Abstract
As well as an alternative approach to audiovisual translation and media accessibility, accessible filmmaking (AFM), the integration of translation and accessibility into the filmmaking process through the collaboration of filmmakers and translators, is a new approach to filmmaking. The aim of this article is to ascertain what filmmakers need (in theory and practice) to become accessible filmmakers. Firstly, the reason for the gap between film and translation/media accessibility is explored and a new translation-oriented notion of film studies is presented. A new concept (the global film) is then introduced to help filmmakers widen their perspective beyond the original version of their films. Examples are provided of pioneering filmmakers who have already considered the global film and applied a similar approach to the AFM model. Finally, the article looks at how the concept of the global film and the AFM model were applied to the feature-length documentary Where Memory Ends.
Highlights
The article looks at how the concept of the global film and the accessible filmmaking (AFM) model were applied to the feature-length documentary Where Memory Ends
Audiovisual translation and media accessibility are still considerably neglected in the film industry, the new trends of audiovisual consumption in our society and the pervasiveness of on-demand platforms such as HBO, Amazon prime or Netflix are bringing the issue of language transfer to the fore
A lot of this work has been done from the perspective of audiovisual translation and media accessibility, if a solid collaboration is to be built with creative teams it is essential to turn our attention to the filmmakers
Summary
Audiovisual translation and media accessibility are still considerably neglected in the film industry, the new trends of audiovisual consumption in our society and the pervasiveness of on-demand platforms such as HBO, Amazon prime or Netflix are bringing the issue of language transfer to the fore. In order to offer both a theoretical framework and a practical model to tackle this issue, accessible filmmaking (AFM) aims to consider translation and/ or accessibility during the production of audiovisual media (through the collaboration between the creative team and the translator) in order to provide access to content for people who cannot access or who have difficulty accessing it in its original form (Romero-Fresco 2019a: 5–6). A lot of this work has been done from the perspective of audiovisual translation and media accessibility, if a solid collaboration is to be built with creative teams it is essential to turn our attention to the filmmakers This is the aim of the present article, which attempts to answer the following question: what do filmmakers need (in theory and practice) to become accessible filmmakers?.
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