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SPA Audiodescripción fílmica |
contents
Introduction | Accessible translation for the blind | Film audio description | Research potential
Translation understood as a complex cognitive and communicative process reaches its most representative manifestation in what is called accessibility (multimodal) translation (AT). The translation modalities included in AT are subtitling for deaf and hard-of-hearing (SDH), audio description for blind and low vision people (AD), and more recently, easy reading (ER) for cognitive and intellectual diversity or for people with reading and writing difficulties in a natural language, such as immigrants in a host country. In a broad sense, sign language interpreting (SLI) could also be included, since one of the parameters that these modalities must meet is that they provide access to recipients who lack one of the two senses by which a verbal code of a natural language is accessed, the sense of hearing or the sense of sight. However, if we adopt a somewhat more restrictive perspective, SLI would be considered as an interpretation of a natural language into another natural non-verbal language spoken by a cultural community, such as the deaf community. For this reason, SLI will not be included in this general entry on accessibility through translation.
These translation modalities are part of a more general classification, translation for multimedia environments, which has already gained a place in its own right within Translation Studies (TS) and which has its raison d'être in the radical change experienced by forms of communication today. These have gone from being monomodal to becoming mainly an activity into which several modes converge simultaneously, so much so that the idea of creating study programs on Accessibility Translation is being put forward:
For over a decade we have been working on new audiovisual translation modalities, but both the object of study and its methodology have outgrown the field where they were initially studied. Is it time to define a new field, that of accessibility studies? (Matamala & Orero 2016: 2)
This idea is based not so much on the significant scientific and academic productivity achieved, but rather on the socio-cultural and professional boom it has experienced in recent years. The social and cultural transcendence is mainly due to international awareness, embodied in laws and prerogatives (UN 2006; EU 2010, Spanish Law 26/2011, of 1 August, adapting regulations to the International Convention on the Rights of Persons with Disabilities) which state that access to leisure and culture is a right that favours the social inclusion of individuals and combats inequality (Matamala & Orero 2018). In Spain, this is manifested in the 2011 Spanish Comprehensive Strategy for Culture for All, of which a follow-up report was since published in 2017. In this way, the social challenges expressed in the Inclusive Societies objective of the Horizon 2020 framework programme, many of which are replicated in pillar 2 of the Horizon Europe strategy, advocate the elimination of barriers, as well as ensuring that heritage environments can be enjoyed on equal terms by anyone by adopting a global approach to accessibility (Greco 2016 and 2018). In Spain, professional relevance has come, on the one hand, through the drafting of AENOR standards (UNE Standard 153020 on AD in 2005; UNE Standard 152010 on SDH in 2012; and experimental UNE Standard 153101 on Easy Reading in 2018) which managed to systematise part of the translation process and, on the other hand, through the universal presence of online entertainment platforms, which demand translators with broad and in-depth knowledge of AT. Most of these platforms offer at least two modalities of multimedia accessibility in general: SDH and AD.
On the other hand, academic research highlights four characteristics of this process of communicative mediation that make it substantially different from other lines in TS: firstly, the wealth of communication systems and semiotic modes involved in the translation process, which require a considerable theoretical effort to master the essential analysis of the source text (ST). In this sense, the modalities of AT also stand out for their inter- and multidisciplinary vocation, as they draw on different fields of study, theories and methods based on other disciplines, both for the analysis of their source texts, and for measuring the degree and quality of access by people with disabilities to the translated product. Secondly, and directly related to the above, it is necessary to know the variability in the sensory and cognitive capacities of the prototypical recipients of these modalities, whose in-depth knowledge represents a non-negligible challenge in the appropriate development of translated products as tools for accessibility. Thirdly, it is imperative to develop an epistemological and conceptual apparatus that provides the necessary context for progress in the discipline. It is time to lay the consensual foundations of the metalanguage of these modalities and their corresponding semiotic modes, starting from the fact that, in AT, the target text (TT) must be presented in a natural language; otherwise, we cannot call it translation in the sense in which TS approach it.
In particular, the notion of semiotic mode should be relatively clear. A mode can be any set of signs (whether symbolic or iconic in nature), which enables a given message to be encoded and conveyed to a receiver. Thus, for example, a sentence such as "she has wanted to go on holiday for a long time", uses the mode of symbolic verbal communication (a set of symbolic signs made up of words with a certain meaning in their interaction). In the case of film images, we could analyse the interaction in several modes: iconic visual communication (the images of objects, subjects and contexts captured by the camera), symbolic verbal communication (the characters' dialogues), the iconic-symbolic visual communication of the characters' gestures, etc. In Figure 1, we can observe the intermediality of any dynamic image and the intersemiotic (multimodal) translation of visual modes embodied in film AD which constitutes a representation of visual knowledge through verbal language.
Based on the concept of mode, we could establish the concepts of modality, multimodality, intermediality, intersemiosis, semiotic codes, etc. However, this discussion has already been addressed more clearly and pertinently by others (Bateman (2008), Chapple (2008) or Ellerström (2010)), so we will not delve into it here.
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| Figure 1. Diagram of the taxonomy of compositional elements of the dynamic image. It depicts location, function and interrelationships of the elements and levels of the hierarchy, as well as their translation to the audio description plane. Source: Antonio J. Chica (2016: 160) |
Finally, although it is understood that these modalities fall under the umbrella of audiovisual translation, this premise offers some conceptual problems. For example, the translation of texts into easy-to-read texts is considered an intersemiotic translation given that the simplification of texts often requires the activation of augmentative and alternative communication systems, which are forms of expression other than the verbal mode. However, we have to understand audiovisual translation in a very broad way if we want easy reading to be part of it.
As we will see below, part of the challenges facing all AT modalities revolve around issues such as knowledge and application of the different grammars (Kress 2012) activated in the texts being translated, as well as discernment and analysis of the relationship of semantic coherence and responsibility established between the different semiotic modes of the same text. This is nothing other than knowing the basic attributes, signs and codes of meaning of each semiotic mode, as well as their subsequent configuration in grammars (visual, acoustic, tactile). It is certainly not trivial to know the complex multimodal structure that characterizes most of the current communication systems and, therefore, the texts they construct.
Finally, it is important to underline the areas in which AT modalities are more established: audiovisual media (cinema, television, video games), cultural heritage (museums, architecture, natural heritage) and web localisation. It is important not to confuse multimodal texts that are made accessible, such as films, documentaries, videogames or a museum exhibits, with the tools used for making them accessible, i.e. AD, SDH and easy reading.
In what follows, the translation process activated by the AT modalities will be described, including the cognitive processes and discursive elements they involve.
Accessible translation for the blind
Multimodal communication is characterised by the fact that two or more semiotic modes or resources are activated in the texts it produces (mode, semiotic resource or sign system or semiotic system are used interchangeably in this entry). See Ellerström (2010) for a comprehensive modelling of the concepts of multimodality and intermediality.
The activation of each mode as a communication system is directly related to the senses that humans use to access these semiotically complex texts (i.e. involving different levels of signification) and, thus, to create meaning. The visual semiotic mode or system activates static (photography, painting) or dynamic (videos, gestures), two-dimensional (painting) or three-dimensional (sculptures) images and can be perceived primarily with the sense of sight, but also with the sense of touch. The acoustic mode activates articulated (verbal mode) and non-articulated language (music, natural or artificial noises) and is perceived with the sense of hearing. The haptic mode will activate physical elements (textures, three-dimensional shapes) that are perceptible through the sense of touch. Therefore, having no sense of sight or poor vision makes it a difficult challenge for a person to access texts that activate, among others, the visual semiotic system. They will only gain access if someone would describe the images in the text to them, explaining how they were created and how the different modes interact with each other.
In order to do so, accessibility translation practices provide description of the images from a formal and functional point of view. It is a complex translation process in which, as with all types of translation, the cohesive phenomena of each text and the way in which they contribute to the overall coherence must be taken into account.
The complexity of the end product, the TT, should reflect the complex semiotic configuration of the ST. However, as will be seen below, audio description is, in turn, a highly selective process, as it translates or describes the images that are necessary and relevant for the blind person to construct a mental image of the communicative situation, aided by the sound (articulated or not) perceived by the ear. If there is a possibility that a mental image can be constructed thanks to the interpretation of the non-articulated sounds and the verbal code, it will not be necessary to translate such an image (Martín 2017).
This complex configuration can be understood by describing the translation process of the modality of AD in its two main submodalities: film AD and museum AD. When the ST is multimodal (film, theatre), the AD is inserted within the original. This involves two macro-strategies: one of linguistic simplification and another very interesting one of intermodal coherence and cohesion. However, when the ST is monomodal (painting, sculpture), the TT is independent and forms a textual genre of its own.
AD is used by a subset of the population made up of people who are blind or have some kind of severe visual impairment, whether from birth, due to ageing or due to a supervening situation, such as an accident or illness. In this sense, the characteristics of potential users of audio description can be very diverse: some will have visual memory, others will not; some will distinguish figures or shadows, others may have tunnel vision, and so on. Since it would be very difficult to adapt the AD to the needs of each user, a general type of AD is devised for the majority of recipients. In fact, the Spanish UNE 153020 (AENOR 2005) standard on AD, along with other national guidelines, states that the description should be mainly based on the information needs of those who most require this service, i.e. totally blind people, which in turn would also help those with low vision.
From the point of view of Translatology, film audio description (FAD) is the communicative and cognitive process by which dynamic (but sometimes also static) images of a (usually) artistic audiovisual product are translated into a verbal linguistic text, thus becoming the first fully intersemiotic modality.
In the case of FAD, the iconic information that the AD conveys to the receiver through words does not work in isolation, but is accompanied by other elements to which it is subordinate, such as dialogue, sounds or music, present in the soundtrack. These elements make up a multidimensional narrative framework with unique characteristics and whose textual analysis is very useful in terms of the cohesion between the different communicative modes that is achieved in it (Jiménez 2010a: 17).
This translation process begins with the formal and functional communicative analysis of the ST (a film, a documentary, a cultural product, an aesthetic experience, etc.). The analysis of the ST has to capture the communicative and aesthetic aspects of the film which are the product of the interrelation of a series of signs and codes that convey the message from a given perspective (Pérez 2015: 23; Fryer and Freeman 2012).
In discursive terms, Braun (2007: 358) points out the following characteristics of film AD: firstly, it constitutes a complex cognitive-linguistic and cross-modal mediation activity; secondly, AD pursues the production of a verbal discourse (a sort of narrative) that describes essential visual and other relevant elements belonging to a multimodal discourse (i.e. the original audiovisual event containing verbal, sound and visual elements); and finally, the multimodal discourse into which AD is embedded encompasses discursive comprehension and production processes in which different semiotic modes interact with each other as well as with the individual knowledge, the experience and expectations of the participants in that discourse.
A semiotic analysis of FAD could characterise it as a multiple, multimodal text involving the confluence of two subtexts:
- The original audiovisual work or source text (ST), which constitutes a semiotically complete text that implies a specific communicative function (to inform, entertain, convey a reflection, ) on its own.
- The audio description script (ADS), which is a plain/simple text written to be voiced and whose primary communicative function is to narrate the image contained in the audiovisual text.
In this sense, the work methodology to deal with an audio description process must take into account the implications of subordination, coherence (Braun 2011) and intertextual cohesion that are produced by the conditioning factors of the interaction of means of message transmission, modes of expression and linguistic codes, i.e. multimodality.
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| Figure 1: Semiotic constituent elements of film audio description. Source: Catalina Jiménez Hurtado |
According to Jiménez (2010a: 27), the first of the texts in this set, the audiovisual text, is an independent text that already introduces different semiotic codes, while the ADS is a text subordinated to the first from several perspectives. Firstly, this subordination supports the narrative structure of the audiovisual work, thus reinforcing its communicative intention. Likewise, it is subordinated to a specific audiovisual structure, within which the ADS must respect the times of appearance of the other modes of acoustic expression (dialogues, sounds, music, etc.), while still fulfilling its main task as a system of translation or access to knowledge for people who are blind or have low vision in relation to the visual contents of the source text. The complex semiotic interaction structure of the accessible audio described text can be graphically observed in the following diagram
There are two basic components of the set of codes that make up a film: (a) the film narratology and (b) the language of the camera. The interaction of both and their analysis and interpretation constitute a powerful tool for defining the criteria for the conceptual selection of the iconic elements that are translated into words, as we shall see below.
Film narratology
Film narratology can be represented as a communicative event, i.e. it is an event or action that takes place on a spatial-temporal axis (scenic space or setting), performed by a series of characters who present themselves through their actions. In turn, they act in a specific way because they represent a particular physical, mental or emotional state.
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| Figure 2: Classification of the main narrative elements described in film AD. [Source: Catalina Jiménez Hurtado] |
The characters are, therefore, the agents of a series of actions, the basic referents of the narrative since everything revolves around them, about where they are and what they do. The list of elements that the audio describer selects for translation is based on the analysis of these narratological elements. The audio description script identifies the characters and their actions, introduces them, describes their physical attributes (age, ethnicity, appearance, clothing, body language, etc.) and their physical (he walks tiredly), mental (he looks at her in concentration) or emotional states (he walks away sadly, angryly). The setting includes spatial and temporal location, props, lighting, as well as the distribution of the elements of each scene, as can be seen throughout this English AD of F. W. Murnau's classic silent film Nosferatu (1922).
This level of narration creates a world of characters, objects and actions with certain characteristics that undergo changes of state and can be understood, from the point of view of the codes of signification of the grammar of the film text, as the morphological and lexical-semantic level or as the material objects presented in the mise-en-scène. Below you may find some examples taken from different film ADS.
Characters
Presentation of characters and first appearance
The following example describes the first appearance of the main character in the film The Illusionist (Burger 2006). The description refers to the age, hair type, physical and mental attitude, wardrobe and the actor who plays the character:
A man in his thirties, with dark hair, a moustache, and a goatee, sits in the centre of an empty stage, concentrating, his hands resting on his thighs. He is played by Edward Norton. […] He wears a white shirt and black waistcoat and trousers. His penetrating gaze reflects an enormous intellectual effort.
This other example is from the beginning of the film Corpse Bride (Burton and Johnson 2005) and describes the appearance of Victor, one of the main characters in this animated film:
A young man is sitting at the desk under his bedroom window. His hand has long, slender fingers. [...] The draughtsman is Victor, a languid, melancholy-looking young man, with dark hair, a triangular face, a very broad forehead and a chin that ends almost in a point. His eyes are large and bulging.
Costumes
Reference is made to the characters' costumes when they appear for the first time or change their attire if it has some significance within the film, for example, when a character dresses up to go on a date or when the clothes are flashy. Let us look at some descriptions of costume:
She combines her outfit with stiletto heels, handbag and nail polish all in red. Blind Date (Edwards 1987).
A troupe of African actors puts on a performance in the village. Three women in traditional attire sweep the floor while three men in Western clothes stand static with a paper in their hands. The Faithful Gardener (Meirelles 2005).
Facial expression: description of appearance, thoughts, attitudes and emotions
For the blind or low vision user to be able to create a mental image of the appearance of the characters and their behavioural or personality traits, it is very important to describe in some detail the facial expression they adopt at a given moment. In audiovisual products, through medium shots and close-ups, we are informed about the attitudes and emotions of the characters through the expressions on their faces. Thus, by describing the facial expression, we can observe a character's tiredness, shyness, joy, despair, pain, joviality, anger, a personality transformation, etc.
In the following AD fragment, we can see how Smigol transforms into the popular character Gollum from The Lord of the Rings and how this is reflected in his appearance:
Smigol gradually transforms into Gollum. The skin becomes pale, very gaunt, with large, slitted eyes and his hair in locks over his almost bald skull. The Lord of the Rings. The Return of the King (Jackson 2003).
In this other example from the same film, we see how a physical state of pain is described by alluding to a facial expression:
With the ball stuck in his hands and his face twitching in pain, the hobbit falls to the ground in convulsions. The Return of the King (Jackson 2003).
The description of facial expressions and gaze is a recurrent resource to convey the mental or emotional state of a character at a given moment in the film. Indeed, in any narrative audiovisual product, recipients make sense of the message and can anticipate the events unfolding on screen based, at least in part, on what they think about the cognitive states of the characters, i.e. their goals, beliefs and emotions (Salway and Graham 2003: 300). It is therefore crucial in AD to make sure that blind and low vision users are aware of these issues. Let us look at some examples of descriptions of such states in The Illusionist's AD. All of them are structured directly around the character's gaze:
As they part, she looks up at him, smiling and in love. He looks down seriously.
She approaches him smiling. He looks at her in amazement.
He looks annoyed at Eisenheim, who holds his gaze. The duchess looks at them with concern.
She looks at him smiling, still lying down.
She looks at him excitedly, he kisses her hand. Melancholic, Eisenheim averts his gaze.
In other cases, the state of mind is addressed using very specific adjectives that are often a translation of the character's facial and bodily expression:
Eisenheim walks angrily towards the group of policemen. A lady stands up in fright.
Hieratic, Uhl remains serious. Uhl gesticulates helplessly.
He remains serious and thoughtful.
The prince wanders restlessly around the office.
Setting
The description of spatial and temporal settings fulfils an important informative function for the narrative development of the story. It allows the characters to be placed in a specific physical context where the events take place. The setting, therefore, makes it possible to answer the questions "where" and "when" of the spatial-temporal rule referred to in the UNE 153020 Standard.
Where: description of locations
In the following lines, we will show some examples of how the places and spaces in which the action takes place are described in the film The Boy in the Striped Pyjamas (Herman 2008).
Several red flags with the swastika inside a white circle adorn the facades of buildings on a Berlin square.
At the mansion, the maids carry condiments, set tables and clean the floors. Inside, they push the piano into the corner.
Bruno and his sister walk down the stairs to the great hall. They stop on a landing and look around.
Below, the men give the Nazi salute.
From the red convertible, Bruno sees his friends running after the car as if they were airplanes.
When: description of the time
A correct description of the temporal location of the scenes is essential for the development of the narrative. Usually, this information is placed at the beginning of the AD fragment, unless the focus of the shot forces us to describe another visual element before and informs about the time of the day when the scene takes place ("in the morning", "at night", "at dawn", etc.).
Below are some examples of temporal descriptions taken from the ADS of The Illusionist (Burger 2006):
He then balances an egg on a wooden rod.
Another night, he quietly leaves his house, with a backpack over his shoulder. Now it falls slowly.
He cuts it with a knife, which he then leaves on a tray.
In the daytime, a postman approaches a door of the theatre.
In the morning, Eisenheim walks thoughtfully and crestfallen towards the theatre. At dusk, the duchess rides through the forest to Leopold's hunting lodge.
At night in the street, people look at the posters announcing the performance. The train runs at dusk.
Actions
The description of the events observed on screen involves the use of verbs belonging to very different semantic fields, as many as the actions that appear in the original work. However, the analysis of a corpus of AD scripts has shown that the semantic fields most frequently activated in AD are those of movement, perception and feeling (Jiménez 2010b: 96; Taylor 2016).
Let us look at some examples of verbs of motion in the ADS of The Lord of the Rings. The Return of the King (Jackson 2003):
He continues on his way.
On the esplanade before the palace, Pippin sees Denethor walk before six men carrying Faramir's body. Four other men, also in black, follow with flaming torches. They enter a crypt.
The spearmen fall back.
The huge trolls smash their way through. The orcs rush past.
On the other hand, the verbs of the semantic area of perception (to look, to see, to observe, to contemplate, to listen, to hear, etc.) in AD are so frequent because they allow to describe where the characters direct their attention through their looks and facial expressions. Let us look at some examples of AD from the film Babel (González Iñárritu 2006):
Children watch cartoons lying on the sofa.
Susan rubs oil on her hands and looks at her husband. She looks at the other tourists.
The language of the camera
On the other hand, the language of the camera refers to the perspective from which the narratological event and its components are presented, that is, the way in which the camera is used to record the images that will be edited and conveniently mounted for later exhibition. The language of the camera is articulated around three levels of signification. These run through the filmic text and conceptually hierarchise the cinematographic image (from minimal units of signifiers to macro-units):
- Level of mise-en-scène referring to the elements contained in the image, which coincide with the level of film narratology described above.
- Framing or the level of the syntactic organisation of the elements, which describes how they relate to each other and from what perspective the objects and characters are presented, i.e. how the mise-en-scène is presented. At this level, the codes of filmic meaning are the types of shot: static (scale, position, angles) and dynamic, which are the movements of the
- Serialisation, which refers to the discursive level of the filmic text and contains elements such as the arrangement of the events of the different scenes, i.e. montage and transitions.
With this conceptual structuring from film studies, the audio describers have a theoretical framework to guide them in selecting not only the elements perceived in each scene, but also the semantic and pragmatic function they encode. The translation of a precise element of a scene is due to a focalisation of that element or to the use of a specific plane. This hierarchical organisation or focalisation of the elements must be reflected in the TT, i.e. it needs to be translated. A close-up of a character could be translated by saying that he/she frowns for instance; a distant general shot often forces the translator to begin or end their discourse with an adverbial that translates the spatial context in which the scene is located: in a park in the city centre or it is raining on the meadow. When the director uses the medium shot, s/he forces a translation of the character's actions and their interaction with the objects close to them (Harry reads the inscription engraved on the blade of the sword) (Jiménez 2010b: 90).
These processes of functional selection lead to translation strategies that have not yet been studied. On the one hand, a strategy of selection and hierarchisation of functional contents based on visual codes is activated and, on the other hand, a strategy of syntactic reduction and simplification is used in order to lighten the cognitive load of the receiver, partly due to the interaction of modes and codes.
Due to the technical restrictions of space in film AD, since descriptions can only be inserted in the silences of each scene, to the previous strategies of conceptual selection is sometimes added that of pragmatic-discursive condensation and that of spatial-temporal anticipation. All of them make this part of the translation process a most interesting phenomenon.
Specifically, when there is a voice-over narrating a story over different images, the only way to ensure that this visual information is not lost is to audio describe it beforehand. In the case of the film Memoirs of a Geisha, the audio describer made the decision to warn the receiver that they will be hearing a voice-over and, at the same time, to describe the images of the film that are depicted over the voice.
The protagonist's voice-over narrates the story as the train moves through lush mountains.
This is also the case with the end of the film, in which the protagonist ends the story on an image that has already appeared before:
He holds back tears as she closes her eyes against his chest. Then the voice-over narrates over an image of them walking in each other's arms and over images of little Chiyo running along the long porch leading to the temple.
As with all types of translation, one of the most studied issues and one that continues to be the focus of researchers is that of product analysis. In this case, FAD has been studied on multiple theoretical grounds, which raised no fewer research questions: framed in a type of AVT (Orero 2005, Puigdomènech, Matamala and Orero 2010), from contrastive discourse and narratology (Jiménez 2007 and 2010, Jiménez and Seibel 2010; Kruger 2010; Braun 2011, 2014, Fresno, Castellà and Soler 2016) or from cognitive aspects related to the capacity of processing multimodal information by the receivers (Holsanova 2016).
The quality of the translated product has been described in terms of the degree of recepients’s access to the ST, their ability to create appropriate mental images, as well as the ability to respond emotionally to certain stimuli (Ramos 2013), comparing them with the same experiences of audiences with standard visual capacities (Ramos and Rojo 2014). To this end, experimental methodologies have been applied, such as the administration of questionnaires, in which memory, emotional experience or the ability to recreate scenes similar to those of the ST are the most common variables.
In this sense, one of the most promising, but also most complex lines to approach is that of multimodal corpus analysis (O'Halloran 2004; Baldry and Thibault 2006, Jiménez, Rodríguez and Seibel 2010). The methodology involves gathering a sufficiently representative corpus of film AD and analysing the AD and other semiotic modes of the film in parallel (dialogue, character actions and gestures, camera movements, music and sounds, prosody, etc.).
There have also been advances in product reception studies (Fresno, Castellà and Soler 2014; Fernández, Martínez and Chica 2015; Ramos 2016; Di Giovanni and Gambier 2018; Días-Cintas and Szarkowska 2020), i.e. research in which, by means of various methods, recipients evaluate aspects of film AD such as the quality, informativeness, creativity, emotions elicitation, etc., but there is still room for the implementation of more reliable experimental methodologies, which allow for ecologically valid research designs (e.g. in real conditions of AD reception at cinemas, at home, etc.).
From a cognitive perspective (Muñoz and Martín de León 2020), the product can also be analysed taking into account the interactions that take place between different modes of communication, but this requires studies with subjects to use methodologies that allow access to the processing of audio description stimuli, with those based on neuroscience being particularly useful (Regenbogen, Schneider, Gur et al. 2012; Tymoczko 2012; Schwieter and Ferreira 2017; Chica 2018).
Following this same cognitive approach, it would be highly recommendable to study the process of FAD, timidly investigated to date (Chica 2016; Ramos and Rojo 2020), in which the focus could be placed on those who produce this type of intersemiotic translation (the audio describers) with regard to issues such as the translating effort, lexical selection, conscious production according to the target audience, the generation of emotions parallel to the narration of the film, etc.