Teacher(s)
Rivas Ginel Maria Isabel (coordinator);
Language
French
> English-friendly
> English-friendly
Main themes
Introduction to audio description, particularly for audiovisual works, shows, exhibitions and tourist attractions.
Learning outcomes
At the end of this learning unit, the student is able to : | |
| Contribution of teaching unit to learning outcomes assigned to programme This unit contributes to the acquisition and development of the following learning outcomes, as assigned to the Master's degree in translation:
On completing this unit the student is able to:
|
|
Content
An audio describer translates visual information, whether from still or moving images, into words. In the audiovisual sector, audio describers generally work in their native language, which is also the language of the original work (for example, from French into French).
This introductory course presents the key principles and practices of audio description for still and moving images, with a particular focus on audiovisual content.
The role of the audio describer is not only to make a work accessible and understandable, but also to convey the emotions and atmosphere that shape the viewing experience.
Audio describers produce a written script using specialised software. This script is then recorded in a studio by professional voice actors.
The course covers, among other topics:
• What is audio description? Definitions, audiences, areas of application, technical aspects, and the history of audio description
• Working as an audio describer: the different stages of the process, writing tools and formats, deadlines, remuneration, current quality guidelines, and professional tools
• Analysing audio description: listening to and analysing excerpts, exploring different approaches to audio description, assessing quality and ethical principles, and considering respect for both the original work and its audience
• Writing for audio description: general writing principles, mental imagery, writing techniques, and the role and perspective of the audio describer
• Cinematic language: dramatic and narrative structures, the relationship between audio description and the image, and the main techniques of audiovisual storytelling
• Sound: analysing a soundtrack, identifying different types of sound, and learning how to identify and annotate them
• The relationship between image, sound, film and writing: learning how to prioritise information and make appropriate descriptive choices
By the end of the course, participants will have acquired a solid grounding in the theoretical principles and technical practices involved in professional audio description.
This introductory course presents the key principles and practices of audio description for still and moving images, with a particular focus on audiovisual content.
The role of the audio describer is not only to make a work accessible and understandable, but also to convey the emotions and atmosphere that shape the viewing experience.
Audio describers produce a written script using specialised software. This script is then recorded in a studio by professional voice actors.
The course covers, among other topics:
• What is audio description? Definitions, audiences, areas of application, technical aspects, and the history of audio description
• Working as an audio describer: the different stages of the process, writing tools and formats, deadlines, remuneration, current quality guidelines, and professional tools
• Analysing audio description: listening to and analysing excerpts, exploring different approaches to audio description, assessing quality and ethical principles, and considering respect for both the original work and its audience
• Writing for audio description: general writing principles, mental imagery, writing techniques, and the role and perspective of the audio describer
• Cinematic language: dramatic and narrative structures, the relationship between audio description and the image, and the main techniques of audiovisual storytelling
• Sound: analysing a soundtrack, identifying different types of sound, and learning how to identify and annotate them
• The relationship between image, sound, film and writing: learning how to prioritise information and make appropriate descriptive choices
By the end of the course, participants will have acquired a solid grounding in the theoretical principles and technical practices involved in professional audio description.
Teaching methods
Face-to-face teaching in a computer lab.
The course combines theoretical instruction supported by visual materials (PowerPoint) with essential supplementary note-taking, listening and analysis exercises, written and software-based practical activities, and both individual and group work. Students will also receive guidance and feedback on their practice and any questions arising during the course.
Attendance is compulsory.
The course combines theoretical instruction supported by visual materials (PowerPoint) with essential supplementary note-taking, listening and analysis exercises, written and software-based practical activities, and both individual and group work. Students will also receive guidance and feedback on their practice and any questions arising during the course.
Attendance is compulsory.
Evaluation methods
The final grade will be based primarily on continuous assessment throughout the semester. Attendance and active participation in class will account for 20% of the final grade, while exercises and assignments to be completed and/or presented between classes will account for 50%. The remaining 30% will be based on a compulsory written assignment to be submitted at the beginning of the June examination period.
The assessment of the written assignment will also take into account the quality of the French used.
Generative artificial intelligence (GenAI), where used, must be used responsibly and in accordance with the principles of academic and scientific integrity. As academic integrity requires the proper acknowledgement of sources, any use of GenAI must be clearly and accurately disclosed. Acceptable uses of GenAI in accordance with academic standards are defined in the institutional document “Utilisation des Intelligences Artificielles Génératives. Note à l’attention des étudiantes et étudiants de l’UCLouvain”.
Whether disclosed or not, the use of GenAI tools will be considered inconsistent with academic standards where, in particular, it results in the citation of bibliographical sources that have not been consulted, or in the inclusion of references whose validity has not been verified or which do not exist. Where inappropriate use of GenAI is suspected, the course instructor may verify the authenticity of the submitted work and, pursuant to Article 148 of the RGEE and subject to the agreement of the examination board, require an additional assessment. Any unauthorised use of GenAI may be considered an irregularity within the meaning of Article 107 of the UCLouvain RGEE.
Plagiarism rules: students must comply strictly with academic referencing requirements in all assessed work. In particular, they must not reproduce text without quotation marks and/or acknowledgement of the source; reproduce graphs, data or illustrations without acknowledging the source; paraphrase or summarise an author’s original ideas without acknowledging the source; translate a source, in whole or in part, without referencing it; present another person’s work as their own; or purchase work. Failure to comply with these rules may result in the sanctions provided for under the RGEE where the examination board establishes that an irregularity or plagiarism has occurred.
The assessment of the written assignment will also take into account the quality of the French used.
Generative artificial intelligence (GenAI), where used, must be used responsibly and in accordance with the principles of academic and scientific integrity. As academic integrity requires the proper acknowledgement of sources, any use of GenAI must be clearly and accurately disclosed. Acceptable uses of GenAI in accordance with academic standards are defined in the institutional document “Utilisation des Intelligences Artificielles Génératives. Note à l’attention des étudiantes et étudiants de l’UCLouvain”.
Whether disclosed or not, the use of GenAI tools will be considered inconsistent with academic standards where, in particular, it results in the citation of bibliographical sources that have not been consulted, or in the inclusion of references whose validity has not been verified or which do not exist. Where inappropriate use of GenAI is suspected, the course instructor may verify the authenticity of the submitted work and, pursuant to Article 148 of the RGEE and subject to the agreement of the examination board, require an additional assessment. Any unauthorised use of GenAI may be considered an irregularity within the meaning of Article 107 of the UCLouvain RGEE.
Plagiarism rules: students must comply strictly with academic referencing requirements in all assessed work. In particular, they must not reproduce text without quotation marks and/or acknowledgement of the source; reproduce graphs, data or illustrations without acknowledging the source; paraphrase or summarise an author’s original ideas without acknowledging the source; translate a source, in whole or in part, without referencing it; present another person’s work as their own; or purchase work. Failure to comply with these rules may result in the sanctions provided for under the RGEE where the examination board establishes that an irregularity or plagiarism has occurred.
Other information
Documents available on Moodle and/or Teams.
Bibliography
Morisset, Laure et Gonant, Frédéric (2008). L'Audiodescription. Principes et orientations. [http://www.csa.fr/Espace-juridique/Chartes/Charte-de-l-audiodescription-Decembre-2008]
Remael, A., Reviers, N. & Vercauteren, G. (Eds.) (2014). Pictures Painted in Words. ADLAB Audio Description Guidelines. [Retrieved from http://www.adlabproject.eu/Docs/adlab%20book/index.html]
LUYKEN, G-M. (1991) « Vaincre les barrières linguistiques à la télévision » - ISBN 978-0948195204
GOUADEC, D. (2009) « Profession traducteur » - ISBN978-2856082164
MATIS, N. (2010) « Comment gérer vos projets de traduction » - ISBN978-2-87496-052-9
LAVAUR, J-M. et SERBAN, A. (2008) « La traduction audiovisuelle » - 978-2804159290
Remael, A., Reviers, N. & Vercauteren, G. (Eds.) (2014). Pictures Painted in Words. ADLAB Audio Description Guidelines. [Retrieved from http://www.adlabproject.eu/Docs/adlab%20book/index.html]
LUYKEN, G-M. (1991) « Vaincre les barrières linguistiques à la télévision » - ISBN 978-0948195204
GOUADEC, D. (2009) « Profession traducteur » - ISBN978-2856082164
MATIS, N. (2010) « Comment gérer vos projets de traduction » - ISBN978-2-87496-052-9
LAVAUR, J-M. et SERBAN, A. (2008) « La traduction audiovisuelle » - 978-2804159290
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