Eye tracking analysis of minor details in films for audio description

Orero, Pilar; Vilaro, Anna

doi:10.6035/monti.2012.4.13

Cited by 25 publications

(12 citation statements)

References 24 publications

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“…Most studies are descriptive and focus on the analysis of existing scripts ( Jiménez, 2010 ) or the creation of guidelines ( Rai et al, 2010 ), but experimental research on the processes involved in the creation and reception of AD has gained momentum in the last decade. The majority of experiments and quasi-experiments have focused almost exclusively on the selection of the relevant information to audio describe, either through the analysis of verbal descriptions from sighted participants ( Mazur and Kruger, 2012 ) or through the use of eye-trackers that allow researchers to identify where sighted viewers focus their visual attention ( Orero and Vilaró, 2012 ).…”

Section: Introductionmentioning

confidence: 99%

Audio Described vs. Audiovisual Porn: Cortisol, Heart Rate and Engagement in Visually Impaired vs. Sighted Participants

2021

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Audio description remains the cornerstone of accessibility for visually impaired audiences to all sorts of audiovisual content, including porn. Existing work points to the efficacy of audio description to guarantee immersion and emotional engagement, but evidence on its role in sexual arousal and engagement in porn is still scant. The present study takes on this challenge by comparing sighted and visually impaired participants’ experiences with porn in terms of their physiological response [i.e., cortisol and heart rate (HR)] and self-report measures of affect [Positive and Negative Affect Schedule (PANAS); Watson et al., 1988], anxiety [State-Trait Anxiety Inventory (STAI); Spielberger et al., 1970], sexual reactivity and arousal [Sexual Inhibition/Sexual Excitation Scale (SIS/SES); Moyano and Sierra (2014); and the Ratings of Sexual Arousal (RSA); Mosher (2011)], and narrative engagement or transportation [The Transport Narrative Questionnaire, Green and Brock (2013)]. 69 Spanish participants were allocated into three different groups: 25 sighted participants who watched and heard the porn scenes in their audio-visual version (AV); 22 sighted participants who listened to the audio described version without images (AD); and 22 visually impaired participants who also listened to the audio described version without images (ONCE). Overall, results on physiological and self-report measures revealed no significant differences between groups or different versions of the clips. The analysis of cortisol reactivity to porn as the maximum increase or decrease in cortisol (t+12) with respect to baseline values (t−20) revealed no significant differences between the groups, but pointed to a higher percentage of non-responders than responders in the three groups, the highest being found in the ONCE group. As for participants’ cardiac response to the clips, no significant differences were found across the groups, with the highest HR levels being registered in the baseline phase. Self-report measures revealed significant between-group differences in negative affect. The ONCE group displayed the highest pre-task levels of negative affect and was the only group that showed a decrease in negative affect after exposure to the clips. Sighted and visually impaired participants reported to be moderately aroused and immersed in the films, regardless of exposure to AV or AD porn. In addition, correlations found between participants’ levels of self-report sexual arousal and transportation and post-task affect pointed to a positive relationship between exposure to porn and perceived levels of sexual arousal and affect. Results from the study reflected the efficacy of audio description in providing sighted and visually impaired audiences with a similar experience to that offered by original AV porn scenes. This study is exploratory but provides valid, initial groundwork for further research on the impact of audio description on porn reception.

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Section: Introductionmentioning

confidence: 99%

Audio Described vs. Audiovisual Porn: Cortisol, Heart Rate and Engagement in Visually Impaired vs. Sighted Participants

2021

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“…Jiménez Hurtado 2007;Salway 2007), eye-tracking studies (e.g. Vilaró et al 2012;Orero & Vilaró, in this volume) and narratology (e.g. Kruger 2010).…”

Section: Introductionmentioning

confidence: 93%

A narratological approach to content selection in audio description: towards a strategy for the description of narratological time

Vercauteren¹

2012

MonTI

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As more and more countries start to provide audio description services for a growing range of products and events, research into this new discipline is growing and diversifying as well. Two questions that seem to be at the heart of much of this research focus on what should be described and how this should be done, in other words on content selection and formulation of the description. The present article looks at the first of these two questions and approaches it from a narratological point of view. After a general discussion of the use of narratology for audio description, the focus will shift to one particular constituent of narrative, namely time. The different temporal aspects will be discussed in greater detail, after which a strategy for the audio description of time in film will be proposed. RésuméDe plus en plus de pays commencent à offrir des services d'audio description pour un nombre croissant de produits et évènements. La recherche dans cette nouvelle discipline a de ce fait tendance à se développer et à se diversifier. Deux questions paraissent être au coeur de nombreuses recherches : que faut-il décrire et comment faut-il le faire ? Ou, en d'autres termes, quel contenu choisir et comment formuler la description ? Cet article se penche sur la première question et adopte une approche à partir d'un point de vue narratologique. Après une discussion générale sur l'utilité de la narratologie à des fins d'audio description, l'accent sera mis sur un composant particulier de la narration: le temps. Les différents aspects temporels seront examinés plus en détails et une stratégie d'audio description du temps pour le cinéma sera proposée.

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“…In the study of AD, cognitive and social semiotic theories should complement each other. In AD studies, various methods of audio describing films have been proposed which draw on cognitive narratology and visual perception theories (Kruger, 2012;Orero & Vilaró, 2012). Hirvonen (2013) applied the figure-ground alignment cognitive theory to analysing both a film and its AD.…”

Section: Subjectivity In Language and Visual Communicationmentioning

confidence: 99%

Paintings to my ears: A method of studying subjectivity in audio description for art museums

Luque¹,

Gallego²

2019

LANS-TTS

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An increasing number of museums are using audio description (AD) to provide access for visually impaired visitors to their collections by means of a wide range of mobile devices and apps. However, research in this field is still limited. The present article proposes a methodological approach that combines interviews and corpus analysis for studying audio-descriptive guides of art museums. More specifically, the proposed methodology focuses on the study of subjectivity, which has become a controversial aspect of AD in the past few years and the focus of a number of studies. The article offers a step-by-step description of the methodology and illustrates it with data from a study carried out by the authors on this type of multimodal communication.

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Eye tracking analysis of minor details in films for audio description

Cited by 25 publications

References 24 publications

Audio Described vs. Audiovisual Porn: Cortisol, Heart Rate and Engagement in Visually Impaired vs. Sighted Participants

Audio Described vs. Audiovisual Porn: Cortisol, Heart Rate and Engagement in Visually Impaired vs. Sighted Participants

A narratological approach to content selection in audio description: towards a strategy for the description of narratological time

Paintings to my ears: A method of studying subjectivity in audio description for art museums

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