1
00:00:00,400 --> 00:00:02,680
This is an ADLAB PRO video.

2
00:00:02,760 --> 00:00:05,920
ADLAB PRO is a project funded
by the European Union.

3
00:00:06,040 --> 00:00:08,200
This video is made available
to you

4
00:00:08,280 --> 00:00:09,960
on a Creative Commons licence.

5
00:00:10,120 --> 00:00:14,160
Hello. I’m Agnieszka Chmiel
from Adam Mickiewicz University

6
00:00:14,240 --> 00:00:17,960
in Poznan, Poland.
In this ADLAB PRO video

7
00:00:18,040 --> 00:00:20,440
I will present
the basic information

8
00:00:20,520 --> 00:00:24,840
related to audio describing
time and space in screen AD.

9
00:00:25,480 --> 00:00:28,160
This is Unit 5
"Time and space"

10
00:00:28,240 --> 00:00:30,880
in Module 2
"Screen AD".

11
00:00:32,440 --> 00:00:35,440
Knowing when and where
something is happening

12
00:00:35,520 --> 00:00:38,560
is crucial for understanding
the film plot.

13
00:00:39,040 --> 00:00:42,640
Temporal and spatial settings
may change within seconds

14
00:00:42,880 --> 00:00:46,520
and these changes must be included
in audio description.

15
00:00:47,920 --> 00:00:51,560
You should organise the description
starting from the general

16
00:00:51,680 --> 00:00:56,480
and add more details if they
are needed and if time allows.

17
00:00:57,800 --> 00:01:00,160
Let’s have a look at these examples.

18
00:01:00,240 --> 00:01:04,240
Titles of the films these examples
come from are in the brackets.

19
00:01:05,480 --> 00:01:08,880
A forest. In a bar.

20
00:01:09,000 --> 00:01:11,080
A monolithic town.

21
00:01:11,960 --> 00:01:16,760
In the publishing house.
At night in the manor house.

22
00:01:17,880 --> 00:01:22,480
The terracotta and sandy-coloured
spires and domes of Oxford.

23
00:01:23,760 --> 00:01:27,000
Notice how the descriptions become
more detailed

24
00:01:27,080 --> 00:01:29,120
depending on how much time

25
00:01:29,200 --> 00:01:32,480
the audio describer has
to fit the description.

26
00:01:34,760 --> 00:01:38,120
Sometimes you can indicate
certain temporal settings

27
00:01:38,200 --> 00:01:42,600
by describing the spatial settings,
as in the following example:

28
00:01:43,080 --> 00:01:45,080
A morning in the forest.

29
00:01:45,160 --> 00:01:48,760
Silvery frost covers the ground
and tree branches.

30
00:01:49,720 --> 00:01:53,600
Instead of explicitly stating
that it is winter,

31
00:01:53,680 --> 00:01:56,960
the AD describes
those attributes of winter

32
00:01:57,040 --> 00:02:01,080
that make the sighted viewers infer
about the time of the year.

33
00:02:01,520 --> 00:02:04,760
The blind viewers may thus
make the same inference

34
00:02:04,840 --> 00:02:08,000
and know more
about what’s on the screen.

35
00:02:10,560 --> 00:02:13,280
Settings may have various functions.

36
00:02:13,360 --> 00:02:16,000
They may simply be a background
to the action.

37
00:02:16,320 --> 00:02:19,840
A police station, for instance,
may simply be the backdrop

38
00:02:19,920 --> 00:02:22,240
for part of the action
in a crime film.

39
00:02:23,400 --> 00:02:27,760
Settings may also serve a narrative
or symbolic function.

40
00:02:27,840 --> 00:02:31,440
A castle, by contrast, may symbolize
the power of its inhabitant

41
00:02:31,520 --> 00:02:34,440
whereas a dilapidated castle

42
00:02:34,520 --> 00:02:37,480
may indicate the downfall
of that person.

43
00:02:37,560 --> 00:02:41,320
Make sure you reflect
that function properly in the AD.

44
00:02:43,000 --> 00:02:46,960
It is important to correctly reflect
temporal relations in the AD.

45
00:02:47,040 --> 00:02:50,800
Sometimes the plot is not linear
and directors tell the story

46
00:02:50,880 --> 00:02:52,920
in a non-chronological order.

47
00:02:53,280 --> 00:02:56,800
This results in flashbacks
and flashforwards.

48
00:02:58,080 --> 00:03:01,200
You should use the principle
of continuity, that is,

49
00:03:01,320 --> 00:03:05,480
it is assumed that the scenes
follow one another in time.

50
00:03:05,560 --> 00:03:07,920
If the continuity is broken,

51
00:03:08,000 --> 00:03:10,680
a different temporal
and/or spatial setting

52
00:03:10,800 --> 00:03:13,280
has to be indicated in the AD.

53
00:03:14,960 --> 00:03:17,560
Let’s have a look at this example
which shows

54
00:03:17,640 --> 00:03:20,760
how you can indicate
two different temporal settings:

55
00:03:21,560 --> 00:03:24,640
Modern times.
Sabina leans on her stick

56
00:03:24,720 --> 00:03:27,000
as she walks around
the arrivals hall.

57
00:03:27,720 --> 00:03:29,600
It’s the fifties again.

58
00:03:31,200 --> 00:03:34,840
Flashbacks may also be indicated
less explicitly,

59
00:03:34,920 --> 00:03:36,840
as in these examples:

60
00:03:36,920 --> 00:03:40,480
She remembers seeing
the tree frozen.

61
00:03:40,560 --> 00:03:44,600
The same tree comes back
in her winter time memories.

62
00:03:45,720 --> 00:03:48,480
Sometimes different
spatio-temporal settings

63
00:03:48,560 --> 00:03:51,600
are associated
with a particular character

64
00:03:51,680 --> 00:03:54,560
as in the film “The hours”,
where Virginia Woolf

65
00:03:54,640 --> 00:03:56,680
is in London in the 1920s,

66
00:03:57,520 --> 00:04:01,000
Laura is in Los Angeles in 1951,

67
00:04:01,200 --> 00:04:04,960
and Clarissa in New York in 2001.

68
00:04:05,400 --> 00:04:08,040
In this case,
the character mentioned in the AD

69
00:04:08,120 --> 00:04:10,360
will help identify the setting.

70
00:04:11,640 --> 00:04:15,120
Sometimes settings can be
well-known or unfamiliar.

71
00:04:15,200 --> 00:04:18,920
How they are described in AD
depends on the background knowledge

72
00:04:19,000 --> 00:04:21,320
of the describer
and the viewer.

73
00:04:21,520 --> 00:04:24,480
If you want to find out more,
I recommend reading

74
00:04:24,560 --> 00:04:27,720
the ADLAB guidelines
“Pictures painted in words”.

75
00:04:27,800 --> 00:04:31,400
I have actually used some of
the examples from this publication

76
00:04:31,480 --> 00:04:33,080
in this presentation.

77
00:04:34,360 --> 00:04:36,520
I hope you have learned some
interesting things

78
00:04:36,600 --> 00:04:39,320
about audio describing
spatio-temporal settings

79
00:04:39,400 --> 00:04:41,880
from this video. Bye!

80
00:04:42,360 --> 00:04:44,360
The preparation
of this presentation

81
00:04:44,440 --> 00:04:48,040
was supported by ADLAB PRO.
Audio Description:

82
00:04:48,120 --> 00:04:51,760
A Laboratory for the Development
of a New Professional Profile

83
00:04:51,880 --> 00:04:56,160
financed by the European Union
under the Erasmus+ Programme,

84
00:04:56,240 --> 00:04:59,520
Key Action 2,
Strategic Partnerships.

85
00:04:59,600 --> 00:05:00,800
Project number:

86
00:05:00,880 --> 00:05:09,240
2016-1-IT02-KA203-024311.

87
00:05:09,800 --> 00:05:13,120
The information and views
set out in this presentation

88
00:05:13,200 --> 00:05:16,240
are those of the authors
and do not necessarily reflect

89
00:05:16,320 --> 00:05:19,400
the official opinion
of the European Union.

90
00:05:19,480 --> 00:05:22,840
Neither the European Union
institutions and bodies

91
00:05:22,920 --> 00:05:25,440
nor any person acting
on their behalf

92
00:05:25,520 --> 00:05:27,360
may be held responsible
for the use

93
00:05:27,440 --> 00:05:30,240
which may be made of
the information contained therein.

94
00:05:30,400 --> 00:05:32,400
This was an ADLAB PRO video.

95
00:05:32,480 --> 00:05:36,120
ADLAB PRO partners are:
University of Trieste,

96
00:05:36,200 --> 00:05:39,200
Universitat Autònoma
de Barcelona,

97
00:05:39,280 --> 00:05:43,280
University of Antwerp,
Adam Mickiewicz University,

98
00:05:43,360 --> 00:05:46,360
RTV Slovenia,
Utopian Voices,

99
00:05:46,440 --> 00:05:50,640
Soundfocus and Royal National
Institute of Blind People.

100
00:05:50,720 --> 00:05:53,680
ADLAB PRO was funded
by the European Union.

101
00:05:53,760 --> 00:05:55,440
This video was made available
to you

102
00:05:55,520 --> 00:05:57,360
on a Creative Commons licence.