Filme acessível: a audiodescrição como a recriação de uma imagem em palavra
Audio-description is a discursive genre that consists of the intersemiotic translation of images, that is, from one system of signs to another, in order to guarantee the autonomy of visually impaired people in the process of inclusion in the world of life and culture (ALVES, 2012, 2014, ALVES, TELES...
Na minha lista:
| Autor principal: | |
|---|---|
| Outros Autores: | |
| Formato: | Dissertação |
| Idioma: | pt_BR |
| Publicado em: |
Brasil
|
| Assuntos: | |
| Endereço do item: | https://repositorio.ufrn.br/jspui/handle/123456789/28223 |
| Tags: |
Adicionar Tag
Sem tags, seja o primeiro a adicionar uma tag!
|
| Resumo: | Audio-description is a discursive genre that consists of the intersemiotic translation of images, that is, from one system of signs to another, in order to guarantee the autonomy of visually impaired people in the process of inclusion in the world of life and culture (ALVES, 2012, 2014, ALVES, TELES, PEREIRA, 2011, 2017, MOTTA, ROMEU FILHO, 2010). Thus, this qualitative-interpretative study, linked to the UNdisciplined Applied Linguistics (MOITA LOPES, 2006), includes the audio-description of films as an accessibility resource for people with visual impairment, produced through verbal signs that support and are subject to thematic signs. The research takes as empirical objects an audio-description script for a film and two revisions of this material, produced by three groups of subjects: sighted audio-describers, sighted consultant, and, finally, non-sighted consultant. The objective is to investigate the ways of appropriation and transmission of the voice of others, in the intersemiotic translation of a video into verbal language, through an audio description process, capable of promoting, from the perspective of the responsive autonomy of the visually impaired person, their access to video resources. To do so, it will be necessary to understand the process of appropriation of the predominant theme / meaning in the audiovisual material by the visionary audio-describers and their translation in their verbal statements; as well as comparing the positions of the visionary audio-describers - both writers and reviewers - with the positioning of non-visionary audio-describers consultants, materialized in the concrete statements. For this, it has its contribution in the theorists of the culture semiotics, more specifically Bakhtin (2010a, 2010b, 2011, 2013, 2015a, 2015b, 2016), Medviédev (2012) and Volóchinov (2013, 2017), main representatives of the dialogical studies of language, to understand how the process of appropriation and transmission of the statement of others occurs. In addition, he seeks support in the filmmaker Sergei Eisenstein (2002a, 2002b), defending the notion of film as a dialogically constructed artistic product, as a manifestation of the interaction relations between subjects and, therefore, crossed by ideological values and positions. In this sense, it makes use of the notion of meaning that the film transmits, of social valuation and of exotopic perspective and of the ways of transmitting the theme, through linguistic-discursive resources, for people with visual impairment. The results shows that the process of routing an audio-description explores the sensibility of the look and the discursive creativity of the audio writers, since the process of scripting, revision and consulting takes place, mainly, by the stylization of the discourse of others, although the authoritarian voices, the veiled and open controversy, as well as other types of dialogical relations are perceived. This allows us to construct a statement that recreates the image in word, not only translates it formally. |
|---|