This study examines the priorities of characterization in Persian audio descriptions of films for visually impaired audiences, focusing on a comparative analysis of adult and children’s films. By employing Rimmon-Kenan’s (2005) model of indirect characterization – action, speech, environment, and external appearance – and integrating Egri’s (1923) character bone structure, the research analyzes the portrayal of film protagonists across 14 audio-described films. A total of 1,915 protagonist-related audio descriptions were identified, from which 4,735 instances of characterization elements were extracted and analyzed: 2,623 from adult films and 2,112 from children’s films. The findings reveal a consistent prioritization pattern across both film groups, with the description of the environment ranked highest, followed by actions, external appearance, and speech. However, differences within these categories provide key insights into the distinct demands of audio descriptions for different audiences. Notably, in children’s films, external appearance is described prior to the start of the animation, as children’s cognitive development may require more explicit cues to grasp social and emotional elements. These findings highlight the critical importance of well-prioritized descriptions in enhancing accessibility for visually impaired audiences, allowing them to engage with films as fully as sighted viewers.
Cinema translates historical experience into collective memory through both film narratives and the preservation of cinematic objects. This study examines cultural translation between Hollywood and Yeşilçam through the Istanbul Cinema Museum and three film comparisons: Dracula and Drakula İstanbul’da; City Lights and Cafer Bey, İyi, Fakir ve Kibar; and The Adventures of Robin Hood and Vatan Kurtaran Aslan. Drawing on cultural translation, representation, and cultural memory, the analysis combines structured observations from three museum visits with comparative readings of narrative, characterization, setting, and symbolism. It distinguishes the museum’s institutional framing of cinematic heritage from the transformations identified within the films, without assuming a direct remake relationship in every pair. The comparisons identify localization through urban and religious imagery, the verbal expression of generosity in melodramatic comedy, and the historical framing of heroism. Museum displays provide a complementary perspective by situating the material traces of these productions within an account of national cinema. The article argues that cultural translation operates through both narrative reinterpretation and the recontextualization of popular cinema as heritage. It contributes to translation studies and film studies by explaining how transnational exchange can remain visible within national cinematic memory, while recognizing the limits of museum observation as evidence of adaptation pathways, audience reception, or state ideology.
This article examines the challenges inherent to audiovisual production in contexts involving victims of the armed conflict in Colombia. To this end, it focuses on audiovisual producers as social communicators—professionals capable of creating spaces and social practices that foster citizenship and, through communication, contribute to shaping a collective sense of meaning. Methodologically, drawing on an interpretive qualitative approach with thematic analysis, five discussion groups were implemented, and the discourse generated among the participants was analyzed. According to the participating filmmakers, the two main contributions focus on the audiovisual as a tool and process to promote 1) the recognition and dignification of the victim during the audiovisual co-creation process and 2) the externalization of emotions. A third relevant aspect lies in the commitment and ethical duty of the audiovisual production team towards the communities. These findings are discussed from the perspective of the responsibility that falls on the audiovisual production team during all phases of production so that they can act as a social agent capable of giving communication the necessary meaning to build citizenship.
A escalada do conflito Israel–Palestina a partir de outubro de 2023, com particular incidência sobre a Faixa de Gaza, intensificou a crise humanitária e renovou a centralidade da representação mediática das populações deslocadas. Neste contexto, o jornalismo televisivo desempenha um papel relevante na mediação do sofrimento e na definição das condições através das quais determinadas vidas se tornam visíveis e reconhecíveis no espaço público. Este artigo examina os enquadramentos noticiosos, as estruturas narrativas, as fontes de informação e o grau de humanização da representação nas reportagens da RTP1 e da SIC sobre refugiados palestinianos, entre 2023 e 2025. A investigação adota uma abordagem qualitativa interpretativa, combinando análise crítica do discurso e análise narrativa, aplicada a um corpus de 20 reportagens emitidas em períodos de elevada visibilidade mediática. Os resultados evidenciam a predominância de um enquadramento humanitário, particularmente na RTP1, e de narrativas centradas na vitimização e sobrevivência das populações civis. A presença recorrente de testemunhos diretos de civis palestinianos contribui para a individualização e humanização da representação, embora a autoridade interpretativa permaneça frequentemente ancorada em fontes institucionais. A análise demonstra, assim, que o reconhecimento mediático não decorre automaticamente da visibilidade, mas depende das condições narrativas e discursivas que estruturam a representação, nomeadamente da forma como as vozes são posicionadas, os sujeitos identificados e as experiências individualizadas. O estudo evidencia, deste modo, o papel ativo do jornalismo televisivo na construção das condições de reconhecimento dos refugiados palestinianos no espaço público.
Mental health is a key social issue, and the media plays a vital role in shaping public awareness and attitudes. Social media platforms, such as X (formerly Twitter), have become important channels for disseminating information and influencing perceptions. This study explores how leading eleven Spanish online newspapers addressed mental health on X between 2015 and 2022, with a focus on language use, gender stereotypes, emotional tone, and the impact of the Covid-19 pandemic. A mixed-methods approach was used, combining statistical analysis, text mining, and machine learning techniques. These analyses draw on Goffman’s framing theory. A total of 4,049 tweets related to mental health were collected and analyzed. Linear regression and k-means clustering were applied to classify emotional content and identify patterns of dissemination. The analysis revealed that mental health terms such as “crazy” and “anorexia” were frequently used in sensationalist contexts, often linked to political figures or celebrities. Tweets expressing negative emotions (particularly fear, anger, and sadness) were the most common and tended to generate higher engagement. After the onset of the Covid-19 pandemic, both the frequency of mental health-related tweets and the use of sensationalist language increased. However, there was also a notable increase in positive emotions. The findings suggest that sensationalist language, gender stereotypes, and negative emotional framing contribute to the stigmatization of mental health. Nevertheless, the post-pandemic period shows a shift toward more positive emotional content, indicating a potential change in how mental health is portrayed in media.
