Resumo em Espanhol:

Resumen El panorama audiovisual contemporáneo se caracteriza por la tensión entre la sobreproducción de contenidos y el surgimiento de obras que encarnan cuerpos y voces singulares. Este contexto plantea retos para repensar el papel del audiovisual en nuestras comunidades y en la construcción de subjetividades. Así, en este polisistema actual de las imágenes, la traducción audiovisual (TAV) y la accesibilidad (AM) son prácticas clave para la construcción de subjetividades y discursos, ya sea desde la investigación, la docencia o el ejercicio profesional, al tiempo que sufren el impacto de las tensiones propias de la industria. Este trabajo aborda la urgencia de reflexionar críticamente sobre las dinámicas “descorporeizantes” del sector, como la fragmentación de obras, los tiempos de entrega imposibles, los sistemas de selección automatizados y la creciente implementación de traducción automática y posedición. Estas prácticas problematizan la dimensión creativa y ética de la TAV y la AM, ya que distancian a los sujetos de su responsabilidad hacia el otro. A su vez, tienen un impacto clave en la obra audiovisual entendida como artefacto multimodal. Con un marco teórico basado en la traductología deconstructiva y una metodología de desarrollo conceptual y argumental, este estudio analiza la caída del cuerpo en la traducción, la noción de temblor y el desdibujamiento de la autoría, tanto en los textos originales como en los traducidos. Con este análisis se propone resituar éticamente el lugar de los cuerpos que traducen y las obras que estos crean, con la vulnerabilidad como rasgo esencial de la creación humana. Este enfoque no solo plantea un marco crítico frente a la automatización en la TAV, sino que también reivindica mejoras materiales y de reconocimiento de la autoría en el sector. Finalmente, se subraya la pertinencia de integrar los desarrollos teóricos de la TAV y la AM en los estudios fílmicos, reivindicando su lugar en el pensamiento contemporáneo sobre la imagen.

Resumo em Inglês:

Abstract The contemporary audiovisual landscape is defined by a tension between the overproduction of content and the emergence of works that reflect unique bodies and voices. This context challenges us to reconsider the role of audiovisual media in shaping communities and constructing subjectivities. Within this polysystem of images, audiovisual translation (AVT) and accessibility (MA) emerge as vital practices for shaping subjectivities and discourses—whether in research, teaching, or professional settings—while simultaneously grappling with the pressures and contradictions of the industry. This paper highlights the urgent need to critically examine the industry’s ‘disembodying’ dynamics, including the fragmentation of works, unrealistic delivery timelines, automated selection systems, and the growing reliance on machine translation and post-editing. These practices undermine the creative and ethical dimensions of AVT and MA, distancing individuals from their responsibility toward the “other”. Moreover, they have a considerable impact on audiovisual works as multimodal artefacts. Using a theoretical framework grounded in deconstructive translation studies and a methodology of conceptual and argumentative development, this study explores the fall of the body in translation, the concept of trembling, and the obscuring of authorship in both original and translated texts. It argues for an ethical repositioning of translating bodies and the works they produce, emphasizing vulnerability as a fundamental aspect of human creativity. This perspective not only critiques the automation-driven direction of AVT and MA, but also advocates for tangible improvements and the recognition of authorship within the industry. Finally, the paper underscores the importance of integrating theoretical advancements in AVT and MA into film studies, asserting their significance in contemporary discourse on the image.

Resumo em Inglês:

Abstract This article explores how audio description (AD) actively contributes to storytelling by engaging with the material and sensory dimensions of audiovisual content. Building on the broader philosophical tensions between objectivity and subjectivity, it reconceptualizes AD as a co-creative and interpretive process that transcends the neutrality traditionally demanded by the audiovisual industry. Drawing on Hannah Thompson’s (2017) concept of “blindness gain” and Marco Caracciolo’s (2023) “spectrum of materiality”, the study highlights AD’s dynamic role in shaping narrative meaning. Thompson repositions blindness as a source of perceptual and creative insight, while Caracciolo (2023) emphasizes the relational and transformative potential of materiality in narrative engagement. By synthesizing these perspectives for the first time, this article frames AD as a relational practice deeply intertwined with the sensory and material properties of audiovisual source texts. Through a comparative analysis of two ADs for the Belgian-Israeli miniseries Rough Diamonds (Shamir et al., 2023; Shamir & Verheyden, 2023)—one by Netflix and the other by VRT, Flanders’ public broadcaster—the article highlights contrasting approaches to material engagement. The Netflix AD prioritizes clarity and spatial coherence, reflecting fixed and determinate materialities that subtly reinforce ocularcentric paradigms. In contrast, the VRT AD employs abstraction and nuance, aligning with vibrant materialities that enhance the narrative’s symbolic and emotional dimensions. These divergent strategies reveal the limitations of the current neutrality standard in AD, which often overlooks its interpretive and generative nature. By situating AD within a framework that integrates blindness gain and materiality, the study reimagines AD as a culturally resonant practice that enriches audiovisual storytelling through multisensory and culturally resonant engagement. Ultimately, this article positions AD as a dynamic medium for narrative negotiation, encouraging further interdisciplinary research into its co-creative material possibilities.

Resumo em Inglês:

Abstract Cognitive accessibility in video games remains one of the least explored and most challenging areas to address, as the target audience comprises a diverse group, including individuals with cognitive disabilities, but also learning difficulties. To gain deeper insights into how cognitive accessibility in video games could be improved, and due to the wide array of potential users, we conducted a study with persons with dyslexia, since this learning difficulty has not been examined in detail in the existing literature on game accessibility. Two focus groups were carried out to elicit information about the experiences of people with dyslexia in relation to video games, focusing on the barriers that break immersion and hinder the physical and emotional experience of gameplay. Thematic analysis was used to interpret the results. Findings suggest that while video games can offer enjoyable and immersive experiences, they may become alienating if not fully accessible. The main barriers preventing the participants with dyslexia from fully immersing themselves in a video game are reading, memorizing information and controls, and keeping up with the pace of the game. Particularly, they encounter difficulties with heavily text-driven games, and consequently prefer action games or those with a faster pace. In the conclusion, we lay the groundwork for a future reception study aimed at overcoming these barriers to foster more immersive game experiences.

Resumo em Espanhol:

Resumo Traducir nunca es una actividad ajena a lo que ocurre a su alrededor. De ahí que, como es bien conocido, las teorías de la traducción hayan cambiado tanto desde mediados del siglo pasado hasta nuestros días. Ni que decir tiene que los retos sociales, económicos, políticos y éticos que nos propone el siglo XXI no tienen paragón. Ante esto, la traducción no podía quedarse al margen. Y no lo ha hecho. Son ya muchas las teorías que insisten en superar el “linguistic bias in Translation Studies” (Marais, 2019). Lo que esto significa es que la traducción entre lenguas no parece en absoluto suficiente hoy, cuando la información se transmite mediante muchos sistemas semióticos. El significado se crea a través de variados canales, entre ellos la materialidad de los objetos. Por eso en la primera parte de este artículo me fijaré en llamada “tangible translation” (Ciribuco & O’Connor, 2022), que ejemplificaré a través de traducciones tangibles que se han hecho en el mundo del arte, no con palabras sino con otros sistemas semióticos. Esas traducciones tangibles nos llevarán en la segunda parte del artículo a entender la traducción como una experiencia con todo nuestro cuerpo (Campbell & Vidal, 2024, 2025), no únicamente con el intelecto. Siguiendo la llamada “antropología de los sentidos” (Howes, 2005), mi propuesta es que en el siglo XXI se traduce de una forma tangible con el cuerpo, porque transmitimos información con los sentidos, con las emociones, con los gestos, con el tacto, con el gusto, con el olfato. La traducción se amplía así hasta convertirse en un proceso somático y parasomático (Robinson, 1991, 2023). La tercera parte del artículo propone aplicar esta traducción tangible que se crea con el cuerpo a la obra de una artista indígena, Cecilia Vicuña, que traduce con todos los sentidos, sin palabras, mediante quipus.

Resumo em Inglês:

Abstract Translating is never an activity that is oblivious to what is going on around it. Hence, as is well known, translation theories have changed so much from the middle of the last century to the present day. It goes without saying that the social, economic, political and ethical challenges of the 21st century are unparalleled. In the face of this, translation could not remain on the sidelines. And it has not. There are already many theories that insist on overcoming the “linguistic bias in Translation Studies” (Marais, 2019). What this means is that translation between languages does not seem at all sufficient today, when information is transmitted through many semiotic systems. Meaning is created through varied channels, among them the materiality of objects. That is why in the first part of this lecture I will focus on the so-called “tangible translation” (Ciribuco & O'Connor, 2022), which I will exemplify through tangible translations that have been made in the art world, not with words but with other semiotic systems. These tangible translations will lead us in the second part of the article to understand translation as an experience with our whole body (Campbell & Vidal, 2024, 2025), not only with the intellect. Following the so-called “anthropology of the senses” (Howes, 2005), my proposal is that in the 21st century we translate in a tangible way with the body, because we transmit information with the senses, with emotions, with gestures, with touch, with taste, with smell. Translation is thus extended to become a somatic and parasomatic process (Robinson, 1991, 2023). The third section of the article proposes to apply this tangible translation that is created with the body to the work of an indigenous artist, Cecilia Vicuña, who translates with all the senses, without words, by means of quipus.

Resumo em Inglês:

Abstract Easy Language is a simplified language variety designed to enhance accessibility for individuals with comprehension difficulties. While its application in audiovisual contexts—such as podcasts and radio news produced in various languages—has garnered interest, guidelines for its oral and audio use remain limited. One common recommendation is to adopt a slower speech rate, yet specific guidance is rarely provided. Furthermore, it must be considered that speech rate perception is influenced by various factors, including language-specific norms and cognitive load, complicating the development of universal recommendations. This intralingual study investigates speech rate perception among 35 native Catalan-speaking individuals with intellectual disabilities, evaluating responses to Easy Language recordings in Catalan at four speech rates: 130 wpm, 150 wpm, 170 wpm, and 190 wpm. Participants rated the perceived speed of each recording on a five-point Likert scale, ranging from “too slow” to “too fast”. Results revealed two distinct patterns: one subgroup found all speech rates acceptable, while the other exhibited greater variability in ratings, reflecting a more refined perception or reduced acceptability of certain speeds. A significant age difference was observed between these subgroups, though no differences were identified in cognitive performance, as measured by Raven scores.

Resumo em Inglês:

Abstract Sex can be considered a vulgar, forbidden or unwelcome topic in many contexts and this fact can add a challenge to subtitlers of audiovisual products depending on the cultures and languages involved (Ávila-Cabrera, 2024). Although some authors claim that sexual references tend to be altered, mitigated or omitted when dubbing (Ferrari, 2010; Scandura, 2021) and subtitling (Fuentes-Luque, 2020) from English into neutral Spanish, other researchers such as Villanueva-Jordán (2023) have demonstrated through a case study that neutral Spanish for the Latin American audience does retain sexual references in dubbing. This paper examines the subtitling of the four seasons of the TV series Succession (Armstrong, 2018–2023) from US English into Spanish (from Spain), as broadcast on Max (formerly HBO España). The primary objectives of the study are as follows: (1) to explore the extent to which sexual references from the source text are transferred to the target text. To achieve this, we will analyse the transfer through the lens of Descriptive Translation Studies (Toury, 2012). (2) To determine how sexual references are treated in the translated text, whether they are rendered using explicit sexual language or replaced with other taboo or offensive phrases. For this, we employ Ávila-Cabrera’s (2023b) taxonomy of translation techniques to examine the handling of these references and assess whether the taboo load is preserved in the subtitles. (3) To identify the most recurrent translation techniques used. Among the expected findings, we aim to test our initial hypothesis that considers that sexual phrases tend to be transferred as closely as possible in the subtitles in this TV series. In summary, our intention is to contribute to the literature of the treatment of sexual language in interlingual subtitling through this paper.

Resumo em Inglês:

Abstract This paper offers an exploratory approach to the role of ideology in translation and, specifically, in the audio description of a scene depicting violence against a woman. We performed a study in which translation students were asked to audio describe the wedding night scene between Khal Drogo and Daenerys Targaryen in Game of Thrones (Benioff & Weiss, 2011). We aimed to find out whether the audio descriptions produced by the students reflected objectively the violence contained in the scene and whether ideology could have any effect on the strategies used to reflect this violence. Results from the analysis revealed that despite a homogeneous sample (women, left-wing and feminist) predicting a tendency to make the violence of the scene visible, participants employed strategies aimed at softening and omitting any element that would suggest to the audience that rape was taking place.

Resumo em Inglês:

Abstract This study explores the pivotal role of subtitling revisers in audiovisual workflows, focusing on how their subjective decisions influence textual quality, cultural relevance, and collaborative dynamics among subtitlers, project managers, clients, and audiences. Grounded in data collected from an experiment involving nine Portuguese professional subtitling revisers, the research provides unique insights into their practices and attitudes. The findings reveal that subtitling revisers navigate complex decisions shaped by their professional expertise, emotional responses, and lived experiences. Their interventions often balance technical precision with creative interpretation, addressing linguistic, cultural, and technical challenges. While these decisions can lead to significant enhancements in subtitle quality and viewer experience, they also highlight the variability in practices and the potential for unintended consequences, such as overlooked errors or changes that disrupt collaborative dynamics. In an era of increasing automation, this research highlights the indispensable role of human intervention in producing subtitling that is both linguistically and culturally appropriate, as well as technically accurate. Subtitling revisers emerge as key agents of change, bridging linguistic and cultural divides while responding to the evolving demands of global audiovisual localisation. Their interventions – whether positive or negative – can significantly influence the quality of the final product, with far-reaching implications for audience reception and for workflows shaped by automation. These decisions not only shape the quality and accessibility of the translated audiovisual content, but also impact key stakeholders – particularly the subtitler, whose work is subject to alteration, and the audience, whose experience of the content depends on the effectiveness of those revision.

Resumo em Inglês:

Abstract Reflections on insider research, user-led research, and lived experience research, as well as the question of positionality, have long been part of the scholarly conversation in various fields, such as Anthropology and Disability Studies. The present study provides a map of insider research in media accessibility through a literature review and discusses the results of 11 semi-structured interviews with insider researchers working on (media) accessibility and neighbouring fields. Their reflections on positionality in insider research, the benefits and challenges of this approach, their practices in the insider-outsider continuum, and the (in)accessible research processes which they encounter are presented. Researchers reflect on positionality in a nuanced manner, highlighting topics such as visibility and self-reflection, but also stigma and performativity. Experiential closeness to the topic being researched, heightened empathy, and legitimation of insider researchers’ and participants’ knowledge are highlighted mostly as positives elements, granted that researchers are offered psychological support. For most of the researchers, the risks (emotional impact, unclear role of the researcher, if they are well acquainted with the participants, etc.) can be tackled or resolved (through epistemological reflection, through collaboration, through psychological support, etc.) and the general argument is that the benefits of insider research outweigh the disadvantages. Through the researchers’ experience, we argue for greater agency among insiders in the research of media accessibility.

Resumo em Inglês:

Abstract Recent audiovisual works have increasingly featured non-normative characters, setting a trend in the industry. In translation studies, minority representation has been examined through feminist and queer translation theories. In such instances, the translation process is filtered by the professional’s subjectivity and positionality, since translators act as mediators, making translation a purposeful and intentional act. This is especially relevant in AVT, due to the vast scope of audiovisual contents that has traditionally contributed to the perpetuation of stereotypes. Since the cultural turn in translation studies (Bassnett & Lefevere, 1990), feminist and queer approaches have produced significant works (Baer, 2020; Castro & Ergun, 2017). Although AVT has been a focus (Martínez-Pleguezuelos, 2018), applying queer feminist perspectives to media accessibility is less explored (Iturregui-Gallardo, 2023; Iturregui-Gallardo & Hermosa-Ramírez, 2024). Netflix’s Sex Education (2019–2024) exemplifies diversity, presenting fresh views on sexuality and identity, especially in its final season, which featured more queer and intersectional characters. This paper examines the audio descriptions (AD) of the series, by means of a multimodal approach (Villanueva-Jordán, 2024) to analyse how queerness is constructed and represented in the audio described version of the audiovisual content. The analysis raises questions about the agency, subjectivity, and ideology of accessibility professionals in AD. The results emphasise the importance of diversity in AD and its impact on queer and non-normative visually impaired people’s social engagement and self-representation.

Resumo em Português:

Resumo Este trabalho pretende analisar as ligações intrínsecas e indissociáveis entre pensamento e corpo, cognição e sensibilidade que aparecem em excertos de narrativas de tradutoras profissionais provenientes de entrevistas e questionários on-line sobre suas atuações na tradução de dublagem e de legendas de vídeos de diversos gêneros, tais como documentários, novelas e filmes. Três eixos principais de investigação aparecem no recorte selecionado: a somatização das emoções no corpo (Robinson, 2003, 2020), a preocupação com a interferência das emoções no processo e nas escolhas tradutórias (Lima & Pisetta, 2023; Lima & Pimentel, 2024a) e as possíveis consequências do reconhecimento da intervenção das emoções para os agentes envolvidos no processo. As narrativas ontológicas (Baker, 2006) são o ponto de partida para as discussões sobre as percepções das tradutoras sobre os impactos emocionais e confirmam que elas recorrem ao uso de estratégias específicas na tradução de materiais audiovisuais (Perdikaki & Georgiou, 2022). Além disso, uma leitura atenta dessas narrativas mostra que há uma responsabilidade (Derrida, 2006) e uma preocupação ética (Berman, 2007) face aos conteúdos que provocam alguma perturbação emotiva e, embora as emoções sejam experiências individuais, estão inscritas em contextos sociais e são diretamente relacionadas a emoções compartilhadas e coletivas (Ahmed, 2014). Em última instância, o artigo mostra que o estudo da influência das emoções na tradução pode auxiliar na compreensão do papel de quem traduz e no entendimento das escolhas tradutórias nas esferas cultural, social e política.

Resumo em Inglês:

Abstract The aim of this paper is to examine the intrinsic and inseparable connection between mind and body, cognition and sensibility, as evidenced by excerpts from professional female translators’ narratives derived from interviews and an online survey consisting of open-ended questions about their work in translating video dubbing and subtitles for different genres, such as documentary, soap opera, and movies. Three main areas of research arise from the chosen section: how emotions are expressed in the body (Robinson, 2003, 2020), how emotions influence the translation process and decisions (Lima & Pisetta, 2023; Lima & Pimentel, 2024a), and the emotional consequences for translators and those involved in the process. Discussions about how translators perceive emotional impacts begin with ontological narratives (Baker, 2006), which confirm that translators use specific techniques when translating audiovisual materials (Perdikaki & Georgiou, 2022). Furthermore, a close reading of these narratives reveals responsibility (Derrida, 2006) and an ethical concern (Berman, 2007) to address content that causes emotional distress, and although emotions are individual experiences, they are embedded in social contexts and closely linked to shared and collective emotions (Ahmed, 2014). The article concludes by suggesting that recognizing the impact of emotions on translation could contribute to a better understanding of the translator’s role and the decision-making process in cultural, social, and political contexts.

Resumo em Inglês:

Abstract The appropriateness of subjectivity or objectivity in audio description (AD) is an ongoing debate where the professional and the academic perspectives seem to collide. Whereas some professional guidelines support the view that an objective AD is the advisable option, some scholars have pointed out the advantages of more creative alternatives. Meanwhile, part of AD research is making inroads into experimental methodologies: AD and eye-tracking, text-to-speech AD, the automatic generation of AD, and physiological measurements applied to AD, such as heart rate, cortisol levels, or skin conductance response, among others. In this vein, our proposal presents an experimental pilot study using a heart rate sensor to measure partially sighted participants’ response to different combinations of subjective and objective multimodal components within the AD script. To do so, objective and subjective multimodal components from an AD clip from Netflix’s Money Heist were analysed. Afterwards, objective components were turned subjective (and the other way around), which resulted in two versions of the clip in subjective-objective terms: the original and the creative one. Both versions were recorded by a professional studio, participants were randomly assigned one of the clips, and they orally completed a demographic survey, a presence test, and a comprehension test followed by a semi-structured interview. Moreover, the UPTIVO Belt-D heart rate sensor was used to measure beats per minute, average heart rate, maximum heart rate, minimum heart rate, etc. Preliminary results were triangulated with the tests and the interview to obtain empirical data about the combination of subjective and objective multimodal components in AD that induces the highest heart rate and presence levels, enables better comprehension and is best regarded by users. Future research following this methodological design and involving an appropriate number of participants could provide empirical evidence about the immersive combination of objectivity and subjectivity in AD to be considered by guidelines.

Resumo em Inglês:

Abstract The rise of intralingual blogger subtitling on YouTube has introduced innovative practices in today’s mediascape, particularly through the use of subtitles that include notes. These affective subtitles may enhance audience engagement and inclusivity by helping viewers better understand and connect emotionally with the content. Nonetheless, subtitling on YouTube, particularly from an affective labor angle, remains relatively unexplored. To fill this void, the study focuses on the popular Persian YouTube channel @Kouman, known for its entertaining content targeted at Persian-speaking audiences. Informed by theories of affect theory and affective self-mediation, this study examines how captions create a platform for materializing affective labor through subtitlers’ notes, which convey their voice and inner thoughts to create a more personalized viewing experience. The findings suggest that these notes function as a form of affective labor, exhibiting subtitler’s witty remarks and inner thoughts that shape how the video content is felt and understood. These affective and embodied strategies help build affective bonds with the viewers, creating a stronger connection between them and the channel. This study argues that translation theory should reconceptualize subtitles as dynamic, mood-shaping assemblages rather than mere conduits of dialogue.