New Trends in the Research on AVT and Accessibility
Vera Lúcia Santiago Araújo, State University of Ceara, Brazil

This panel addresses the current status of the research on Audiovisual translation and accessibility. Different methods and theories have been used since the beginning of AVT research in the nineties, ranging from the description of norms (Descriptive Translation Studies), experimental research (Reception Studies) and case studies (action research). The objective of this panel is to bring together those who are interested in, and concerned about the discussion of the contribution on how different methods and disciplines approach the access of people with sensory impairment (deaf and blind) to audiovisual products by means of subtitling for the deaf and the hard-of-hearing (SDH) and audiodescription (AD). It is composed of twelve papers dealing with the interface of SDH and AD and Corpus Linguistics, Multimodality, Social Semiotics and Text World Theory.

For informal enquiries: [verainnerlightATuolDOTcomDOTbr]

Vera Lúcia Santiago Araújo Vera Lúcia Santiago Araújo (State University of Ceara) has been working with audiovisual translation and accessibility since the year 2000, mainly with SDH and AD, having developed research, written academic papers and supervised theses and dissertations on the topic. She has organized a lot of panels, workshops and round tables in different Brazilian Conferences. The last one was on the Brazilian Translation Research Conference (ABRAPT) last year in Florianópolis, Brazil.

 

 

 

 

 

SESSION PLAN

SESSION 1: THE RESEARCH ON SUBTITLING AND ITS INTERFACES

Introduction: 5 minutes

PAPER 1:

Title: The Analysis of Multimodal Irony in Film Subtitles

Speaker: Paulina Burczynska, University of Manchester (United Kingdom)

PAPER 2:

Title: Subtitles as a Manipulated Source for Target Audience's Text-Worlds

Speaker: Zhu Zhu, University of Edinburgh (Scotland).

PAPER 3:

Title: Linguistic Segmentation in the SDH of a Brazilian Soap Opera: a corpus-based study

Speaker: Ítalo Assis, UECE (Brazil)

Discussion: 33 minutes

Wrap-up time: 10 minutes

SESSION 2: THE RESEARCH ON AUDIODESCRIPTION AND ITS INTERFACES

Introduction: 5 minutes

PAPER 4:

Title: A proposal for the audiodescription of children's books

Speaker: Soraya Ferreira Alves, UNB (Brazil)

PAPER 5:

Title: Why not? Arguments in favor of a closer and more effective partnership between sighted describers and consultants

Speaker: Manoela Silva, UFBA (Brazil)

PAPER 6:

Title: Brazilian audiodescribed television: a corpus based study of ad screenplays of films and TV series

Speakers: Renata Mascarenhas, Alexandra Seoane, Ana Tássia Silva, Ana Carla Nóbrega, Jéssica Nóbrega and Lindolfo Farias Júnior, UECE (BRAZIL)

PAPER 7:

Title: In search of parameters for the audiodescription of paintings with the support of audiovisual translation, multimodality and social semiotics

Speaker: Maria Nunes, UECE (Brazil)

PAPER 8:

Title: Overcoming the interpretation/description dichotomy in AD: an interdisciplinary approach

Speakers: Larissa Costa and Gabriela Baptista, Pontifícia Universidade Católica do Rio De Janeiro, PUC-Rio (Brazil)

Discussion: 33 minutes

Wrap-up time: 10 minutes

 

PAPER TITLES, ABSTRACTS AND BIONOTES

PAPER 1:

Title: The Analysis of Multimodal Irony in Film Subtitles

Speaker: Paulina Burczynska, University of Manchester (United Kingdom)

Abstract:

Research on verbal irony has been attracting growing attention from audiovisual translation scholars. Nevertheless, the number of conducted studies on the combination between verbal and non-verbal components in the analysis, translation, and particularly, reception of irony transfer in audiovisual texts is still very limited. Due to the rapid technological advances, commercial requirements and differentiated viewer's preferences, it is thus crucial to understand how viewers prioritize meaning-making modes embedded in the multimodal text and conveyed via subtitles so that a film could be accessible for a broader audience. The reception analysis of the subtitled films also aims to support screen translators in decision-making processes to produce film translation. My theoretical framework comprises of the echoic theory of irony and multimodal theory. Echoic theory of irony appears to be the most capable framework to support the study of multimodal irony in audiovisual texts as the significant importance of non-verbal semiotic resources in the generation and interpretation of irony has been demonstrated. Multimodal theory, on the other hand, will enable me to examine the role that verbal and non-verbal modes play in the construction of irony on screen. The data set is interrogated using a mixed-methods approach consisting of observational tools, questionnaires and eye-tracking. The observational phase involves multimodal transcriptions of selected fragments in which irony plays a pivotal narrative role to determine what non-verbal modes contribute to the multimodal construal of irony and how irony is relayed in the subtitles translation. The experimental phase will combine the use of eye-tracking technology and questionnaires for the purposes of triangulation. The analysis proceeds in the following way: first the selected excerpts of the film are divided into individual frames in order to identify and analyze what and how non-verbal semiotic resources are intertwined to construe a meaningful whole. The frames are arranged in sequences vertically demonstrating in columns various semiotic modes which contribute to the creation of meaning. Subsequently, subtitles are transcribed and analyzed. In the experimental phase, responders' eye movements will be recorded when watching selected fragments of the films. This will follow up with a questionnaire in order to elucidate how viewers of the subtitled version of the films i.e. Sherlock Holmes (2009) and Sherlock Holmes: A Game of Shadows (2011) are able to retrieve ironic meaning in the original films. The results yielded form the multimodal analysis are expected to indicate how irony is conveyed in the subtitled Polish version of the two films. The experimental phase is expected to report what is the contribution of non-verbal semiotic resources to irony reception and comprehension by Polish viewers and what semiotic resources do Polish viewers prioritize when watching selected film fragments featuring the use of irony. On this basis, I aim to make an assessment of how effective subtitles are in the translation and reception of irony.

Bionote:

Paulina Burczyńska is currently a PhD student in Translation and Intercultural Studies at the University of Manchester, UK. She has an MA in Applied Linguistics from Kazimierz Wielki University in Bydgoszcz, Poland. As a scholarship recipient Paulina studied at Johannes Gutenberg University in Mainz, Germany. Her research interests focus mainly on multimodality, reception, audiovisual translation, pragmatics, non-professional translation as well as SLA via different modes of translation. As a young researcher, Paulina has already presented her research at international conference in Spain, Italy, UK, Belgium, Poland and Costa Rica.

PAPER 2:

Title: A Multimodal Analysis of Chinese Subtitles in Animated Films--A Case Study of Mulan (1998)

Speaker: Yuping Chen and Wei Wang, University of Sydney (Australia).

Abstract:

There is a common call in the field of subtitle translation to improve the quality of subtitles and construct a reliable theoretical framework to direct subtitling. By referring to Systemic Functional Linguistic (SFL) that can equip us with a fundamental research perspective to address subtitle translation and Semiotic Translation that can provide us with a specific angle to analyse subtitle translation, this paper seeks to conduct a SFL-informed and semiotics-guided multimodal analysis of Chinese subtitles in animated films.Subtitle translation is never a pure linguistic meaning transfer process, but involves various semiotic modes. This rationalizes the adoption of multimodality to examine subtitling. Furthermore, due to the fact that audiovisual texts are dynamic-image reigned, the moving feature of these images must be considered in subtitling process. This justifies the employment of SFL-informed multimodal analysis to investigate the meaning-making process by dissecting audiovisual texts into three co-existent metafunctional levels: representational level, interactive level and compositional level. Different from the multimodal analysis of print texts, these three metafunctions are addressed at different social semiotic levels of films. Representational meaning is analysed by addressing the semiotic interplay between participants and contexts in frame/shot, i.e. uncut camera movement. Interactive meaning is examined by investigating how the intersemiotic relation functions in scenes when edited camera movement entails the interaction between viewers and the videoed physical world. Compositional meaning is dealt with by taking the sequence, generic stage, or even the whole audiovisual text into account to highlight how representational meaning and interactive meaning are integrated to realize the holistic cohesion in subtitling. However, since SFL-inspired multimodal analysis is not applicable in explicating the translation practice, Semiotic Translation is ushered in by resorting to its three basic concepts, including abduction, deduction and induction, to address subtitle translation at representational level, interactive level and compositional level respectively. By integrating SFL-based multimodality and Semiotic Translation, a theoretical framework is established. Through analysing the Chinese subtitles of one Disney animated film --- Mulan (1998), it is found that there are seven types of semiotic interplay at three metafunctional levels, shouldering various functions to facilitate the subtitling process and exerting different impacts on linguistic levels in subtitles. In one sentence, this study integrates SFL-based multimodality and Semiotic Translation to construct a theoretical framework guiding the production of high quality subtitles. This would be of great significance to both practical and academic fields of subtitle translation.

Bionote:

Ms. Yuping Chen is a PhD student at the University of Sydney, Australia. She received her M.A. from Guangxi University, China in 2003 and then worked in English Department, China Agricultural University as a lecturer. After her ten-year career as a university teacher, she went to the University of Sydney to start her PhD study in 2013. Her thesis is about the multimodal analysis of subtitle translation. She just successfully completed her probation and won a faculty scholarship to support her trip to attend an international conference held in September, 2013 in Germany.

PAPER 2:

Title: Subtitles as a Manipulated Source for Target Audience's Text-Worlds

Speaker: Zhu Zhu, University of Edinburgh (Scotland).

Abstract:

Cognitive theories generally hold that human beings understand a text by creating and processing mental representations in their minds. Text World Theory shares this belief and calls mental representations 'text-worlds'. Informed by systemic functional grammar and other cognitive, psychological and philosophical approaches, Text World Theory holds that text-worlds are situated by world-building elements (time, location, object and enactor) and propelled by function-advancing propositions (relational, material and mental processes). A film is a polysemiotic text composed of messages produced and received in aural-verbal, aural-nonverbal, visual-verbal and visual-nonverbal channels. Messages in each channel would contribute to the creation and development of the target audience's text-worlds. When a film is subtitled in a foreign language, messages originally carried in the aural-verbal channel are duplicated in the visual-verbal channel. Due to the three-fold translation constraints on subtitling (cross-medium, feedback-effect and technical constraints), it is not possible for the messages duplicated in the subtitles to be identical to those in the original dialogue exchanges in either form or content. This means that compared to the intended audience of the original film, the target audience of the subtitled version would base their text-worlds on manipulated world builders and advancers. The current study looks at what has been manipulated in the process of subtitling Chinese feature films into English and how, and also what impact such manipulation may potentially have on the creation and development of the target audience's text-worlds. Three Chinese films are selected as the case study in this paper: Farewell My Concubine (dir. CHEN Kaige, 1993), Summer Palace (dir. LO Ye, 2006) and Coming Home (dir. ZHANG Yimou, 2014). All the three films contain sections set against the background of political turmoil in modern China: either the Cultural Revolution (1966-1976) or the Tiananmen Incident (1989). Detailed comparison between the English subtitles and the original dialogue exchanges is carried out at the sentence level. The entire dialogue exchanges and subtitles of the three films are examined with a focus placed on extralinguistic cultural references (ECRs)

Bionote:

Zhu holds a PhD in Translation Studies from Newcastle University and is working at Asian Studies, University of Edinburgh in the role of Chinese Language Programme Director. She carries out research in the fields of translation studies, Chinese language teaching methodology and second language acquisition. Zhu is also an active translator with extensive professional experience.

PAPER 3:

Title: Linguistic Segmentation in the SDH of a Brazilian Soap Opera: a corpus-based study

Speaker: Ítalo Assis, State University of Ceará, UECE (Brazil)

Abstract:

Since 2002, State University of Ceará has carried out researches about Subtitling for the Deaf and Hard-of-Hearing (SDH) in an attempt to establish parameters that fit the needs that Brazilian deaf people might have. The results of one of these previous studies have suggested that a good segmentation – subtitling feature that is related to the division of the translated speech into text along the subtitle – can guarantee a comfortable subtitle for the deaf community even when the subtitle is based on reading speeds of 160 and 180 words per minute. This work aims at describing and analyzing how ill-segmented subtitles regarding linguistic segmentation – segmentation that is based on syntax and is related to the division of the translated text into subtitles of 2 lines or more – is presented in the closed caption pop-on type of SDH aired on Brazilian TV network. More specifically, in the SDH of one episode of the Brazilian telenovela Amor Eterno Amor, part of the corpus of the CORSEL project (Corpus, Segmentation and Subtitling) and which was extracted automatically with the program CCExctractor. The methodology was based on a descriptive dimension, making use of a quali-quantitative analysis to check the problems related to the linguistic segmentation. It was done by using tools that are proper from Corpus Linguistics, such as annotation and corpus electronic analysis. The so-called segmentation problems were identified by annotation of specific tags to this kind of analysis, created from a Brazilian Portuguese grammar based on a functional aspect. After the annotation process, the corpus could be analyzed with the help of the program Wordsmith Tools 5.0. The results of the research indicated a substantial quantity of linguistic segmentation problems in the corpus, close to 26.8 % from the total amount of subtitles. The problems appeared with more frequency in verbal and noun phrases, as well as in 3-line subtitles with a high speed. I consider this substantial quantity of segmentation problems in the corpus as one of the reflexes of the lack of preoccupation TV Stations in Brazil have got with their subtitle quality. Also, subtitlers' lack of expertise on linguistic segmentation may be one of the causes of so many problems.

Bionote:

Ítalo Alves Pinto de Assis holds a Bachelor's degree in English from State University of Ceará and is currently a Master's student at the Applied Linguistics Graduation Program from the aforementioned university. His research now focuses on the cognitive effect of ill-segmented subtitles on the reception by deaf and hearing viewers. His academic background is rooted in Translations Studies, more specifically in the Audiovisual Translation (AVT) branch aimed at Media Accessibility through Subtitle for the Deaf and Hard-of-Hearing (SDH) and Audio Description for the blind. His areas of research interests include Corpus-based Translation Studies, Experimentation in Translation and Applied Linguistics.

PAPER 4

Title: A proposal for the audiodescription of children's books

Speaker: Soraya Ferreira Alves, University of Brasília, UNB (Brazil)

Abstract:

This paper aims at presenting the results of a research held at University of Brasília – UnB, during the period 2013/2014 and is linked to a research group on audiovisual translation and accessibility. It intended to suggest patterns for the audio description for visually impaired children of illustrated children´s books. In this case, the audio description would consist in the description of the images and their relation to the written text. The audio description is gradually being implanted in Brazil, and there are initiatives of the government in order to establish patterns of audio description of books, as the Nota Técnica Nº 21 / 2012 / MEC / SECADI /DPEE – MECDaisy, published at internet, which expects to regulate such practice with editors. Such document, however, does not include specific proposals for children´s books. Having this observation as basis, and having in mind that the semiotics organization of the book, that is, the relation between text/narration/images/audio description should make sense for the children, it was traced a methodology to verifying if the children´s books published in Brazil with audio description were following the rules of Mecdaisy and if they would fit the necessities of visually impaired children. So, a reception test was held at CEEDV – DF (Centro de Ensino Especial do Deficiente Visual), with 17 children between 5 and 8 years old. At first, all the children listened to a book published with audio description and answered comprehension questions. Then, an activity with the same book was applied at the classes, as a suggestion of the teachers involved, and other questions were made, along with the intervention of the teachers. After the results obtained and discussed with the teachers, the audio description of another book was made, following their observations and suggestions, like the insertion of sound effects. Then, other activities were proposed in order to verifying the comprehension of the children and if they liked to listen the story with audio description. After the test, the teachers answered a questionnaire about the efficacy of the audio descriptions of both books and their suggestions for a model that would satisfy the children. A final proposal of audio description was recorded and given to the school. Our final proposal for the audio description includes the insertions of music and sound effects and a major integration of narrative and audio description.

Bionote:

Dr. Soraya Ferreira Alves is graduated in Translation English/Portuguese at Pontifícia Universidade Católica de São Paulo; has received her Master and Doctorate degrees in Communication and Semiotics also by PUC-SP. Developed a post-doctorate research at Universidade Estadual do Ceará under the sponsorship of CAPES. Professor at Universidade de Brasilia – UnB, teaches at the Translation Course and at the Master in Translation Studies acting mainly with literary and audiovisual translation. Has presented papers on literature studies, literary and audiovisual translation both in national and international conferences, and written articles in refereed Brazilian journals. Conducts research on audiovisual accessibility. Is audio descriptor.

PAPER 5:

Title: Why not? Arguments in favor of a closer and more effective partnership between sighted describers and consultants

Speaker: Manoela Silva, Federal University Of Bahia, UFBA (Brazil)

Abstract:

Audio description (AD), a translation mode that aims at making visual information accessible to those who are blind, have low vision or who otherwise have difficulty to grasp visual information, was introduced to the Brazilian public more than a decade ago. Over the past years, the activity has left the shadows and has gained the status of an official occupation, being included in the Brazilian Classification of Professions (Classificação Brasileira de Ocupações - CBO). As a result, the quality of the descriptions being offered and their adequacy to the target audience became even a bigger issue, which led to the emergence of a new professional: the consultant. However, the role of that professional in the AD process might differ a lot depending on the company or team of audio describers. Most of the time, since the consultants are members of the target audience, they act as revisers checking if scripts created by sighted describers are understandable and would suit the needs of visually impaired people. Sometimes, however, they work side by side with their sighted peers and are involved in the writing of the scripts as well. Personally, we favor the second model. The objective of this study, therefore, is to present arguments in favor of a closer and more effective partnership between sighted describers and consultants. The research derives from two other studies. The first one, whose objective was to outline the competencies needed by visually impaired people to act as consultants, was presented in the city of Florianópolis in 2013 at ABRAPT's XI International Congress and the V International Congress of Translators. The second one, whose objective was to describe which elements in a training course were necessary to foster a more collaborative work between prospective describers and future consultants, was presented in the city of Salvador in 2014 as part of UFBA's XII Seminar on Applied Linguistics and VIII Seminar on Translation. After those studies, we offered training courses aligned to the principles outlined in those works to both sighted and non-sighted people. The data collected was then complemented by some practical exercises we undertook in writing scripts together with visually impaired people as well as by interviews we carried out with professional describers and consultants. All those experiences led us to believe in the advantages of a stronger partnership between sighted and non-sighted professionals. We want to make clear, however, that our goal is not to dictate rules, but to demystify "the less travelled road" and help describers make reasoned decisions about the role of the consultant in the AD process.

Bionote:

Manoela Cristina Correia Carvalho da Silva holds a Master in Letters and Linguistics from the Federal University of Bahia (UFBA). She works at the same institution where she teaches English and Translation to undergraduate students, besides working with teacher training as one of the coordinators of the institutional program for proficiency in foreign languages (PROFICI). Author of the first master's degree thesis on audio description (AD) written in Brazil, she is currently the coordinator of TRAMAD (Translation, Media and Audio description), a pioneer Brazilian research group on AD.

PAPER 6:

Title: Brazilian audiodescribed television: a corpus based study of ad screenplays of films and TV series

Speakers: Renata Mascarenhas, Alexandra Seoane, Ana Tássia Silva, Ana Carla Nóbrega, Jéssica Nóbrega and Lindolfo Farias Júnior, UECE (BRAZIL)

Abstract:

In compliance with the Ordinance No. 188/ 2010, the TV stations that transmit with a digital signal, since July 2011, must broadcast some of its programs with audiodescription (AD), an audiovisual translation modality that aims to translate images into words for the visually impaired audience. Four years after the implementation of AD in the Brazilian television, it is worth investigating how this translation practice is being applied to this media. In this context, the research project CAD_TV (PosLA/ UECE/ BFP-FUNCAP) was created. The purpose of this paper is to present this project that has the objective to build a corpus of audiodescription screenplays of films and TV series broadcast on different Brazilian TV stations in order to map and to describe its translation strategies, while taking into consideration the differences between each program and narrative genre. To this aim, the research is carrying out the following steps: (1) recording the TV programs; (2) transcribing the audiodescriptions, using the software Subtitle Workshop 2.51; (3) manual tagging of the AD screenplays of each program; (4) reviewing the tags, according to narratological parameters and the creation of new tags fulfilling the standard demands by the corpus built in this research; (5) identification of the most frequent translation strategies of the screenplays, using the software WordSmith Tools; and (6) the description and analysis of the most meaningful and frequent strategies. This research is therefore descriptive in nature and corpus based because it proposes a systematic study (based on narratological and discursive patterns) of the AD of films and series broadcast on Brazilian television by way of an electronic analysis of an annotated corpus. In general, the preliminary results demonstrate that the theme of each program and its narrative structure influence the discursive strategy of its AD screenplay. It is also observed that the translation strategies vary according to the TV station and to the narrative genre. We believe this research seems effective in the investigation of the most frequent translation strategies of the screenplays and can be used to identify possible linguistics and narratological problems that can afterwards be evaluated with visually impaired audience and audiodescribers.

Bionotes:

Renata Mascarenhas completed her Masters in Applied Linguistics at the State University of Ceara (Brazil). In 2012, she defended her doctoral thesis on the audiodescription of a Brazilian detective TV mini-series. She has participated in the audiodescription of a dance and a theatre performance and has written and revised screenplays for the audiodescription of several films. She recently taught AVT for a post graduation course at the State University of Ceara and is currently involved in the research of audiodescription carried out at this institution.

PAPER 7:

Title: In search of parameters for the audiodescription of paintings with the support of audiovisual translation, multimodality and social semiotics

Speaker: Maria Nunes, UECE (Brazil)

Abstract:

This article takes into consideration the assumption that the audiodescription (AD) of works of art is still a field that is only beginning to be explored and researched, allowing new studies to be carried out in the attempt to expand its domains. Thus, it is part of a piece of research which is aimed at finding systematic ways of audiodescribing bidimensional works of art so that they may effectively provide the visually impaired with access to aesthetic experiences through the audiodescription, in this case, of paintings. In this process, alternatives for the ressignification of meanings from a visual code to a verbal one are of Paramount importance, in order to really convey the so much sought and expected aesthetic experience that a work of art might provide. The aim is, therefore, to present an audiodescription of a painting by Dutch painter Pieter Brueghel (c.1525-1569), entitled Hunters in the Snow, preceded by an analysis of the painting, using as support elements of audiovisual translation, multimodality and social semiotics studies. More specifically, the analysis is carried out using as a reference mainly O'Toole (2011), whose model of analysis of works of art provides an insightful way of viewing a work of art, thus allowing the audiodescriber to make informed choices when translating the visual aspects verbally. Theoretically, it is also anchored on Holland (2009), and De Coster e Mühleis (2007), works which provide access to considerations on the process of AD of Works of art founded on previous practical experiences of audiodescription in museums. Following the presentation of the audiodescription, a brief discussion and assessment of how the theoretical works and research so far carried out help to outline some parameters for the audiodescription of bidimensional works of art. Although still in an early stage, the research points to some aspects that may be converted into parameters, as more audiodescriptions are developed.

Bionote:

Maria da Salete Nunes teaches Literature and Translation at the State University of Ceará. Currently, she is working on her doctoral dissertation, which is affilliated to a research group coordinated by Vera Lúcia Santiago Araújo, who is also her supervisor.

PAPER 8:

Title: Overcoming the interpretation/description dichotomy in AD: an interdisciplinary approach

Speakers: Larissa Costa and Gabriela Baptista, Pontifícia Universidade Católica do Rio De Janeiro, PUC-Rio (Brazil)

Abstract:

The aim of this paper is to produce a theoretical investigation about the relationship between the description and interpretation of visual images in audiovisual translation (AVT) focusing on audio description (AD). AD is defined as the translation of images into words, intended to make visual media accessible for the blind and the visually impaired. Therefore, the main particularity of AD is that the source texts are visual images, in all forms: still or moving, seen live or mediated by a screen etc. The issue of how words and visual images are interpreted is central to the elaboration of guidelines for AD, since "describe what you see" is the field's main general rule. Frequently, both lay people and specialists still conceive describing and interpreting as a dichotomy, and prioritize description, seen as objective, over interpretation, considered as subjective and valuational. In order to examine this issue, we draw on the field of literary criticism, based on the premise that there are interpretative strategies authorised by institutions and shared by groups of individuals, for whom some interpretations are more acceptable than others. Our methodology is based on social semiotics and multimodal research, which emphasise the communicative practices of individuals interacting in social contexts by articulating and interpreting discourses produced through the organisation of semiotic resources called 'modes' (i.e. image, writing, lay out, visual image, speech, gesture, posture, music, moving image, 3D object, soundtrack). All modes and the relations between them offer a potential to produce meanings, which are socially constructed. In other words, the meaning making potential of verbal language (writing and speech) and images (moving and still) and cultural conventions guide their production and interpretation. The main point of our analysis is to deconstruct the interpretation/description dichotomy in AD, since interpretation is always part of all communicative practices. The result we aim at is to develop a theoretical basis by providing analysis tools that can inform the decision making process of audio describers and audiovisual translators

Bionote:

Gabriela Baptista has a degree in Film from UFF and is currently a master's student in Translation Studies at PUC-Rio, researching the theoretical and conceptual approach of visual images in AVT. She is a translator, mostly for voice over and dubbing of TV programs. Larissa Costa has a degree in History from UERJ, a master's degree in Compared History (UFRJ) and a doctorate degree in Translation Studies from PUC-Rio. She is currently an audio describer, mainly for film, working in the following issues: audio description, audiovisual translation and accessibility.

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