Tessa Dwyer
Lecturer, Film and Screen Studies at Monash University, Melbourne. Research interests: language/voice/accent and translation on screen, subtitles/dubbing, film and TV histories, AVT histories, media fandom and media accessibility. Monograph 'Speaking in Subtitles: Revaluing Screen Translation' (2017) published by Edinburgh UP. Senses of Cinema (www.sensesofcinema.com) patron.
Supervisors: Prof. Angela Ndalianis, Supervisor, and A/Prof. Fran Martin
Supervisors: Prof. Angela Ndalianis, Supervisor, and A/Prof. Fran Martin
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ever-growing field of amateur translation exhibiting a number
of traits often overlooked by scholars of audiovisual
translation. Current research on fansubbing is broadened
by examining this phenomenon beyond the strictures of anime subculture alone, drawing on the counter example of Internet start-up
company ViKi and exploring the gaps in mainstream subtitling that
fansubbing both exposes and fills. The team of volunteer translators
working for ViKi re-animates notions of global diversity by
capitalizing on the affordances of new technologies and collective
intelligence to break down the national and linguistic hierarchies
that dominate contemporary media and professional audiovisual
translation. Despite a largely conservative ‘look and feel’ and
signs of increasing commercialization, ViKi’s fansubbing model
makes an important contribution to the internationalization of
audiovisual translation practices, bringing programs from small-language communities to diverse audiences across the globe. The
paper further considers the extent to which the legalization of ViKi’s
fansubbing activity empowers fans to bring about real change in
the media marketplace.
ever-growing field of amateur translation exhibiting a number
of traits often overlooked by scholars of audiovisual
translation. Current research on fansubbing is broadened
by examining this phenomenon beyond the strictures of anime subculture alone, drawing on the counter example of Internet start-up
company ViKi and exploring the gaps in mainstream subtitling that
fansubbing both exposes and fills. The team of volunteer translators
working for ViKi re-animates notions of global diversity by
capitalizing on the affordances of new technologies and collective
intelligence to break down the national and linguistic hierarchies
that dominate contemporary media and professional audiovisual
translation. Despite a largely conservative ‘look and feel’ and
signs of increasing commercialization, ViKi’s fansubbing model
makes an important contribution to the internationalization of
audiovisual translation practices, bringing programs from small-language communities to diverse audiences across the globe. The
paper further considers the extent to which the legalization of ViKi’s
fansubbing activity empowers fans to bring about real change in
the media marketplace.
A deep dive into iconic 1980s Australian women-in-prison TV drama Prisoner (aka Cell Block H), its contemporary reimagining as Wentworth, and its broader, global industry significance and influence, this book brings together a range of scholarly and industry perspectives, including an interview with actor Shareena Clanton (Wentworth’s Doreen Anderson). Its chapters draw on talks with producers, screenwriters and casting; fan voices from the Wentworth twitterverse; comparisons with Netflix’s Orange is the New Black; queer and LGBTQ approaches; and international production histories and contexts. By charting a path from Prisoner to Wentworth, the book offers a new mapping of TV shifts and transformations through the lens of female transgression, ruminating on the history, currency, industry position and cultural value of women-in-prison series.
Topics include:
Censorship
Media piracy
Amateurism
Fansubbing (fan subtitling)
Crowdsourcing
Case Studies include: The Invisible Cinema, New York (1970-74) and Viki Global TV (www.viki.com)
The editors divide their collection into the following four sections: eye tracking performance, which addresses the ways viewers respond to screen genre, actor and star, auteur, and cinematography; eye tracking aesthetics which explores the way viewers gaze upon colour, light, movement, and space; eye tracking inscription, which examines the way the viewer responds to subtitles, translation, and written information found in the screen world; and eye tracking augmentation which examines the role of simulation, mediation, and technological intervention in the way viewers engage with screen content. At a time when the nature of viewing the screen is extending and diversifying across different platforms and exhibitions, Seeing into Screens is a timely exploration of how viewers watch the screen.
While eye-tracking technology provides moving image researchers with accurate visualisations of where people look, in what sequential order, and for what duration, it can tell us very little about what people are feeling, thinking, or memorialising as they watch – to do that we needed to draw on other research methods.
In this issue the convergence comes to life, with four essays that each explore and demonstrate the natural fit of the videographic format for eye tracking research. The two phenomena converge around the problem of substitution: eye tracking research works with predominantly visual data that is then translated into prose, and the video essay interferes in the ekphrastic challenge of expressing spectatorship through the written medium. When drawing, as the ETMI group does, upon the former to examine the latter, the ability of the video essay to conduct analysis on the terms of its object – i.e., moving images and sounds – is uniquely valuable (see Keathley and Mittell, 2016). Preserving the live data of audiences watching images as they move enables the dynamic illustration that eye tracking as technology and methodology requires. Further, though, the video essay showcases the uncanny nature of eye tracking research, where researchers are compelled to watch the traces of their subjects watching. By putting the audience into this vital position of spectatorship, the video essay primes its viewer to experientially consider the poetic and phenomenological pathways that eye tracking can open up.
This collection showcases these diverse ways in which eye tracking can inform and support both critical and creative screen analysis, starting with Unseen Screens: Eye Tracking, Magic and Misdirection by Tessa Dwyer and Jenny Robinson. This piece introduces some key concepts and visualisation techniques in moving-image eye tracking research including attentional synchrony, edit blindness, heat mapping, and aggregate gaze plot data. Navigating through these fixtures, Unseen Screens drills down into misdirection, foregrounding continuities between seeing and not seeing, illusion and transparency, film and magic. This piece is followed by two interconnected works that unfold around the thematic of sound: Materialisation, Emotion & Attention: Tracking Sound’s Perceptual Effects in Film by Darrin Verhagen, and The Ear that Dreams: Eye Tracking Sound in the Moving Image by Sean Redmond. With humour and insight, Verhagen explores and debunks a range of sound/image theories and principles to argue for the ability of sound design to transform attention by deepening levels of engagement. Redmond further probes the affordances of film sound – its immersive, bi-sensorial and synesthetic effects – to explore the intensities that eye tracking data cannot image but only imagine. In this way, The Ear That Dreams prepares ground for embodied eye tracking methodologies. These tandem works on sound are followed by Dead Time, a piece by Catherine Fowler, Claire Perkins, and Andrea Rassell that institutes a dramatic change of pace, dramatising and massaging the tensions and challenges inherent within ‘slow cinema’. Dead Time reverses the usual tendency in eye tracking research to examine data through a quantitative lens. Instead, Fowler, Perkins, and Rassell ‘unbundle’ eye tracking to focus on the experiential idiosyncrasies of individualised viewing patterns. The order in which these works are presented moves from exposition to abstraction, orienting viewers initially through a mapping of misdirection and screen/sound relations before leading into an exploration of emotion, engagement, and affective poetics to settle finally upon an unflinching moment of meditative self-reflexion. Together these works chart eye tracking methods, approaches and data sets, yet they also acknowledge how charts and maps are themselves representations —part fiction, part fact. In doing so, they question and broaden understandings of eye tracking and the arts/science nexus.
See: http://mediacommons.futureofthebook.org/intransition/theme-week/2017/36/journal-videographic-film-moving-image-studies-43-2017
References
Keathley, Christian, Mittell, Jason (2016). The Videographic Essay: Criticism in Sound and Image. caboose.
Redmond, Sean, Batty, Craig (2015). ‘Seeing into Things: Eye Tracking the Moving Image’. Refractory 25. See: http://refractory.unimelb.edu.au/2015/02/06/redmond-batty/
Redmond, Sean (2016). ‘The Love Particles of Eye Tracking’. brief 54: 111-120. Available at: https://www.academia.edu/27920420/The_Love_Particles_of_Eye_Tracking