Using evaluation criteria and rubrics as learning tools in subtitling for the D/deaf and the hard of hearing

Andino, Irene De Higes; Merchán, Beatriz Cerezo

doi:10.1080/1750399x.2017.1418809

Cited by 6 publications

(3 citation statements)

References 18 publications

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“…It may also be the teachers who provide the tools for self-assessment, among others: collaborative discussion groups, portfolios (Galán-Mañas, 2016), rubrics (Way, 2008;Hegrenaes & Simonnaes, 2020;De Higes Andino & Cerezo Merchán, 2018) or surveys (Zappatore, 2020).…”

Section: Inexperiencementioning

confidence: 99%

Translation Assessors In and Out of Their Element

Conde Ruano

2024

dia

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Translation assessment is an activity present in many scenarios and the diverse individuals who must deal with it partly explains the variability of such activity. Previous Translation Studies have already profiled and compared both the behaviour and the results of assessments carried out by a variety of evaluators. This paper examines the main contributions concerning this issue, and adds to the field by distinguishing between the contexts in which evaluators carry out their usual work and other less paradigmatic situations. The result is a compendium of the characteristics defining the prototypical evaluator profiles as well as presenting a warning for researchers, professionals, students and teachers on the special conditions that, depending on the circumstances, affect their evaluation and make it look as a different activity. The discussion includes complex formulas characterized by the collaboration of different groups of evaluators, as well as of those whose profile is not defined always by a single role. Therefore, the present paper may serve as an inspiration for new research investigating the profiles of evaluators to open the focus and take into account the circumstances that may affect their alleged habitual activity.

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Section: Inexperiencementioning

confidence: 99%

Translation Assessors In and Out of Their Element

Conde Ruano

2024

dia

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“…Evaluation is related to learning competences, as has been researched in connection with AD (e.g., Marzà, 2010;Fryer, 2019), and AD and subtitling for the D/deaf and hard of hearing (De Higes & Cerezo, 2018). These competences are, in turn, related to the aims of the project (see section 3, above), in developing language skills, interpersonal and strategic competences, and, finally, transversal competences on blindness and functional diversity, as analysed in 2.1 and 2.2.…”

Section: Students' Productions and Their Evaluationmentioning

confidence: 99%

Audio Description Practice in the Catalan L1 Classroom

Bardini,

Espasa

2023

JAT

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Audio description (AD) has been successfully used in educational settings, especially in foreign language learning—often in combination with other audiovisual translation modes. Most studies have focused on advanced foreign language learners, in the context of higher education. The use of AD in school settings, and in connection with L1, is a promising but arguably under researched area, which our study explores. The AD workshop conducted in a Catalan secondary school in the realm of the research presented in this article is now part of a forthcoming catalogue of activities to encourage the use of Catalan among students, which is published by the Generalitat de Catalunya and addressed to Catalan schools. The article outlines the pedagogical design of the intervention, its main results, limitations, and ways forward. We report a positive effect of practising AD on students’ lexical and syntactic abilities in Catalan and an important impact on their awareness on blindness and functional diversity, as well as the development of critical thinking and empathy. One of the challenges of the activity was to evaluate students’ productions and another was to deal with multilingualism and translanguaging in the classroom, two key aspects that are also discussed in the article. Lay summary Film audio description is an aural description of what happens on screen inserted between dialogues and important sounds. It is a mode of audiovisual accessibility for persons with blindness or low vision, but we can also use it in education. In this context, students create an audio description as a way of practising their language skills: this is called didactic audio description and it has been used with success in foreign language learning in universities. Our study explores the use of didactic audio description in secondary school and in the local language of instruction (L1). Our project took place in a secondary school in Catalonia. The project involved two researchers (the authors of this article), a professional audio describer, a teacher of Catalan, and 80 students aged 12-13. These students participated in a workshop. The workshop included a presentation of what audio description is, a first practice, and a guided final practice. This final practice consisted in the audio description of a short film where the main character is blind: The Fish and I, by Babak Habibifar (2020). In this article we inform on didactic audio description, we explain the methodology of our study, the realisation of the workshop, and our most important results. These results concern the main benefits of didactic AD in L1 in secondary school. The most important results are: The benefits of didactic AD for developing language skills in L1. The benefits of didactic AD for developing other competences, such as working in team or analysing a film. The benefits of didactic AD for making students aware of blindness and diversity. The benefits of didactic AD for the revitalization of Catalan, a minority language. The article also presents the difficulties that the research team encountered. Some of these difficulties were evaluating the students’ work and dealing with multilingualism in the classroom.

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“…based on the evaluation of translation errors. As an alternative approach, De HigesAndino and Cerezo Merchán (2018) propose a more holistic translation assessment method (specifically for SDH) that links assessment tasks and competences and includes translation tasks, questionnaires, reflective diaries, reports, student portfolios and rubrics.Apart from higher-education courses, an interesting development in MA training has been brought about by a series of recent EU-funded Erasmus+ projects focused on developing new professional profiles (including competences and skills) and training materials for audio describers (ADLAB PRO), accessibility managers (Accessible Culture & Training, ACT), producers of easy-to-understand audiovisual content (Easy Access for Social Inclusion Training, EASIT) and interlingual respeakers (Interlingual Live Subtitling for Access, ILSA). Since these projects do not have to abide by many of the institutional constraints of the abovementioned courses, the training they propose is more flexible and it is often organized into several modules that can be used for online training in programmes of varying duration and by both students and professionals.…”

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confidence: 99%

Training in Accessible Filmmaking

Romero-Fresco

2020

LANS-TTS

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Accessible filmmaking (AFM), that is, the integration of audiovisual translation (AVT) and media accessibility (MA) into the filmmaking process through collaboration between filmmakers and translators/MA experts, has developed significantly over the past few years. It has been endorsed by filmmakers such as Ken Loach and institutions such as the British Film Institute (BFI), which has decided to embrace it as a key element in the production of films and the training of future filmmakers. However, current training in AFM is at best anecdotal. This article aims to address this gap by proposing two different courses on AFM. By way of introduction, section 2 sets the background with an analysis of the reasons behind the division between film and AVT/MA. Special attention is paid to the invisibility of AVT/MA in Film Studies and to the new AVT/MA-aware notion of film that underpins the current proposal for AFM training. Sections 3 and 4 provide an overview of the training currently available in AVT/MA and film(-making). Finally, section 5 offers an account of the first pioneering attempts to provide AFM training and, most importantly, a proposed outline for two different courses designed to equip accessible filmmakers and translators/MA experts with the required skills and competences to apply the AFM model.

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Using evaluation criteria and rubrics as learning tools in subtitling for the D/deaf and the hard of hearing

Cited by 6 publications

References 18 publications

Translation Assessors In and Out of Their Element

Translation Assessors In and Out of Their Element

Audio Description Practice in the Catalan L1 Classroom

Training in Accessible Filmmaking

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