But they do not only lack access to half of the film, rather more than half, as they cannot have full access to the cohesion and coherence of the acoustic channel and its signifying codes with the visual channel and with the plot of the film. Signifying codes in AVT (Chaume 20).ĭHH people have limited or no access to one out of two information channels and five out of the eleven signifying codes shown in Table 1. Although more signifying codes might be found in audiovisual products, the following table shows the eleven codes with more implications in audiovisual translation (AVT): Audiovisual texts, thus, are not conceived as the mere addition of those channels and their signifying codes, rather their meaning and identity arise from the interaction and cohesion of all acoustic and visual elements of a film. In the audiovisual translation field, it is long widely accepted that audiovisual products are multimodal and multisemiotic products that construct meaning through the interaction of two channels (acoustic and verbal) and their signifying codes (Delabastita 1990 Chaume 2004 Gambier 2013). Keywords: audiovisual translation, signifying codes, subtitling for the Ddeaf and hard of hearing, sdh, film studies, creative subtitles Although the approach in this article is mainly theoretical, the possible subtitling solutions are illustrated with real examples or possibilities mentioned in previous research and publications that include some creative subtitling options. Since the target audience of SDH has limited or no access to sound, special attention is dedicated to the implications of signifying codes in the acoustic channel (linguistic code, paralinguistic code, special effects code, musical code and sound arrangement code) and how their meanings and interactions with other codes can be conveyed in the form of subtitles for the DHH audiences. It focuses on how signifying codes of audiovisual texts might affect subtitling decisions, taking into consideration the needs of the D/deaf and hard of hearing (DHH) audiences (for example, the need of making explicit in the subtitles some sound elements or the need for an adequate subtitling speed) as well as technical aspects and formal restrictions (Martí Ferriol 2010) of this AVT mode. Tamayo and Chaume 2016), hence the present article seeks to fill the gap and suggests an interdisciplinary approach to the study and practice of SDH that takes Film Studies and Translation Studies into account. Little has been said about signifying codes and their implications on accessible audiovisual translation (AVT) (cf. Due to the multimodal complex nature of audiovisual products, when creating subtitles for the D/deaf and the hard of hearing (SDH), the audiovisual translator faces the responsibility to be aware of the existence and understand the interaction of signifying codes of the visual and acoustic channels to create subtitles that are relevant to the target audience. Audiovisual products are complex multimodal constructs that produce meaning through the interaction of all sign systems delivered both through the acoustic and the visual channel, either verbally or non-verbally (Delabastita 1990 Chaume 2004 Gambier 2013).
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