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Tous droits réservés © Les Presses de l’Université de Montréal, 2009 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Document généré le 29 déc. 2021 16:25 Meta Journal des traducteurs Translators' Journal The Present and Future of Audio Description and Subtitling for the Deaf and Hard of Hearing in Spain Francisco Utray, Ana María Pereira et Pilar Orero Volume 54, numéro 2, juin 2009 URI : https://id.erudit.org/iderudit/037679ar DOI : https://doi.org/10.7202/037679ar Aller au sommaire du numéro Éditeur(s) Les Presses de l'Université de Montréal ISSN 0026-0452 (imprimé) 1492-1421 (numérique) Découvrir la revue Citer cet article Utray, F., Pereira, A. M. & Orero, P. (2009). The Present and Future of Audio Description and Subtitling for the Deaf and Hard of Hearing in Spain. Meta, 54(2), 248–263. https://doi.org/10.7202/037679ar Résumé de l'article Le présent article vise à faire le point sur les deux modes d’accessibilité aux médias les plus importants en Espagne : l’audiodescription et le sous-titrage pour sourds et malentendants. Il se reporte à l’origine de ces techniques, suit leur développement jusqu’à l’époque actuelle et examine les normes et les lois qui les régissent. Il propose une analyse des implications économiques et fonctionnelles de l’accessibilité aux médias, laquelle n’est pas gouvernée par les paramètres économiques conventionnels. Il aborde la détermination du profil des futurs professionnels du sous-titrage et de l’audiodescription en Espagne, qui sont formés dans le cadre de la traduction audiovisuelle. L’article se conclut par la proposition d’un éventail de mesures à prendre pour faire connaître ces services à un large public et pour atteindre une totale accessibilité, laquelle sera favorisée par le remplacement de la diffusion analogique par la radio et la télévision numériques. Meta LIV, 2, 2009 The Present and Future of Audio Description and Subtitling for the Deaf and Hard of Hearing in Spain francisco utray Universidad Carlos III de Madrid, Madrid, Spain futray@cesya.es ana maría pereira Universidade de Vigo, Vigo, Spain pereira@uvigo.es pilar orero Universitat Autònoma de Barcelona, Barcelona, Spain pilar.orero@uab.es RÉSUMÉ Le présent article vise à faire le point sur les deux modes d’accessibilité aux médias les plus importants en Espagne : l’audiodescription et le sous-titrage pour sourds et malen- tendants. Il se reporte à l’origine de ces techniques, suit leur développement jusqu’à l’époque actuelle et examine les normes et les lois qui les régissent. Il propose une ana- lyse des implications économiques et fonctionnelles de l’accessibilité aux médias, laquelle n’est pas gouvernée par les paramètres économiques conventionnels. Il aborde la déter- mination du proﬁl des futurs professionnels du sous-titrage et de l’audiodescription en Espagne, qui sont formés dans le cadre de la traduction audiovisuelle. L’article se conclut par la proposition d’un éventail de mesures à prendre pour faire connaître ces services à un large public et pour atteindre une totale accessibilité, laquelle sera favorisée par le remplacement de la diffusion analogique par la radio et la télévision numériques. ABSTRACT The aim of this article is to describe the state of the art in Spain of the two most popular media accessible modalities: audio description and subtitling for the deaf and hard of hearing. The article traces their origin and development up to the present time. It also examines standards and laws and analyses the economic and operative implications of media accessibility, which does not follow traditional economic parameters. The article aims to deﬁne the proﬁle of future describers and subtitlers in Spain, who are currently being trained in the ﬁeld of Audiovisual Translation. It concludes by proposing a wide variety of measures to be taken in order to reach full media accessibility and raise popu- lar awareness of these services which are available now and will be increasingly so in the future with the change from analogous to digital broadcasting. MOTS-CLÉS/KEYWORDS audiodescription, doublage, sous-titrage pour sourds et malentendants, accessibilité des médias en Espagne, traduction audiovisuelle audio description, dubbing, subtitling for deaf and hard of hearing, media accessibility in Spain, audiovisual translation 1. Introduction The profound transformation taking place in European media and broadcasting will benefit society in general and the growing number of people with special sensorial needs in particular. The aged population in Europe is growing fast and is predicted to increase steadily each year.1 Focused exclusively on Spain, this article gives an overview of the special services which will be available with digital media commu- nication: Audio Description (AD) and Subtitles for the Deaf and Hard of Hearing (SDHH). After an introduction defining these two modalities, the article describes their origins and development in Spain, as well as the standards and laws that regu- late them and the corresponding economic and operative implications. The second part of the article studies the professional profile of those who are going to work in media accessibility, given the fact that they will be receiving university training in the area of Audiovisual Translation. We should remember that Spain is a country in which dubbing is very widely used and this will no doubt have direct implications in the voice artist market. The article concludes with an analysis of the numerous forms and icons that would contribute to the promotion of accessibility and to rais- ing its profile within Spanish society. 2. Definitions of AD and SDHH in Spain In Spain, dubbing is widely used and this is one of the first considerations to be taken into account when dealing with media accessibility. Dubbing has direct implications on both the type of media accessibility and the professionals who will be in charge of it: describers and subtitlers. The first definition of audio description in Spain is that offered by Navarrete, a describer who worked for the Spanish National Organisation of the Blind ONCE2 for many years and who in 1997 defined it as “the art of speaking in images” (1997: 71). In 2004, in Integración, the journal of the Spanish Cochlear Implant Association AICE,3 Vidal (2004: 30) wrote that audio description “simply tries to explain the action of a play, TV programme or film, etc. in such a way that the blind person can follow the development of the plot as well as possible.” But it is the official Standard UNE where we find the most complete, up-to-date definition: Audio description is an assistive service consisting of a set of techniques and abilities, whose main objective is to compensate for the lack of perception of the visual compo- nent in any audiovisual message, by providing suitable sound information which translates or explains, in such a way that the visually impaired perceive the message as a harmonious work which is as similar as possible to that which is perceived by the sighted.4 (AENOR 2005: 4) On the other hand, subtitling for the deaf and hard of hearing (SDHH) could be defined as a modality of mode transaction (from oral to writing), which sometimes occurs between languages. It consists of displaying a written text on screen which offers a semantic account of what is happening during a given programme: not only what is said but also how it is said (emphasis, tone of voice, accents, foreign languages, different noises, etc.) and who says it. It includes contextual sounds such as environ- mental music and noises, and also the numerous discursive elements which appear on the screen (letters, words on posters, etc.) (Pereira 2005: 162). Unlike subtitles the present and future of audio description and subtitling 249 250 Meta, LIV, 2, 2009 which include a change of language (interlingual) and are aimed at a public without hearing problems, subtitling in which there is no change of language (intralingual) or SDHH is articulated solely around two components: the subtitles and the image that accompanies them. These two elements, along with the nature and the reading pace of the receiver, define the characteristic traits of subtitling for people with hear- ing problems, who amount to a million in Spain (Pereira 2005: 162). Although the Spanish Official Subtitling Standard UNE 153010 (AENOR 2003) does not offer a definition of SDHH, we find the following definition in the text drawn up by the Working Group named “Foro Técnico de la TV Digital” (2005: 5) of the Spanish Ministry of Industry:5 “Assistive service to communication that displays oral speeches, supra segmental information and sound effects on screen, which are pres- ent in any audiovisual work, through text and graphic elements.”6 The bill of the new audiovisual law (Anteproyecto de ley general audiovisual, MICyT 2005: 52), which will regulate SDHH and AD, gives the following definitions: “Subtitling is a written summary of dialogues, music and sound effects, displayed on screen simultaneously with the sounds emitted, and visible at the viewer’s demand”7 and “Audio description is the independent sound track that can be selected uploads/Litterature/ la-tras-audiovisuelle.pdf