Seminarium Szkoła Mistrzów 01.12.2021 godz. 15:00

W środę 01 grudnia 2021 o godz. 15:00 odbędzie się kolejne spotkanie w ramach seminarium Szkoła Mistrzów.

Gościć będziemy profesora Pablo Romero Fresco.

Biogram:
Pablo Romero Fresco is Ramón y Cajal researcher at Universidade de Vigo (Spain) and Honorary Professor of Translation and Filmmaking at the University of Roehampton (London, UK). He is the author of the books Subtitling through Speech Recognition: Respeaking (Routledge), Accessible Filmmaking: Integrating translation and accessibility into the filmmaking process (Routledge) and Creativity in Media Accessibility (Routledge, forthcoming). He is on the editorial board of the Journal of Audiovisual Translation (JAT) and is the leader of the international research group GALMA (Galician Observatory for Media Access), for which he is currently coordinating several international projects on media accessibility and accessible filmmaking. Pablo is also a filmmaker. His first short documentary, Joining the Dots (2012), was used by Netflix as well as film schools around Europe to raise awareness about audio description. He has just released his first feature-length documentary, Where Memory Ends (2021), which has featured in El País and other leading Spanish media outlets.

Temat seminarium:

Accessible Filmmaking and Creative Accessibility: Films for/by all?

Despite their importance in the reception and distribution of films, translation and accessibility have traditionally been neglected in the film industry. They are regarded as an afterthought, which results in translators being isolated from the creative team and working in conditions that hamper their attempts to maintain the filmmaker’s original vision. Accessible filmmaking offers a potential solution to this problem by considering translation and accessibility in the production process through the collaboration between the creative team and the translator. Originated in 2013 and now applied by both independent filmmakers and to some extent mainstream on-demand platforms such as Netflix, accessible filmmaking has contributed to a reconsideration of how translation and accessibility can be approached in film. Based on the work carried out by, amongst others, the researchers in the UVigo research group GALMA, the first part of this presentation will outline the accessible filmmaking model and show how it is currently materialising in terms of research, training and professional practice.

The collaboration between filmmakers and translators/media access experts envisaged within accessible filmmaking is leading to increasingly creative examples of media accessibility. These are practices that do not only attempt to provide access for the users of a film or a play, but also seek to become an artistic contribution in their own right, often enhancing user experience in a creative or imaginative way. This may also be referred to as alternative media accessibility, in so far as it stands in opposition to most guidelines (at least in their current state), which encourage professionals to adopt objective approaches and to focus on viewers’ comprehension. The second part of this presentation will introduce creative media accessibility and illustrate it with examples of current professional practice. Many of these examples, created by disabled artists, ask us to reconsider some of the assumptions we have held for long and to address, amongst other, the following questions: Is audiovisual content currently accessible for all and, if not, who is being excluded? What is the difference between accessibility, inclusion and participation? How far are we from turning “films for all” into “films by all”? To what extent are we contributing to what many regard as an ableist society (i.e. one that discriminates people with disabilities)? And what role can each of us (students, researchers, professionals) play in the pursuit for real inclusion?