How should the visual information be described?

Arma (2011: 152) suggested that the language of audio description should be regarded as an LSP, Language for Special Purposes. The author refers to the definition of LSP formulated by Schröder: languages for special purposes do not differ from the general language but are characterised by the use particular means of communication of a certain language in a specific way and with a specific frequency of occurrence. In addition, the language of AD is specifically addressed to a community and, therefore, used for a special purpose. Finally, the use of codified language is habitual, e.g.

formulaic and formalised expressions are used to describe the logos of film distribution companies, the list of producers, actors or dubbers, or the employment of technical

perspectives to describe what is happening. These features and the recurrent use of grammatical and lexical peculiarities “can provide with sufficient reasons to believe that the language of audio description can be considered as a language for special purposes”

(Arma, 2011:163).

However, standardising how information should be described is the most controversial cornerstone of AD because it leads to a broad set of diverse issues, such as language, style and, as already reported, objectivity. Firstly, the describer should investigate particular features of the film that might require a specific type of description in order for the two parts to be congruent. These include the genre the source text belongs to that might mandate a specific jargon; the time period and place in which the film is set or the year of production that might require a particular style; the author’s particular expression; and the type of the target audience the film is addressed to. For what concerns the language, the guidelines suggest the audio description be meticulous, succinct, vivid, and concrete. An accurate choice of vocabulary meets the need to provide the user with a precise and detailed description, that avoids obscurity and vagueness and meticulously transposes images into words. A specific lexicon must be used to render vivid, rich and imaginative descriptions and lexical variety is preferred to a dull repetition of common words, “for instance, in verb variation (chat, gossip, confer rather than just talk, depending on the context)” (Remael, Reviers, Vercauteren, 2015: 47). On the other hand, the guidelines additionally suggest avoiding obscure vocabulary and unnecessary pomp, and adhering to easily understandable and conversational words; for instance, technical or specific jargon, including film techniques used in the source text, should be avoided or limited to well-known terms.

Furthermore, “the visual nature of the film can be reflected in the use of verbs of movement and simile, metaphors and other figures of speech” (Remael, Reviers, Vercauteren, 2015: 47).

Investigating the grammar of audio description, the guidelines recommend writing in the present tense, while “past tenses are limited to referring back to previous descriptions” (Remael, Reviers, Vercauteren, 2015: 47). However, some suggest that the use of the present continuous and present participle, if time allows, might give a better narrative feel. Moreover, in the choice of verbs, as stated by Vercauteren, “hyponyms

are preferable to general superordinates combined with adverbs” (2007: 144) in order to have, as already stated, a precise and meticulous description. Audio descriptions should predominantly use third person pronouns, “as they reflect the voice of an omniscient narrator” (Remael, Reviers, Vercauteren, 2015: 48), thus contributing to keep the highest objectivity and detachment; whereas “second person pronouns occur, for example, in indirect speech for audio subtitles or descriptions of gestures” (Remael, Reviers, Vercauteren, 2015: 48). The choice of definite or indefinite articles is instrumental to the creation of a coherent text: a definite article can be used if there is only a single object of a defined category on the screen, or if that object has already been named.

[Finally], personal and demonstrative pronouns are a common cohesive device. [...] they are appropriate within an interrupted block of description, but can cause confusion when the description is interrupted by sound, [silence], music or dialogue (Remael, Reviers, Vercauteren, 2015: 53),

thus requiring a repetition of the identifying name.

For what concerns syntax, the general rule recommends the use of short sentences rather than the use of subordination, “simple noun phrases with no verb at all are also common for describing time and spatial settings or to pinpoint objects” (Remael, Reviers, Vercauteren, 2015: 48). On the other hand, if time permits, more variation in sentence structure can be pleasant and engaging, therefore subordination can be expressed through the use of conjunctions of time, the most common being “as” or

“while”, or non-finite clauses. This more flexible approach is advocated, for instance, by Mälzer-Semlinger who suggests allowing “the use of a more complex syntax that would be able to give varying emphases to the information and create room for connotations and ambivalence” (2012: 35). Moreover, the distribution of information in the sentence has an impact on users' reception: “starting with known information in sentence-initial position provides the best framework for what follows” (Remael, Reviers, Vercauteren, 2015: 48) as well as with the prominent piece of information that usually provides the context of the sentence, in a manner that usually goes from general to specific. However, alternative strategies can be used as cohesive or attention-drawing devices: starting with a new piece of information might draw attention to a specific element, or setting the prominent element at the end of the sentence might allow the

most important information to remain in the listener’s mind.

As this brief outline of the guidelines shows, it is challenging to gather a rigorous set of directions for what concerns the audio description of films. The factors to take into consideration while creating an AD can be very diverse and, consequently, the choices to be made can differ remarkably, thus leaving several options to the discretion of describers.