of in post-production. This is the case in some productions that include a sign language as a translation language (L2)
  • Distribution (or afterwards): the sign language was included in the distribution phase, or after this, as an accessibility measure. This is the case in some productions that include a sign language as a translation language (L2)
Role of SL

Linguistic function of the sign language. It can be:

  • L1: is one of the main languages of the production (source language)
  • L2: is a language into which the production is translated or interpreted (target language)
  • L3: is a secondary language of the production

Realism

The realism of sign language interpreting. It can be:

  • Authentic: an actual sign language translator/interpreter is used when interpreting/translating
  • Non-authentic: a person (usually an actor or actress) pretends to be a translator/interpreter in the AV work

Interpreter/Translator

It is related to the role that the interpreter/translator has within the film. It can be:

  • Professional: the translator/interpreter portrays the role of a professional translator/interpreter
  • Natural: the translator/interpreter portrays a natural role in film (friend or relative of the signer, for instance), but they interpret/translate in the film

Source of message

It is related to the source of the message that is translated/interpreted. It can be:

  • Transduction: the translator/interpreter translates the message of another person
  • Self-translation: the translator/interpreter translates their own message

Communicative intention

It is related to the communicative intention of the translation/interpreting, it can be:

  • Intrapersonal: the translator/interpreter translates to clarify their own message, not addressed to another person in the film
  • Interpersonal: the translator/interpreter translates to enable the communication with another person

Creative use of sign languages
Internal

It refers to the creative possibilities of sign languages to enable an artistic communication. For this purpose, there is a creative use of sublexical items (manual configuration, movement, etc.) and the structure of the sign language could be altered.

Collaborative

It refers to an artistic collaboration between signers and non-signers or between the people in charge of the signing in the production and other members of it (who could be signers or not).

External

It refers to the artistic use of external resources (lighting, outfits, make-up, editing of the video...) that are not linked directly to the sign language, but that contribute to the creativity of the message.

Link to content
More info