Title
Accessible filmmaker. Towards the definition of a professional profile
Conference name
9th International conference Media for all
City
Country
Spain
Modalities
Date
27/01/2021-29/01/2021
Abstract
The current film production model has caused a gap between filmmakers, media accessibility experts and end users (Branson, 2018). In most cases, filmmakers do not get involved in the translation and accessibility process, losing control over it. Likewise, film training overlooks translation and accessibility as areas involved within the filmmaking process, resulting in professionals that ignore the impact this has on end users’ experience of films (Romero-Fresco, 2019b).
To bridge this gap, Accessible Filmmaking (AFM) proposes a proactive, collaborative, and inclusive approach for the creation of translated and accessible films. As part of this, it develops new figures, like the Director of Translation and Accessibility, the Disability Consultant, and the Accessible Filmmaker (Romero-Fresco, 2019a). This presentation focuses on the latter.
Although several filmmakers have adopted the AFM model in their work, a professional profile has not yet been defined and training is still limited. Who are the accessible filmmakers? How do they manage the creation of translated and accessible versions of films? What technical and aesthetic challenges do they have to face? This presentation will explore the current practices in AFM and the emerging needs in the film industry in terms of translation and accessibility. To do this, a qualitative methodological approach will be used, one that combines in-depth interviews and focus groups with filmmakers and other members of the crew. Results could shed light on some of the key skills and competencies required for the definition of an accessible filmmaker’s professional profile and the future training proposals for AFM.
Without losing a general perspective, this presentation will focus on Uruguay, a country characterized by an emerging film industry and a limited development of audiovisual translation and accessibility. In the past few years, accessible versions of Uruguayan movies have been created with public funds. Small contributions for the creation of accessible versions of films are allotted to the development and production stages -not the distribution or exhibition-, which has forced filmmakers and producers to consider accessibility from inception.
To bridge this gap, Accessible Filmmaking (AFM) proposes a proactive, collaborative, and inclusive approach for the creation of translated and accessible films. As part of this, it develops new figures, like the Director of Translation and Accessibility, the Disability Consultant, and the Accessible Filmmaker (Romero-Fresco, 2019a). This presentation focuses on the latter.
Although several filmmakers have adopted the AFM model in their work, a professional profile has not yet been defined and training is still limited. Who are the accessible filmmakers? How do they manage the creation of translated and accessible versions of films? What technical and aesthetic challenges do they have to face? This presentation will explore the current practices in AFM and the emerging needs in the film industry in terms of translation and accessibility. To do this, a qualitative methodological approach will be used, one that combines in-depth interviews and focus groups with filmmakers and other members of the crew. Results could shed light on some of the key skills and competencies required for the definition of an accessible filmmaker’s professional profile and the future training proposals for AFM.
Without losing a general perspective, this presentation will focus on Uruguay, a country characterized by an emerging film industry and a limited development of audiovisual translation and accessibility. In the past few years, accessible versions of Uruguayan movies have been created with public funds. Small contributions for the creation of accessible versions of films are allotted to the development and production stages -not the distribution or exhibition-, which has forced filmmakers and producers to consider accessibility from inception.