Audio Description -- Editorial page -- Title page -- LCC data -- Dedication page -- Table of contents -- Introduction. From source text to target text -- 1. The project -- 2. The partners -- 3. The book -- 4. The film -- 5. The chapters -- References -- Film references -- Chapter 1. Audiointroductions -- 1. Literature review -- 2. Audiointroduction for Inglourious Basterds -- 3. Strategies -- 3.1 The process -- 3.2 Characters -- 3.3 Locations -- 3.4 Visual style -- 3.5 Background information -- 3.6 Synopsis -- 3.7 Putting it all together -- 4. Language -- 5. Conclusions and suggestions for further research -- References -- Film references -- Chapter 2. Intertextuality -- 1. Introduction -- 2. Verbal intertextuality and Inglourious Basterds -- 3. Nonverbal intertextuality and Inglourious Basterds -- 4. Context of situation and context of culture -- 5. Author intent and audience interpretation -- 6. Intertextuality and Tarantino -- 7. Conclusion -- References -- Film references -- Chapter 3. Textual cohesion -- 1. Theoretical introduction -- 2. Inglourious Basterds. Initial comments -- 3. Audio description of Inglourious Basterds -- 4. Another example text - The English Patient -- 5. A longer perspective -- 6. Conclusion -- References -- Film references -- Appendix 1. Original screenplay of The English Patient -- Appendix 2. Long-term cohesion in continuous and discontinuous phases (Inglourious Basterds) -- Chapter 4. Spatio-temporal setting -- 1. Introduction -- 2. Examples: Analysis -- 3. Theory and bibliography -- 3.1 Literature on the audio description of spatio-temporal settings -- 3.2 The narratological take on spatio-temporal settings for AD -- 3.3 The basic components of spatio-temporal settings -- 3.4 The construction of spatio-temporal settings by the author -- 3.5 The reconstruction of spatio-temporal settings by the audience.

4. A possible strategy for audio describing spatio-temporal settings -- 5. The language -- 6. Conclusion -- References -- Film references -- Chapter 5. Film language and tools -- 1. Introduction -- 2. Analysis of the examples -- 2.1 Aesthetic breaks -- 2.2 Split screen -- 2.3 Sharp scene cuts -- 2.4 Parallel editing -- 2.5 Close-ups -- 2.6 Slow motion -- 2.7 Camera pedding -- 3. Theory and bibliography -- 4. AD strategies: Alternative possibilities -- 4.1 Aesthetic breaks -- 4.2 Split screen -- 4.3 Sharp scene cuts -- 4.4 Parallel editing -- 4.5 Close-ups -- 4.6 Slow motion -- 4.7 Camera pedding -- 5. Concluding remarks -- References -- Film references -- Chapter 6. Audio describing text on screen -- 1. Text on screen in Inglourious Basterds: An introduction -- 2. Text on screen in audio description: Guidelines and research -- 3. Text on screen and AD: Possible strategies -- 3.1 Logos and credits -- 3.2 Inserts or superimposed titles -- 3.3 Various types of text on screen -- 3.4 Subtitles -- 4. Conclusions -- References -- Film references -- Chapter 7. The importance of sound for audio description -- 1. Introduction -- 2. The opening scene -- 3. AD as a type of audiovisual translation -- 4. Types of sound in film -- 5. Literature review -- 6. Analysis of sound in Inglourious Basterds and its importance for AD -- 6.1 Sounds representing acts of violence -- 6.2 Sounds from flashbacks -- 6.3 Symbolic sounds -- 6.4 Sounds accompanying text on screen -- 7. Music -- 8. Multilingual soundscape -- 9. Sound audio description strategies -- 10. Conclusion -- References -- Film references -- Chapter 8. Character fixation and character description -- 1. Introduction -- 2. Naming and describing characters: State of the art -- 3. AD strategies for naming and describing characters in Inglourious Basterds -- 3.1 Naming and describing Hans Landa.

3.2 Naming and describing Aldo Raine -- 3.3 Naming and describing Shosanna Dreyfus -- 3.4 Naming and describing the supporting actors -- 4. Conclusions -- References -- Film references -- Chapter 9. Strategies for dealing with cultural references in audio description -- 1. Cultural references in Inglourious Basterds: An introduction -- 2. Cultural references in audio description: Guidelines and research -- 3. Cultural references and AD: Possible strategies -- 3.1 Emblems and insignia -- 3.2 Newspapers and press articles -- 3.3 Real-life characters -- 3.4 Popular culture: Cinema and literature -- 3.5 Body language -- 3.6 Food and drink -- 3.7 Religious symbols -- 4. Conclusions -- References -- Film references -- Chapter 10. Gestures and facial expressions in audio description -- 1. Gestures and facial expressions in Inglourious Basterds: An introduction -- 2. Gestures and facial expressions in audio description: Overview of literature and guidelines -- 3. Classification of gestures for AD purposes and proposed strategies -- 4. Gestures and facial expressions and AD: Possible strategies -- 4.1 AD of discourse-filling gestures and facial expressions -- 4.2 AD of discourse-supporting gestures and facial expressions -- 4.3 AD of discourse-conflicting gestures -- 5. Conclusion -- References -- Film references -- Chapter 11. Secondary elements in audio description -- 1. Introduction -- 2. Attempting a functional classification -- 3. Theory revisited -- 4. Perception -- 5. Experimental analysis -- 5.1 Hypothesis -- 5.2 Corpus -- 5.3 Apparatus -- 5.4 Procedure -- 5.5 Results -- 6. Different AD strategies -- 7. Conclusions -- References -- Film references -- Index.