Media Practice and Education

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What to translate and how to translate in audio

description: a case study of the Oscar-winning animated
film Feast

Binghui Wang, Deyan Zou & Yanguo Wu

To cite this article: Binghui Wang, Deyan Zou & Yanguo Wu (2025) What to translate and how
to translate in audio description: a case study of the Oscar-winning animated film Feast, Media
Practice and Education, 26:1, 112-128, DOI: 10.1080/25741136.2024.2347051

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Published online: 03 May 2024.

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MEDIA PRACTICE AND EDUCATION
2025, VOL. 26, NO. 1, 112–128
[Link]

What to translate and how to translate in audio description: a

case study of the Oscar-winning animated film Feast
Binghui Wang , Deyan Zou and Yanguo Wu
School of Advanced Translation and Interpretation, Dalian University of Foreign Languages, Dalian, People’s
Republic of China

ABSTRACT ARTICLE HISTORY

Introduction: Audio description (AD) enables access to blind/low Received 13 February 2024
vision audiences by translating visual content into narrated Accepted 22 April 2024
descriptions. This study examines AD translation approaches for
KEYWORDS
the Oscar-winning animated short Feast. Audio description;
Methods: Chinese and English AD scripts from Feast were analyzed intersemiotic translation;
to compare priorities in content selection and patterns in audiovisual translation;
translation techniques. translation content;
Results: Both versions prioritized graphics and dynamic symbols translation techniques
when deciding what to translate. Shared translation techniques
included compensation, iconic description, and substitution.
Differences emerged with more reduction, adaptation, and
technical descriptions in the Chinese AD, versus more
generalization in the English AD.
Discussion: Disparities highlight the linguistic and cultural factors
integral to effective AD translation.
Implications: This analysis offers practical customization guidelines
for AD providers and theoretical insights into intersemiotic
translation complexity. Further comparative research could support
tailored AD practices and accessibility for diverse global audiences.

1. Introduction
Visual impairment significantly impacts individuals’ health, quality of life, and broader
socioeconomic development. The inaugural World Vision Report by the World Health
Organization (2019) estimates that at least 2.2 billion people globally exhibit blindness
or low vision, with China alone having approximately 59 million visually impaired citizens
(Xu et al. 2020). This substantial population faces numerous challenges in accessing visual
media, including television and other forms of entertainment.
Constructing an inclusive information society is imperative for ensuring social stability
while catalyzing economic growth. Audio description (AD) contributes to this inclusivity
by inter-semiotically translating visual content into verbal depictions, thereby enabling
individuals with visual impairments to access and engage with visual media. Such
accessibility not only bolsters equitable information access but also enhances societal
participation and productivity, propelling collective progress (Braun and Starr 2020).

CONTACT Deyan Zou deannazdy@[Link]; deannazdy@[Link]

This article was originally published with errors, which have now been corrected in the online version. Please see Correc­
tion ([Link]
© 2024 Informa UK Limited, trading as Taylor & Francis Group
 MEDIA PRACTICE AND EDUCATION 113

China, as one of the first signatory countries of the Convention on the Rights of Persons
with Disabilities, has made efforts to construct an information-accessible society
(Tsinghua University 2021). These initiatives span various aspects of life, such as
education, employment, and public services. However, linguistic differences, government
policies, and advocacy efforts vary significantly across regions (Yeung 2007). The avail­
ability and quality of audio description services for visual media remain limited, hindering
the full participation and enjoyment of individuals with visual impairments in these areas
(Liu 2017).
As streaming media proliferation escalates, concomitant AD demand persists.
Animated films, characterized by rapid visual narratives and distinct styles, pose myriad
AD challenges (Karantzi 2020; Zabrocka 2018). However, academic inquiry into the com­
plexities and cross-cultural communication barriers embedded in animated AD remains
scarce. This study seeks to address this critical gap by elucidating the multifaceted
issues underlying AD for animated films. Further interrogation will illuminate the intrica­
cies of animated AD intricacies while informing practice to augment accessibility for the
visually impaired.
This study aims to investigate how different languages approach AD and whether
there are significant differences in content selection and technique application. By com­
paring English and Chinese AD, using Bardini’s 14 AD techniques (2020), it can reveal
insights into how cultural and linguistic factors influence the process and outcome of
audio description. This comparison is significant because it can inform practitioners
and educators about the need for tailored approaches to AD based on language and cul­
tural contexts. It can also contribute to the development of more inclusive and effective
AD practices that cater to diverse audiences across different linguistic and cultural
backgrounds.

2. Literature review
The literature review is divided into sections dealing with the history of AD, overseas
research, research in China, and future developments. The aim is to provide a comprehen­
sive overview of the development of AD research, to compare the status of national and
international studies, and to discuss the similarities and differences in their development.

2.1. History of AD
Audio description (AD) is a crucial tool that facilitates accessibility to visual media for indi­
viduals with blindness and low vision by providing verbal depictions of essential visual
elements. The origins of AD can be traced back to the 1940s when Spanish radio
pioneer Gerardo Esteban began translating silent films on-air, making them accessible
to a wider audience (Ellis 2019). Esteban’s innovative approach laid the foundation for
the development of AD as we know it today, highlighting the importance of inclusive
media access.
Since its inception, the field of AD has evolved considerably, driven by growing public
awareness and regulatory support. Governments and media organizations around the
world have recognized the significance of AD in promoting accessibility and inclusion,
leading to the implementation of policies and guidelines that mandate or encourage
114 B. WANG ET AL.

the provision of AD for various media formats, such as television programs, films, and
online content.
As a result of these efforts, AD has become increasingly prevalent, enabling individuals
with visual impairments to engage with a wider range of media content and participate
more fully in cultural experiences. The growth of AD has also sparked research interest,
with scholars and practitioners exploring various aspects of AD, such as its history, pro­
duction techniques, user reception, and cultural implications.
In the following sections, this literature review will delve into the development of AD
research both internationally and within China, comparing and contrasting the status and
focus of studies in these contexts. By providing a comprehensive overview of the field’s
evolution and current state, this review aims to identify key trends, gaps, and future direc­
tions in AD research, ultimately contributing to the ongoing efforts to enhance media
accessibility and inclusion for all.

2.2. Overseas research

Overseas research on audio description covers a wide range of topics, with films being the
most prevalent due to their widespread popularity. Jankowska et al. (2023) investigated
the impact of different intonations on audience experience using audio-described film
clips. The study findings suggest that film genre, voice type, and emotional value may
influence the effectiveness of intonation, highlighting the importance of considering
these factors when creating engaging and accessible ADs.
While much of the research has focused on English-language film AD localization,
some studies have explored AD creation in other languages and contexts. Jankowska,
Milc, and Fryer (2017) conducted a pioneering case study examining the attentional
and decision-making processes involved in creating English ADs for Polish-language
cinema. Similarly, Fryer (2020) conducted an autobiographical ethnography documenting
the descriptive decision-making of professional audio describers and exploring the ped­
agogical potential of ADs (Bausells-Espín 2022; Jankowska 2019; Walczak 2016). The
author emphasizes the importance of providing not only the film itself but also relevant
background information when translating audio descriptions. These studies underscore
the need for further research on the interrelationships among language, culture, and cog­
nition within AD generation to develop effective cross-cultural AD standardization while
preserving cultural specificity.
Spinzi (2020) examined discourse representation, construction, and mediation in
English and Italian audio descriptions, revealing notable differences in semantic
domains and style in analogical structures between the two languages. Analogies are
recognized as vital creative translation tools for conveying artistic knowledge, particularly
beneficial for those with visual impairments. Jankowska (2021) investigated the decision-
making processes of 16 audio describers during audio script creation, finding that audio-
visual translation constitutes a form of inter-semiotic translation. Similarly, Zengin Temır­
bek Uulu’s (2023) comparative analysis of visually impaired and sighted viewers revealed
equivalent information acquisition and viewing experiences when ADs were available.
While these studies have significantly expanded our understanding of AD generation
and reception, further research is needed to elucidate describer-viewer interrelationships
and explore the emotional and cultural variables influencing AD efficacy. Such inquiries
 MEDIA PRACTICE AND EDUCATION 115

will inform the optimization of AD guidelines to maximize accessibility and enjoyment for
diverse viewers worldwide.
Despite the significant contributions of these studies, there remains a notable gap in
the literature regarding comparative analyses of audio descriptions across different
languages and cultures. There is a lack of research comparing English and Chinese
audio descriptions of the same film, which could provide valuable insights into the simi­
larities and differences in AD practices between these two languages and cultures.
Addressing this gap, the current study aims to contribute to the field by analysing the
English and Chinese ADs of the animated film Feast, focusing on the choices made in
translation content selection and the commonalities and differences observed in trans­
lation technique application. The findings of this study have the potential to inform the
development of more culturally sensitive and user-centred AD guidelines, ultimately
improving inclusive media access for audiences across different languages and cultures.

2.3. Research in China

Research on audio description in China has been steadily growing, focusing on both dom­
estic and international developments in the field. As with overseas research, film is a major
area of interest in Chinese AD studies. Situated within the broader context of communi­
cation studies that emphasize the societal importance of accessible communication, AD
has increasingly attracted academic attention in China (Gao, Pan, and Fu 2020; Zhao
and Li 2021). This growing interest reflects the recognition of AD’s potential to
promote social inclusion and enhance the quality of life for individuals with visual and
cognitive impairments.
A significant portion of the Chinese AD literature concentrates on translation studies
paradigms, exploring the theoretical and practical aspects of AD as a form of inter-semio­
tic translation. Yan and Luo’s (2019) comprehensive research serves as a valuable refer­
ence for subsequent inquiries, synthesizing the theoretical and applied dimensions of
AD while surveying its progress both domestically and globally. Their findings underscore
the importance of AD to translation studies, highlighting its role in assisting visually and
cognitively impaired individuals in accessing visual information and improving their
quality of life, which holds immense social significance.
In addition to theoretical explorations, Chinese researchers have also conducted
empirical studies to investigate various aspects of AD practice and reception. For
example, Xiao and Dong (2020) examined the uptake of vocal synthetic AD in China, shed­
ding light on the potential of this technology to enhance the efficiency and accessibility of
AD production. Case study approaches have also been employed to analyse AD script
drafting processes, as exemplified by Luo and Yan’s (2021) analysis of the AD for the
film Ip Man: The Final Fight. These studies provide valuable insights into the practical chal­
lenges and considerations involved in creating effective and engaging ADs. Furthermore,
researchers have explored the use of AD as a pedagogical tool in the foreign language
classroom (Yan and Luo 2022/2023), highlighting its potential to enhance intercultural
competence and language skills.
Conceptualizing AD as an integral part of audio-visual translation, Lu and Li (2022) cat­
egorize accessible communication modalities while emphasizing the critical role of recep­
tion studies in evaluating AD efficacy. This emphasis on user reception highlights the
116 B. WANG ET AL.

need for a user-centred approach in AD research and practice, ensuring that the needs
and preferences of the target audience are adequately addressed.
Despite the growing body of research on AD in China, there remains a notable gap in
comparative studies examining the similarities and differences between Chinese and
English ADs of the same film. Such cross-cultural comparisons could provide valuable
insights into the influence of language and culture on AD practices, informing the devel­
opment of more culturally-sensitive and user-centered AD guidelines. Furthermore, while
the existing literature has made significant contributions to our understanding of AD in
China, there is still a need for more empirical studies investigating the impact of AD on
the viewing experiences and information acquisition of visually impaired audiences in
the Chinese context.

2.4. Future developments

In summary, AD research has focused chiefly on translation paradigms while also interro­
gating the integral role of AD in bolstering accessibility for the visually impaired. Studies
from abroad cover diverse topics, with a notable focus on films due to their widespread
popularity. Scholars delve into aspects such as the impact of intonations on audience
experience, decision-making processes in creating AD, and the translation of AD.
Chinese research on AD examines its development both domestically and internationally,
with a particular emphasis on films. This shows that film is a field of considerable focus in
both domestic and international research. Overseas studies tend to emphasize the
decision-making processes and detailed aspects involved in audio description. On the
other hand, domestic research places greater emphasis on the overall development
and theoretical advancement of audio description. In the future, further in-depth research
on audio description for films can be pursued, focusing on its reception, its role in cross-
cultural communication, and its applications. This will guide the refinement of guidelines
aimed at improving inclusive media access for all, regardless of ability or cultural
background.
The findings of the studies discussed in this literature review have significant impli­
cations for the refinement of AD guidelines and the improvement of inclusive media
access. By understanding the impact of various factors, such as intonation, language,
and culture, on the effectiveness of AD, researchers and practitioners can develop
more nuanced and targeted approaches to AD creation and translation. Moreover, the
insights gained from studies on the decision-making processes of audio describers and
the categorization of accessible communication modalities can contribute to the creation
of more comprehensive and user-centered AD guidelines. Furthermore, the insights
gained from comparative studies of AD in different languages and cultures can inform
the development of best practices for AD translation and localization, working towards
the establishment of international standards for AD creation and translation.
While both domestic and international research has made significant strides in advan­
cing our understanding of audio description, there remains a notable lack of comparative
studies on the similarities and differences between English and Chinese audio descrip­
tions of the same film. Addressing this gap, the current study aims to contribute to the
field by analysing the English and Chinese ADs of the animated film Feast, using Bardini’s
14 AD techniques (2020), focusing on the choices made in translation content selection
 MEDIA PRACTICE AND EDUCATION 117

and the commonalities and differences observed in translation technique application. The
findings of this study have the potential to inform the development of more culturally-
sensitive and user-centered AD guidelines, ultimately improving inclusive media access
for audiences across different languages and cultures. This study will focus on the follow­
ing research questions:

1. In translation content selection, what choices are made by Chinese and English audio
descriptions of the animated film Feast?
2. In translation technique application, what commonalities and differences are observed
between Chinese and English audio descriptions of the animated film Feast?

3. Corpus selection and processing

To address the current study’s research questions, the authors selected the Chinese and
English AD versions of Feast, the Oscar-winning animated short, as the analytical corpus.
Feast, known for its audience base, diverse visual scenes, and intricate storylines often
infused with various cultural elements, provides a rich, diverse, and globally influential
research background. This facilitates a deeper and more extensive understanding in
both practical applications and theoretical explorations. Produced by the Walt Disney
Company, Feast garnered the 2014 Academy Award for Best Animated Short Film. Chron­
icling a spotted puppy adoption and subsequent family bonding through mealtimes,
Feast ultimately illustrates the puppy facilitating its owner finding love again. The
English version was obtained from Disney’s streaming platform Disney + ([Link]
[Link]). The Chinese AD originated from Shanghai Yier Information Technology
Co., Ltd.’s accessible entertainment website ([Link] The Chinese
AD is embedded in its accessible film version. As the opening and closing English and
Chinese AD diverged, only the central narrative underwent examination to optimize com­
parative potential while streamlining analytical focus.
To optimize comparative efficacy, the English and Chinese AD main bodies were con­
sistently partitioned into multiple sections. However, as the Chinese version lacked an
introduction, examination concentrated exclusively on the central narrative. This
ensures analytical consistency and accuracy in comparing variations in informational
delivery across cultural contexts. Standardizing AD segmental analysis facilitates granular
interrogation of nuanced differences in description techniques, enabling identification of
culturally specific divergence. This understanding proves instrumental in informing the
optimization of AD guidelines for maximizing accessibility across diverse audiences.
Within film and television, transitions structurally punctuate plot progression through
temporal, spatial, or narrative shifts known as ‘transition scenes’ (Wang and Yang 2011).
Transition technique is typically categorized as skilled or unskilled. Animation utilizes tran­
sitions that connect scenes cohesively (He 2009). For comprehensive comparative analy­
sis, Feast’s core narrative was partitioned into 38 coded scenes to contrast translation
content selection and technique application throughout the Chinese and English AD
intersemiotic translation process. Assessing intercoder reliability is a commonly used
method in qualitative research to ensure the validity of the study (O’Connor and Joffe
2020). Upon completion of the detailed examination, two expert coders, who possessed
118 B. WANG ET AL.

backgrounds in translation and media studies, undertook the coding process. To mitigate
subjectivity and optimize reliability, rigorous consistency checks between coders were
performed, and discrepancies were discussed until consensus was reached. This
method aids in understanding interlingual AD similarities and differences, revealing the
challenges and strategies in translating ADs across diverse linguistic and cultural contexts.
Next, quantitative analysis of the data will be conducted, followed by qualitative analysis
to address the research questions. This will help ensure the validity and reliability of the
study.

4. Results and discussion

4.1. Selection of content for audio description
In Jacobson’s On Linguistic Aspects of Translation, he proposed the classic tripartite div­
ision of translation from a semiotic perspective. Inter-semiotic translation refers to the
conversion between linguistic symbols and non-linguistic symbols (Jakobson 1959).
Audio description is a form of inter-semiotic translation, which converts visual symbols
that cannot be perceived by the auditory system into text symbols during the symbol con­
version process and are finally output as auditory symbols. While visual imagery simul­
taneously conveys information, text symbols sequentially present data through
mandated orderings (Vercauteren 2012). These divergent symbolic systems require
differing timescales expressing equivalent amounts of information. Consequently, strin­
gent temporal constraints necessitate content prioritization throughout AD. Complete
filmic narratives encompass characters, objects, and contextual backdrops. Macroscopi­
cally, composite scenes comprise figure and ground symbols. Microscopically, dynamic
and static symbols constitute granular scene components. When translating amidst
narrow timeframes, audio describers must determine the optimal content selection.
The following examination contrasts Chinese and English AD inter-semiotic translation
processes, analysing graphic, background, dynamic, and static symbol treatment. This dis­
cussion highlights the critical considerations surrounding effective prioritization of
accommodating visual-to-auditory descriptions, while underscoring the universal chal­
lenges that audio describers confront when converting multidimensional visual narratives
into strictly temporal auditory formats.

4.1.1. Graphic symbols and background symbols

Complete visual narratives encompass figure symbols constituting primary foci alongside
complementary ground symbols constituting peripheral information. Initial perception
orients toward figures, with remaining elements comprising contextual backdrops
(Pind 2014), a theory pioneered by the Danish psychologist Edgar Rubin. Gestalt psychol­
ogists posit holistic perceptual tendencies despite attentional prioritization of salient
figures given bounded cognitive capacity (Wu and Fu 2016). Audio describers employ
techniques underscoring key figures while smoothing scene transitions (Zhang 2019).
Organic combinations of core figure symbols conveying intended meaning alongside
ancillary ground details enhance the aesthetic experience. This mirrors innate human per­
ception prioritizing key visual components against contextual backdrops. Strategic AD
leverages analogous figure-ground dynamics, judiciously apportioning restricted
 MEDIA PRACTICE AND EDUCATION 119

runtime between essential symbolic elements and supplemental details. Therein lies
the perpetual challenge of determining the optimal figure-ground balance within rigid
temporal parameters.
The analysis revealed organic figure-ground symbol integration across all 38 scenes.
Thirty-six scenes primarily described figures in both Chinese and English versions, consti­
tuting 94.7% of the content. The remaining two scenes, or 5.3%, chiefly described ground
symbols. Thus, emphasis has been placed on figures within both AD variants. Table 1
exemplifies the scene descriptions.
The spotlighted puppy constitutes the figure symbol throughout the depicted events,
supported by ground symbols designating contextual locations such as the kitchen and
street. While both English and Chinese ADs prioritize characters, the dual ground symbol-
focused scenes describe associated activities across expanded backgrounds. These ancil­
lary backfalls provide locative rather than descriptive functions. The predominant
approach in both languages entails detailed figure descriptions alongside cursory or
wholly omitted ground symbols. This analysis underscores nearly identical foreground
emphasis between variants, aligning with perceptual tendencies centralizing key
figures against contextual backdrops. The content to be described is influenced by the
rules of audio description and thus constrained by time (Bardini 2017; Martínez-Sierra
2010; Orero 2009). Therefore, there is a need to select information between figures and
grounds to ensure the smooth progress and quality of audio description activities.

4.1.2. Dynamic and static symbols

Filmic narratives integrate dynamic and static symbols promoting narrative flow through
event expression. Scenes typically manifest dynamic symbols via mobilized people and
objects constituting primary plot vehicles, especially within dialog-deficient works.
Dynamic symbols have a direct connection or reference to the object or idea they rep­
resent, evoking an immediate response or reaction. In contrast, static symbols have a
more abstract or arbitrary relationship to the referent, relying on conventional or
agreed-upon associations (Ogden and Richards 1923). Although dichotomously
opposed, unity underlies they symbiotic coexistence of dynamic and static symbols,

Table 1. The scenes primarily describe graphic symbols and their corresponding Chinese and English
ADs.
Scenes English AD Chinese AD
The sleeping puppy smells the scent The light brightens. The dog is 早上，温斯顿正在睡觉，一颗肉丸
of the meatball, eats it, and waking up by a meatball rolling in 滚到他眼前，温斯顿醒来，闻了
continues to move forward while his direction. He snaps it up, and 闻，一口吃掉这颗肉丸，又掉在
chasing after the meatball. another one falls to the floor on the 不远处，他上前将肉丸吃了。
other side of the kitchen. （In the morning, Winston is
sleeping, a meatball rolls in front of
his eyes, Winston wakes up, sniffs it,
takes a bite, and eats the meatball,
another one falls not far away, he
goes forward and eats the
meatball.）
A little dog is searching for food on On a dark street, a cute, short-haired, 晚上，一只流浪小狗在垃圾桶旁觅
the ground. black and white puppy finds a 食。
discarded food wrapper. （At night, a stray little dog searches
for food beside a trash can.）
120 B. WANG ET AL.

sequentially transforming one another to actualize unfolding storylines. The strategic

combination of dynamic action sequences moving the plot alongside informative static
symbolic elements proves integral for comprehensively manifesting unfolding narratives.
Therein lies the perpetual balancing challenge of audio describers, determining optimal
dynamic static emphasis on restricting runtimes between plot-driving motion and
expository stillness.
All 38 scenes incorporated dynamic and static symbols. Thirty-five Chinese scenes
(92.1%) emphasized dynamic symbols while three (7.9%) foregrounded static symbols.
Comparatively, 36 English scenes (94.7%) used dynamic symbols and two (5.3%) used
static symbols. Quantitative analysis revealed analogous prioritization of dynamic
symbols over static symbols within both variants. There are differences in the description
of dynamic symbols and static symbols between Chinese and English audio descriptions.
In terms of dynamic symbols, English audio descriptions have a higher proportion of
descriptions for dynamic symbols. Conversely, in terms of static symbols, Chinese audio
descriptions have a higher proportion of descriptions for dynamic symbols. Table 2
shows representative scene descriptions.
Table 2 contrasts dynamic subject action symbols against restaurant and birthday
party static locative symbols. Both Chinese and English ADs accentuate dynamic
symbols propelling events through progressive actions while briefly acknowledging
static backdrops. This analysis indicates analogous prioritization of dynamic narra­
tive-progressing symbols over static scene-setting symbols. This paper provides
dynamic elaboration spotlights unfolding developments to maintain descriptive
momentum. Moreover, concise static acknowledgment provides contextual orientation
without impeding flow. Such selective emphasis on dynamic plot progression over
static exposition underscores universal perceptual limitations that transcend
cultural and linguistic bounds. The constrained auditory channel hampers effective
parallel processing of both unfolding action and static detail. Therein lies audio
describers’ perpetual challenge, determining optimal dynamic-static emphasis for
apportioning restricted runtimes between plot progression and scenic foundation
across languages.

Table 2. The scenes primarily describe dynamic symbols and their corresponding Chinese and English
ADs.
Scenes English AD Chinese AD
The boy’s first In a diner, he dipped sauce on a French fry. A 一天，男孩带着它在餐厅吃牛排。女服务
encounter with his waitress pats him on the head. His master 员过来和男孩聊了几句，摸摸温斯顿的
girlfriend. notices her. 头走开了。
（One day, the boy takes it to a restaurant to
eat steak. The waitress comes over and talks
to the boy for a while then pats Winston’s
head and walks away.）
Baby’s birthday party. At a party, he’s beside himself as plates of 婴儿生日宴上，温斯顿舔了舔婴儿脸上的
food are passed around. He springs up to 奶油，转身和几个孩子追逐嬉闹，小男
the birthday boy, makes his cheek as a plate 孩打翻盘子，几个小蛋糕掉落。
of cupcakes flies around his head. （At the baby’s birthday party, Winston licks
the cream on the baby’s face, turns around,
and chases and plays with several children, a
little boy knocks over a plate, and a few small
cakes fall down.）
 MEDIA PRACTICE AND EDUCATION 121

4.2. Application of techniques for audio description

Translation techniques constitute procedural taxonomies decomposing and categorizing
strategic equivalencies fundamentally impacting output (Molina and Hurtado Albir 2002).
AD employs specialized techniques portraying static objects, kinetic events, and cultural
elements (Mazur 2014; Snyder 2005; Szarkowska and Jankowska 2015). Bardini (2020)
examined crosslinguistic descriptive divergence, delineating 14 AD techniques including
compensation, imagery, and substitution in addition to their respective functions
(Table 3). This framework facilitates both AD drafting and comparative analysis. The fol­
lowing examination contrasts English and Chinese ADs of Feast, quantifying and qualify­
ing technique application per Bardini’s model to reveal linguistic and cultural distinctions.
Fundamentally, this work underscores the perpetual AD challenge, strategically harnes­
sing this multifaceted toolkit to optimize limited runtimes across diverse settings.

4.2.1. Frequency of technique application

Audio describers strategically harness multifaceted techniques translating visual
narratives into optimized auditory formats. Contrastive quantitative corpus analysis of
Feast’s Chinese and English variants per Bardini’s taxonomy reveals descriptive approach
divergence. As depicted, seven categories emerged: compensation, iconic description,
substitution, reduction, adaptation, technical description, and generalization. The predo­
minant first three categories underscore compensatory elaboration, imagery, and creative
reformulation respectively. Conversely, the latter four less frequent categories minimally
reduce content, culturally adapt, technically expound, or generally summarize.
This quantitative breakdown reveals several key insights. First, it highlights the univer­
sal challenges confronting audio describers, primarily determining the optimal utilization
of each technique to balance content integrity with unavoidable runtime constraints.
Overloading descriptions risks confusing recipients while underserving visual imagery
misrepresents the source. Second, the findings underscore the complexity of maximizing

Table 3. AD technique by Bardini (2020)

AD Technique Definition
Amplification AD that extends the information provided in the audio-visual text by introducing extra details
or by combining several techniques.
Reduction Very brief (or inexistent) AD
Generalization The use of a general or superficial description where the audio-visual content and the available
silent gap would allow for a more detailed or precise description.
Particularization The use of a precise term to describe a specific element of the original audio-visual text.
Compensation The description of elements before or after they occur instead of simultaneously.
Substitution The interpretation of extra-linguistic elements like gestures or facial expressions.
Adaptation The substitution of a cultural element of the original audio-visual text by a cultural element of
the target culture in the AD.
Iconic Description Denotative AD of a fragment of the audio-visual source text.
Integral Iconic The description of elements belonging to general knowledge instead of using their common
Description name, or the description of body language instead of interpreting it.
Technical Description The use of technical terminology related to the nature of the audio described material (e.g.,
cinematic terminology).
Cognitive Description AD that interprets an image or a technique (e.g., cinematic or film technique) to render its
effect or meaning into words.
Creative Description AD that interprets the audio-visual source text at a connotative level to deliver the global
meaning of the described fragment.
Modulation A change of focus in the AD compared to the original audio-visual text.
Variation A deviation of standard language or neutral aural delivery in the AD.
122 B. WANG ET AL.

Figure 1. Frequency of AD technique (in Chinese).

Figure 2. Frequency of AD technique (in English).

cross-cultural information transfer through selective insertion, omission, restructuring and

adaptation. Differing linguistic conventions and cultural contexts necessitate customized
translation solutions to resonate with target audiences. Finally, it emphasizes the perpe­
tual quest for strategic toolkit employment that crafts maximally impactful auditory nar­
ratives within restrictive conditions. Descriptive quality hinges on aligning content and
form to user needs and restrictions. Therein lies the nuanced art of AD across languages,
conveying visual narratives into alternative formats matching recipient capabilities
without compromising original integrity (Figures 1 and 2).
The figures show the relative frequencies of different AD techniques used in the
Chinese and English versions of the film Feast. In both the Chinese and English ADs,
the predominant techniques are compensation, iconic description, and substitution,
accounting for most of the strategies employed. The less frequently used techniques
are reduction, adaptation, technical description, and generalization. The similarities in
the predominant use of these techniques across the two language versions suggest a uni­
versal tendency among audio describers to prioritize elaborative, imagery-driven, and
creative reformulation approaches to balance content integrity and runtime constraints
when translating visual narratives into auditory formats.

4.2.2. Analysis of technique application

Based on the analysis of the frequency of use of these techniques in Chinese and English
ADs, the following section provides examples of the performance of compensation, iconic
description, and substitution techniques, which are more frequently used in both Chinese
and English, as well as the performance of the other, less frequently used techniques of
 MEDIA PRACTICE AND EDUCATION 123

reduction, adaptation, technical description, and generalization. Technique manifestation

reveals English Chinese divergence.
First, both variants exhibit compensatory desynchronization between visual imagery
and audio stemming from restrictive runtimes. As Schaeffer-Lacroix and Berland (2022)
posit, strategic desynchronization bolsters information processing. Second, iconic
description objectively portrays onscreen events per ‘describe what you see’ guidelines
(ACB 2010): the Chinese AD directly details puppy actions while the English AD notes
light changes without temporal specification. Finally, substitution occurs when ground
symbols constitute subjects and figures become objects, as with the boy and coriander
scene, where a shifted emphasis provides an immersive description.
This comparative performance analysis reveals three fundamental implications. First, it
highlights the universal runtime constraints confronting audio describers, necessitating
perpetual strategic trade-offs between precision and brevity. Determining the optimal
duration allocation while retaining content integrity is an omnipresent balancing act.
Second, it showcases differing linguistic and cultural solutions that audio describers
harness to tailor restricted narratives to target audiences. Customized translation tech­
niques bridge comprehension gaps stemming from disparate cognitive frameworks
across languages and societies (Holšánová 2022; Mohamed et al. 2024). However, loca­
lized content adaptation risks losing original semantic nuances. Finally, this study under­
scores audio describers’ constant quest to optimize multiple accuracy facets
simultaneously, synchronization, objective detail, selective accentuation and more, to
maximize descriptive quality within unavoidable temporal boundaries. However, precisely
calibrating this multidimensional calibration without overloading or misleading recipients
constitutes a complex optimization dilemma.
Second, the analysis reveals that Chinese variants more frequently reduce, adapt and
technically detail content compared to English counterparts. Chinese reduction omits
nonvital visual information. Adaptation transforms culture-specific references into acces­
sible analogues, rendering watercress, muffins, cheesy pasta and bacon as coriander,
cookies, noodles, and ham, respectively. This phenomenon is influenced by the inherent
characteristics of the Chinese language as well as the AD strategies employed by the
describers. This localization strategy enhances comprehension (Cui 2015; Liu, Casas-
Tost, and Rovira-Esteva 2022; Vermeulen and Ibáñez Moreno 2017). Moreover, technical
detailing describes scene changes through statements such as ‘picture once black’,
which benefits blind/low vision audiences. Conversely, English variants generalize infor­
mation using broad summaries to avoid cognitive overload.
Ultimately, this analysis reveals several pivotal implications. First, it showcases the diver­
gent tolerance thresholds for information reduction and associated loss risks across
languages. While Chinese variants omit nonvital visual imagery, English counterparts
avoid such potential comprehension pitfalls. Determining acceptable omission levels
poses an iterative optimization dilemma. Second, the study highlights the customized cul­
tural adaptation techniques that audio describers, as cultural mediators (Sanz-Moreno
2017), harness to maximize target audience resonance. However, domesticating content
through localized references risks losing original nuances. Navigating this trade-off requires
contextualized solutions. Third, enhanced technological considerations (Due et al. 2017;
Hwang et al. 2020; Kuriakose, Shrestha, and Sandnes 2020; Messaoudi, Menelas, and
Mcheick 2022) are needed to expand accessibility for blind/low-vision users through
124 B. WANG ET AL.

detailed verbal cues detailing visual dynamics. However, they are at risk of overloading their
cognitive capabilities (Creed et al. 2023; Hossain, Shaik, and Yeasin 2011). Finally, the study
underscores the perpetual challenge of balancing descriptive richness and precision with
the need to avoid confusion and cognitive overload. Excessive sonic detail can counterpro­
ductively overwhelm recipients. Ultimately, audio describers must continually optimize
specialized techniques to maximize narrative integrity within the unavoidable runtime con­
straints across diverse sociolinguistic landscapes (Arma 2011; Glos and Toro Franco 2023;
Starr and Braun 2023). Therein lies the complex art of descriptive translation, aligning
rich content with restricted contexts through strategic trade-offs.

5. Conclusion
The analysis of the audio descriptions (AD) in the animated film Feast in both English and
Chinese offers significant insights into the two posed research questions:

1. In translation content selection, what choices are made by Chinese and English audio
descriptions of the animated film Feast? This study finds that both Chinese and English
audio descriptions primarily describe graphic symbols and dynamic elements depicted
in the visuals, while ground symbols and static elements often serve as contextual or
ancillary information. This suggests that both Chinese and English audio descriptions
typically prioritize conveying the dynamic aspects of the visuals while also recognizing
the significance of ground symbols and static elements.
2. In translation technique application, what commonalities and differences are observed
between Chinese and English audio descriptions of the animated film Feast? While
both versions utilize strategies such as compensation, iconic description, and substi­
tution, there are notable differences in approach. The Chinese AD frequently adopts
reduction, adaptation, and technical description, emphasizing localization to
enhance comprehension for visually impaired audiences within that cultural context.
In contrast, the English AD favors generalization, aiming to provide expansive
expressions that cater to a wider audience while avoiding cognitive overload.

This analysis enriches the cross-cultural understanding of AD optimization strategies,

highlighting specialized trade-offs confronting inter-semiotic translators seeking target
resonance without compromising source integrity. This approach reveals customized
sociolinguistic solutions tailored to community accessibility requirements despite una­
voidable temporal limitations. The findings reveal significant differences, with Chinese
versions more often omitting non-essential visuals, which may pose a risk of information
loss. However, excessive detail overwhelms cognition. Moreover, localized cultural adap­
tations bridge comprehension gaps but risk source fidelity, an intricate balancing act.
Therein lies the imperative of nuanced calibration, aligning conveyance with capability
through strategic narration.
As global media dissemination accelerates, these revelations carry profound scho­
larly and practical implications, informing enhanced standards for balanced source
preservation and target comprehension across diverse sociocultural contexts. They
compel audio-visual translation experts to recognize the growing significance of
adaptive practices catering to heterogeneous languages and access needs amidst
 MEDIA PRACTICE AND EDUCATION 125

rapidly evolving landscapes. Media practitioners can learn from the study results
about the effectiveness of audio description techniques across languages and cul­
tures, guiding their practices in creating AD content for diverse audiences. Educators
can also gain insights from this study, including the importance of intercultural com­
munication awareness, diversity appreciation, technological proficiency, and inclusive
education.
Although this study holds value and significance in many respects, it still has
certain limitations. First, the analysis was based on only one animated film. More
films in different genres should be included in future studies to strengthen the gen­
eralizability of the results. Second, only two languages, English and Chinese, were
compared. Analysing AD in more languages could provide additional insights into
the similarities and differences across languages. Further validation requires
expanded filmic and linguistic corpuses generalizable across genres. Broader eviden­
tiary bases would enrich theoretical frameworks, propelling practical evolution toward
equality in access services. It is an ethical obligation to continually refine descriptive
practices promoting inclusion despite unavoidable restrictions, harnessing deeper
optimization insights to advance creative frontiers in conveyance-impaired
communication.

Disclosure statement
No potential conflict of interest was reported by the author(s).

Funding
This research was funded in part by National Social Science Fund of China, grant number 17BYY067;
Dalian University of Foreign Languages Innovation Project 2022, grant number YJSCX2022-078.

Data availability statement

The data that support the findings of this study are available on request from the corresponding
author.

Notes on contributors
Binghui Wang is a third-year postgraduate of the School of English Studies at Dalian University of
Foreign Languages.
Deyan Zou is a professor and the Deputy Head of the School of Advanced Translation and Interpret­
ation at Dalian University of Foreign Languages.
Yanguo Wu is a lecturer of the School of Advanced Translation and Interpretation at Dalian Univer­
sity of Foreign Languages.

ORCID
Binghui Wang [Link]
Deyan Zou [Link]
Yanguo Wu [Link]
126 B. WANG ET AL.

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