“blind and partially sighted (BPS)”
“To many, expressions like in close-up, pan across, mid-shot, crane-shot etc., may not mean anything but it is important to try to understand why a director has chosen to film a sequence in a particular way and to describe it in terms which will be understood by the majority, if there is room to do so.”
“The length of the three ADs is comparable and the final word counts are 388 words for the conventional AD (100%), 427 words for the cinematic AD (110%), and 400 words for the narrative AD (103%). The cinematic version is inevitably longer because cinematic terms are added to the iconic content being described.
The conventional AD is denotative, while the cinematic and narrative ADs are interpretative. The latter ones offer an interpretation of film language to render its meaning and feeling into words, instead of omitting or describing denotatively how cinematic techniques are used onscreen. Interpretative AD styles imply that the describer uses her subjectivity to describe what is shown and how it is shown, so it is a delicate approach that requires ethics and professionalism to ensure that an informed interpretation is provided, and not a personal vision of things.”
“Cinematic terminology comes into play most particularly to describe elements that are specific to film, such as camera movements and editing techniques (Casetti and di Chio 1991).”
“Narrative AD style (AD3) concentrates on interpreting film language and integrating the visual information into a coherent and flowing narration, which incorporates film dialogue and can be read as a single piece of text. It is an interpretative AD style, which does not always depict the images in full detail or in the exact moment they are shown but instead offers a narrative recreation of the feelings raised and of the meaning channelled through film language. Here too, the aim is to offer an immersive experience that is as similar as possible to that of sighted viewers.” Acho que eu iria preferir o 3.
“[AD1 – CONVENTIONAL] Handwritten and slanted: ‘Nuit Blanche’. In black and white. At night, it’s full moon. The zinc roofs of a big city, with smoking chimneys. A three-storey building with large windows and light inside. Over the main door, made of glass, a company name.
[AD2 – CINEMATIC] ‘Nuit Blanche’ appears onscreen in film noir style. In black and white on a full moon night, chimneys smoke on the zinc roofs of a big city. The frame goes down the front face of a three-storey office building, with large windows and light inside.
[AD3 – NARRATIVE] ‘Nuit Blanche’. The city spreads out in black and white under the full moon. Chimneys smoke on zinc roofs. Men and women walk in the street, wrapped up in coats, passing by a three-storey office building with large windows and light inside.”
“there are so many shades of grey between black and white that you can create extremely rich images. Because black and white photography is inherently pure, it’s a great way to tell a visual story and express emotion”
“Forty-five blind and partially sighted participants were recruited with the help of two user organisations to listen to the ADs, answer the questionnaire and participate in focus group interviews. We contacted thirty-nine through the Department of Culture and Sport of the Territorial Delegation of ONCE (National Organization of the Spanish Blind) in Catalonia and five local ONCE offices located in Girona, Lleida, Manresa, Reus and Vic. Six further participants were recruited through ACIC, the Catalan Association for the Integration of the Blind, based in Barcelona. There were 28 men and 17 women, aged between 24 and 86 (M=54), of whom 11 were blind from birth. Six participants held a university degree, 14 had A-Levels and/or vocational training, 15 had no degree and 10 did not specify.”
“[AD1 – CONVENTIONAL] Surrounded by pieces of glass that reflect light, they walk towards each other. She slightly reaches out her arms; he has no hat and briefcase. When they get closer, they shut their eyes and their lips come closer.
[AD2 – CINEMATIC] Surrounded by pieces of glass that shine like sparks, they walk towards each other decidedly. She slightly reaches out her arms. When they are getting closer, they look at each other’s lips and close their eyes as they are about to kiss. The frame closes in on their lips.
[AD3 – NARRATIVE] Surrounded by pieces of glass that shine like sparks, they walk towards each other decidedly, like two wax dolls set apart from reality. Getting closer, they look at each other’s lips and close their eyes as they are about to kiss.”
“Our results are in line with those of Fryer and Freeman (2013), Szarkowska (2013), and Walczak (2017a) insofar as the consumers of an alternative AD, which goes beyond the mere denotative description of images, report a better film experience. Whether it is the naming and/or interpretation of the film techniques (cinematic AD), the interpretative and narrative approach (narrative AD), the extensive use of cinematic terminology (Fryer and Freeman 2013), the adoption of the director’s view (Szarkowska 2013), or the integration of the camera work and colloquial language into the AD (Walczak 2017a), studies seem to point to the need to approach AD from a filmic point of view and integrate film language into AD so as to offer blind and partially sighted viewers a better film experience.”
Seclusão Anagógica 