AUDIOVISUAL: DO BROADCAST À BROADBAND

A sociedade digital nos abraça em todos os aspectos do cotidiano e uma parte significativa da população vive conectada em multiplataformas. Com a instantaneidade dos fluxos de comunicação, vivemos uma rotina onde muitos acessos estão a um “clique” ou toque. A televisão como mídia preponderante durante várias décadas, na sua transição digital comporta uma função além da TV que conhecíamos, como display interativo que se conecta e absorve conteúdos provenientes de várias fontes. Os consagrados modelos mundiais de distribuição de audiovisual, especialmente pelo Broadcast, sofrem as consequências da mudança do comportamento do seu público pelas novas oportunidades de acesso aos conteúdos, agora interativos e sob demanda. Neste contexto, os modelos das SmartTVs (TVs conectadas) em Broadband (Banda Larga) apresentam opções diferenciadas e requerem um espaço cada vez maior na conexão com todos os outros displays. Com este cenário, o presente estudo busca descrever e analisar as novas ofertas de conteúdos, aplicativos, possibilidades e tendências do hibridismo das fontes para a futura TV.

La nube como apoyo a la producción audiovisual

En esta investigación analizaremos las capacidades de la nube, centrándonos en la computación (entendiendo esta como la capacidad de procesamiento) y el almacenamiento de datos geolocalizados (redes de entrega de contenidos). Estas capacidades, unidas al modelo de negocio que implica un coste cero por aprovisionamiento y el pago por uso, además de la reducción de costes mediante sinergias y optimización de los centros de datos, suponen un escenario interesante para las PYMES dedicadas a la producción audiovisual. Utilizando los servicios en la nube, una empresa pequeña puede, en cuestión de minutos, alcanzar la potencia de procesamiento y distribución de gigantes de la producción audiovisual, sin necesidad de ocupar sus instalaciones ni pagar por adelantado el alquiler de los equipos. Describiremos los servicios de AWS (Amazon Web Services) que serían útiles a una empresa, el uso que darían de dichos servicios y su coste, y lo compararemos con el presupuesto por realizar una misma instalación físicamente en dicha empresa, teniendo que comprar e instalar los equipos.

La creación audiovisual infantil como práctica educativa. Estudio de experiencias y discursos en contexto

La presente investigación estudia sistemáticamente prácticas educativas en las que niños y niñas -entre 4 y 12 años de edad- realizan producciones audiovisuales. Las creaciones audiovisuales infantiles se abordan atendiendo a los encuadres institucionales que las promueven, sostienen y otorgan sentidos propios y específicos en cada caso. En los últimos años se ha podido observar -tanto en España como en Argentina y otros países de Europa y América- el surgimiento y desarrollo de numerosas propuestas educativas cuyo fin es que los niños y niñas realicen obras audiovisuales. La expansión de estas prácticas se produce en un entorno social atravesado por la disponibilidad y accesibilidad de dispositivos tecnológicos que permiten la producción audiovisual desde edades muy tempranas. Sin embargo, el componente tecnológico es sólo una parte del fenómeno. En estas prácticas educativas se despliegan diferentes maneras de concebir el cine y lo audiovisual, variados propósitos formativos, numerosas estrategias de enseñanza, dinámicas de trabajo grupal y vínculos con la comunidad. En este contexto, los objetivos del estudio son: - Identificar y describir proyectos y programas educativos en los que niños y niñas entre 4 y 12 años realizan piezas audiovisuales. - Caracterizar los contextos socio-educativos e institucionales en los que se desarrollan proyectos de creación audiovisual con niños y niñas. - Indagar y establecer las concepciones de educación, las concepciones de arte y de lo audiovisual implicadas en cada uno de los proyectos/programas. - Recuperar y analizar los discursos pedagógicos, expresivos/artísticos, sociales y políticos implicados en cada una de las propuestas; establecer sus propósitos, contenidos y estrategias didácticas. - Analizar sistemáticamente las realizaciones de los niños y niñas; identificar preferencias temáticas, estilísticas, sentidos y significados...

Hacia una metodología activa para el estudio de la narración audiovisual a través del videojuego

El proyecto “Hacia una metodología activa para el estudio de la narración audiovisual a través del videojuego” nace de la necesidad de potenciar la dinámica de las clases tanto dentro como fuera del aula. Por ello, nos hemos servido del gran atractivo que ofrecen los videojuegos, utilizando las mecánicas y dinámicas del juego para ahondar en las materias impartidas en Narrativa Audiovisual y así desempeñar un nuevo sistema de aprendizaje más dinámico y participativo.

Machine translation quality in an audiovisual context

The volume of Audiovisual Translation (AVT) is increasing to meet the rising demand for data that needs to be accessible around the world. Machine Translation (MT) is one of the most innovative technologies to be deployed in the field of translation, but it is still too early to predict how it can support the creativity and productivity of professional translators in the future. Currently, MT is more widely used in (non-AV) text translation than in AVT. In this article, we discuss MT technology and demonstrate why its use in AVT scenarios is particularly challenging. We also present some potentially useful methods and tools for measuring MT quality that have been developed primarily for text translation. The ultimate objective is to bridge the gap between the tech-savvy AVT community, on the one hand, and researchers and developers in the field of high-quality MT, on the other.

Diversity and television in Argentina: the case of the Audiovisual Technology Hub Programme

This paper describes and analyses the Audiovisual Technology Hub Programme (Programa Polos Audiovisuales Tecnológicos - PPAT), which has been implemented in Argentina between 2010 and 2015 as part of the public policy of former administration of Cristina Fernández de Kirchner. The main goal was to promote a television industry that reflects the cultural diversity of Argentina by dividing the national territory in nine into nine audiovisual technology hubs, where national public universities acted as centres that gathered a range of regional stakeholders. Considering the 18 TV seasons that were produced for television between 2013 and 2014, the text analyses the diversity of sources and genres / subgenres and its restricted marketing. The article closes with a brief set of conclusions about this initiative.

How to map the diversity of the audiovisual industry in the digital era. A Methodological Proposition

This article presents a methodological proposition to map the diversity of the audiovisual industry in the digital scenario by portraying the most important interactions between those who create, produce, distribute and disseminate audiovisual productions on line, paying special attention to powerful intermediaries and to small and medium independent agents. Taking as a point of departure a flexible understanding of social network analysis, the aim is to understand the structure of the audiovisual industry on the internet so that, taking into consideration a given sector, agents, their relations and the networks they give place to – as well as the structural conditions under which they operate – are studied. The aim is to answer questions such as: what is mapping, what is of interesting to map, how can it be done and what advantages and disadvantages the results will present.

Under One Umbrella: Problems of Internet Retransmissions of Broadcasts and Implications for New Audiovisual Content Services

The development of broadband Internet connections has fostered new audiovisual media services and opened new possibilities for accessing broadcasts. The Internet retransmission case of TVCatchup before the CJEU was the first case concerning new technologies in the light of Art. 3.1. of the Information Society Directive. On the other side of the Atlantic the Aereo case reached the U.S. Supreme Court and challenged the interpretation of public performance rights. In both cases the recipients of the services could receive broadcast programs in a way alternative to traditional broadcasting channels including terrestrial broadcasting or cable transmission. The Aereo case raised the debate on the possible impact of the interpretation of copyright law in the context of the development of new technologies, particularly cloud based services. It is interesting to see whether any similar problems occur in the EU. The „umbrella” in the title refers to Art. 8 WCT, which covers digital and Internet transmission and constitutes the backrgound for the EU and the U.S. legal solutions. The article argues that no international standard for qualification of the discussed services exists.

A comparative study of approaches to audiovisual translation

For those who are not new to the world of Japanese animation, known mainly as anime, the debate of "dub vs. sub" is by no means anything out of the ordinary, but rather a very heated argument amongst fans. The study will focus on the differences in the US English version between the two approaches of translating audio-visual media, namely subtitling (official subtitles and fanmade subtitles) and dubbing, in a qualitative context. More precisely, which of the two approaches can store the most information from the same audiovisual segment, in order to satisfy the needs of the anime audience. In order to draw substantial conclusions, the analysis will be conducted on a corpus of 1 episode from the first season of the popular mid-nineties TV animated series, Sailor Moon. The main objective of this research is to analyze the three versions and compare the findings to what anime fans expect each of them to provide, in terms of how culture specific terms are handled, how accurate the translation is, localization, censorship, and omission. As for the fans’ opinions, the study will include a survey regarding the personal preference of fans when it comes to choosing between the official subtitled version, the fanmade subtitles and the dubbed version.

Audiovisual Storytelling and Ideological Horizons : Audiences, Cultural Contexts and Extra-textual Meaning Making

Abstract: Audiovisual Storytelling and Ideological Horizons: Audiences, Cultural Contexts and Extra-textual Meaning Making In a society characterized by mediatization people are to an increasing degree dependent on mediated narratives as a primary means by which we make sense of our experience through time and our place in society (Hoover 2006, Lynch 2007, Hjarvard 2008, Hjarvard & Lövheim 2012). American media scholar Stewart Hoover points to symbols and scripts available in the media environment, what he call the “symbolic inventory” out of which individuals make religious or spiritual meaning (Hoover 2006: 55). Vernacular meaning-making embedded in everyday life among viewers’ dealing with fiction narratives in films and tv-series highlight a need for a more nuanced understanding of complex audiovisual storytelling. Moving images provide individuals with stories by which reality is maintained and by which humans construct ordered micro-universes for themselves using film as a resource for moral assessment and ideological judgments about life (Plantinga 2009, Johnston 2010, Axelson 2015). Important in this theoretical context are perspectives on viewers’ moral frameworks (Zillman 2005, Andersson & Andersson 2005, Frampton 2006, Avila 2007).This paper presentation will focus on ideological contested meaning making where audiences of different cultural background engage emotionally with filmic narratives, possibly eliciting ideological and spiritual meaning-making related to viewers’ personal world views. Through the example of the Homeland tv-series I want to discuss how spectators’ cultural, religious, political and ideological identities could be understood playing a role in the interpretative process of decoding content. Is it possible to trace patterns of different receptions of the multilayered and ambiguous story depicted in Homeland by religiously engaged Christians and Moslems as well as non-believers, in America, Europe and Middle East? How is the fiction narrative dealt with by spectators in the audience in different cultural contexts and how is it interpreted through the process of extra-text evaluation and real world2understanding in a global era preoccupied with war on terror? The presentation will also discuss methodological considerations about how to reach out to audiences anchored in different cultural context.

Propuestas de mejora del marco normativo de la accesibilidad audiovisual

El conjunto de la legislación española en materia de accesibilidad presenta una serie de vacíos y deficiencias que suponen un menoscabo del derecho de las personas con discapacidad, ya sea sensorial, intelectual o de cualquier otro tipo, para acceder a los servicios audiovisuales, de telecomunicaciones y TIC.

Esta publicación realiza un análisis en profundidad del marco jurídico estatal vigente en materia de accesibilidad, poniendo el énfasis en las deficiencias que se pudieran detectar tanto en el plano legislativo como en el que debiera ser su desarrollo reglamentario adecuado y realiza, a modo de conclusión, una propuesta de modificaciones del marco legislativo en estas materias.

Managing Audiovisual Digitization

A synopsis and preparation presentation of a Society of American Archivists pre-conference workshop (workshop held on August 17, 2015.

Olhares sonhadores: operacionalizar criatividades com a literacia audiovisual para a realização de um webdocumentário

O projeto de investigação “Olhares Sonhadores” teve como principal finalidade desenvolver um trabalho artístico audiovisual de coautoria e colaboração com um grupo de crianças do bairro e da escola EB1/JI de São Tomé, com vista à realização de um Webdocumentário. Através de uma metodologia de desenvolvimento e de apropriação fílmica, as crianças utilizaram os diferentes meios audiovisuais para puderem comunicar, autorrepresentarem-se e expressarem-se coletivamente sobre os contextos em que estão envolvidas. A apropriação dos meios técnicos audiovisuais e o desenvolvimento de competências para o seu manuseamento foram desempenhados em sessões artísticas de trabalho colaborativo, que visavam a transmissão de conhecimento de forma informal e extra-curricular. Neste sentido, o grupo produziu conteúdos documentais fragmentados que contribuíram para a criação e a estruturação do Webdocumentário “Olhares Sonhadores”. Desta forma, tencionou-se igualmente verificar e compreender em que medida a arte audiovisual poderia ajudar a retratar e a tornar visível a realidade social das crianças do bairro de São Tomé e se esta arte poderia ser também utilizada como um meio de expressão e emancipação para o presente grupo participante.