Exploration of Relationship between Lighting and Contrast Pattern in Audio Film Description in Creating Meaning

Exploration of Relationship between Lighting and Contrast Pattern in Audio Film Description in Creating Meaning

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Abstract

The significance of the inclusion of light and contrast cues in film audio description scripts is one of the topics discussed over a long time. In regular films, light and films have been said to have a useful function in helping the audience interpret a film's meaning. However, it is not clear whether directorial vision language cues there present for audio descriptive scripts. Therefore, this study seeks to analyses the existing audio descriptions of light and contrast sequences. Below analysis, the study will conduct a case study of three films from South Africa to examine the role of light and contrast pattern in interpreting the anticipated message in a film, which is supported by screenshots listed in the appendix section. Upon analysis of the importance of light and contrast design in film interpretation, this study will study the existing audio descriptions of lights and contrast sequences using a corpus-based method. Finally, the study will provide recommendations obtained from the conclusion of the study.

Introduction

Film audio description (AD) mostly an art of cooperation. In an encoded and regularly restricted amount of space and time, AD tries to verbalise the visual aspects of the moving picture verbally. Nonetheless, given the film's multimodal feature, the decision about what and how to define becomes more complicated. Fryer (2016) argued that Raina Haig, a visually impaired filmmaker, suggested that a simple shot comprises several visual elements giving the audio description author problem. Besides, at times the manner to which the plot develops or how the characters act their doings is seconded or even elaborated by the utilisation of specific cinematographic tools, particularly lighting and lighting design. Consider understanding the mutual interaction the light as visual aspects and how it creates meaning for a storyline can provide hence useful information in the work of a describer. This dissertation is an attempt to research such an association. It aims to offer an insight into the issues engaged in the verbal interpretation of methods suitable to cinematography in audio description film. Of interest are film light and contrast patterns, film tools that are vital in terms of style, meaning, and emotion creation. Acknowledging the significance of luminance set-ups for film production and analysing the heavy burden of implicit meaning, they convey that the study aims to examine their kinds of realisation in a corpus of existing AD scripts. This dissertation seeks to explore how light and contract designs create meaning in an audio descriptive text.

Background

Audio description is an account of visual information conveyed via an audio channel. AD assists the blind and visually impaired audience in enjoying films and television programs comprising comedies, dramas, soap operas, and documentaries. According to Fryer (2016), the art of audio description instigated in the U.S theatre in the 1980s and is currently becoming available in art galleries and museums. During the last years, several aspects have resulted in progressive advancement in the audio description in film and cinema. Most significantly, lobbying by the blind and visually impaired organisations has pushed to legislation and regulation mandating broadcasters to offer audio reports in the film industry. Besides, there has been noteworthy technical advancement to enable the conveying of audio description in films. Given the fast development in all aspects of the global audio scene, it is essential to improve this field. In respect to this, this paper will explore how light and contrast pattern help in creating meaning to audio description film and proposes approaches can be used to translate a scene that has lighting set-ups.

Film Meaning: Conformation, Acquisition, and OrganisationWith the exclusion of stylistic and hermetic film, the average viewer can fully understand a considerable number of films. Nonetheless, due to social pressure that accepts the existence of a lone interpretation of the instructor's message and the absence of a shared culture of broad imagery consumption, the scope of the reading magnitude of a motion picture stills shallow. Therefore, any conversation about filmic reality should start from stating that films are the same as words with no relevance. It is only in unique cultural and social backgrounds; they express their anticipated significance and are subsequently brought into existence (Elinwa, 2020, p.3-4). Nevertheless, Tan (2018, p.3-5), in the circumstance of a motion picture, never has a single interpretation. Each viewer, regarding their life experiences, decodes the appropriate object differently. It is almost impossible for the viewers to record similar artistic experiences and comprehend the meaning of the cinema in the same manner. Through the viewer’s skills to attribute substantially to the cinema, and the contact with the visual stimuli, the scope of possible filmic interpretations can gain continuous creative development. Art to be visually perceived; first, it has to be processed mentally and positioned (Tan, 2018, p.2). A film is an art and a medium of indexes and extensions with a large quantity of the final meaning originating from the constant interaction and alternating between unseen and seen (Bergesen, 2016, p.590). This statement concurs with. Thus, eliminating the notion of the correct film reading and topping –up to the processes of artwork intake and the description of an active spectator paves the way to the sufficient insight of motion pictures metonymical and symbolic dimensions. In addition to what Thompson and Smith (2017, p.40) state as explicit meanings (obvious conclusions to obtain from the significant image, the scope of film reading modalities mention by writers prolong to:

Referential cues Ideas centred on a viewer's background knowledge and their capability to identify the interaction between specific film subjects that present themselves intensely in von Trier's productions. For example, Anti-christ (2009), where a perception of the director's nature is essential for the viewer to follow and comprehend the plot.

Implicit meanings

Implicit meaning is sometimes unclear to be read on the root of inferential doings and deep thinking. Cobb (2020), for example, in the film known as Equilibrium (2002), the allegory of hypocrisy, human cynicism, and moral damage is conveyed in between the lines, finely proposed to the viewer in the show of a fictional known as Libra.

Symptomatic meanings

Figures by which the executive anticipates to call on the viewer’s set of moral standards, hence forming a narrative with inferences concerning the world and sometimes that generation is living in. For instance, according to Plate (2016, p. 11), extreme perfectionism and preoccupation with looks may lead to permanent deterioration and mental disorders, as presented in Black Swan (2010).

The difference classification of meaning discussed above relates to connotative and denotative planes mentioned by Orero (2012, p.15-20); on the other side, an image is built of what one observes with their own eyes. Besides an image being a physical reflection of familiar objects and shapes, some visual incentives suggest a more complicated, contextually entrenched, and metaphorical matter. The viewer needs accurate background information and graphic activation to be successfully identified by the viewer. In turn, this is immediately echoed in the process of film understanding and interpretation. Whereas, with the previous, there is a substantial risk of reading a particular piece of cinematographic art literally. Hence, eliminating it as illogical, the latter works on the postulation that the viewer will exceed the obvious, work on a more global scale, and put unconnected information together to derive a significant conclusion. Since both doings are equally balancing, it is almost impossible to separate them. To interpret and comprehend a particular image, a person needs to understand it. Because, the structure of motion pictures, it is a systematic process joining different collaborative and mutually reliant codes, comprehending and decoding the signals of any cinema needs both attentive form reading and active thinking.

Finally, the wealthier the intellectual effort, the more visual the artistic individualism and specificity of art. The mentioned above claimed has been widely seconded by gestalt psychologists and was eventually mirrored in the concept of Pragnans, as researchers learned a tendency for a human brain to search for keenly and habitually organised patterns and discovered a far-reaching though not effortlessly definable uneasiness with disturbed shapes and forms. This explains how most film directors choose to 'bad' figures to enable their viewers to generate their innovative ideas, and assumptions and relish the entire scope of likely act significances. Nonetheless, this abstract thinking can only be placed in action willingly.

Noticeably, every viewer has distinct prospects as to what a specific film denotes. They will differ in their standard of personal commitment and, subsequently, in the scope of meaning they conclude. One the other side developed processing undertakings, and more extensive visual proficiency assures the discovery of all likely settings and levels of implication since the missing connections required for compelling form reading are regular to be discovered in the language of such unclear tools as cinematographic bonds.