• <tr id="yyy80"></tr>
  • <sup id="yyy80"></sup>
  • <tfoot id="yyy80"><noscript id="yyy80"></noscript></tfoot>
  • 99热精品在线国产_美女午夜性视频免费_国产精品国产高清国产av_av欧美777_自拍偷自拍亚洲精品老妇_亚洲熟女精品中文字幕_www日本黄色视频网_国产精品野战在线观看 ?

    The Development and Practice of Audio Description in Hong Kong SAR, China

    2019-05-12 08:58:14DawningLEUNG
    翻譯界 2019年2期
    關(guān)鍵詞:施氏桃姐內(nèi)斯

    Dawning LEUNG

    Audio Description Association (Hong Kong)

    Abstract Audio description (AD) is a form of audiovisual translation that translates visual and unidentifiable sound elements into verbal descriptions. One of its major functions is to make audiovisual materials accessible to the blind and partially sighted. AD development and practice in Western countries and regions have been reported widely over the years, while very limited information regarding these areas in a Chinese context can be found. This paper compares AD provision across various Western and Asian countries and regions. It then presents the recent development and practice of AD in Hong Kong SAR, China. It includes an introduction of the Audio Description Association (Hong Kong) which raises the profile of AD in the territory and describes two forms of AD services: AD in museums and AD for lion dance performances. The current practice of AD production for films in Hong Kong SAR, China will also be discussed.

    Keywords: audio description, accessibility, audiovisual translation, blind and visually impaired, audio description practice, audio description production

    1. Introduction

    Audio description (AD) is a professional practice that consists of translating visual and sound elements in audiovisual programmes into verbal elements, thus making these materials accessible to users with visual impairments. It has been a major area of interest within the field of audiovisual translation studies in recent years and a considerable amount of literature has been published on AD development and practice in Western countries and regions. However, when it comes to the Asian world, the literature on these aspects is very limited.

    AD has been in use for more than 25 years in some of the countries and regions of the Western world and various countries and regions have passed legislation regulating the provision of AD, especially by government-owned TV channels. Various guidelines and style books have also been drafted for regulating the production of professional AD across Europe. For example, in the UK, the 1996 Broadcasting Act imposes a 10% requirement for audio described programmes on digital terrestrial TV; and in Spain, the White Paper of the Spanish audiovisual law Ley General Audiovisual mandates that governmentowned channels provide AD for at least 10% of their programmes by 2015 (Díaz-Cintas, 2010; López Vera & Franciso, 2006, p. 148). Meanwhile, in the USA, the 21st Century Communications and Video Accessibility Act enforces a requirement of four hours of described programmes per week on nine TV channels (American Council of the Blind, n.d.).

    In the Asian world, the provision of AD has been part of the socio-cultural life of places like Japan and South Korea since the beginning of the 1970s and the 2000s, and media access regulations have also been introduced in these regions. Regular provision of AD on TV can be found in Japan and South Korea. By contrast, the development of AD in Chinese mainland and Hong Kong SAR began only in the 2010s and is at a very early stage, while the regular provision of AD on TV is still non-existent.

    2. Comparison of AD provision across countries and regions

    Some countries and regions have a much longer history than others in the provision of AD for audiovisual programmes, with some of their pioneering experiences having taken place over 35 years ago. Japan started the provision of AD on TV back in the 1980s (ITC, 2000, p. 5; Yeung, 2007, p. 232), while the UK, USA, Spain, and Germany did so in the 1990s. South Korea started its access services on TV in the early 2000s (Chao, 2009, pp. 19-20; The League for Persons with Disabilities, 2012). In some countries and regions there exists legislation that regulates the provision of media access, both in the case of Subtitling for the Deaf and Hard-of-Hearing (SDH) and AD, and the percentage requirements of the former are always greater than in the case of AD. Some of the legislative acts concerning AD provision on the TV have set a compulsory AD quota of around 10% of their on-air time, such as in the case of the most watched TV channels in the UK and Spain. In addition to these legislative measures, some TV broadcasters in the UK and Germany have led with voluntary self-commitment, providing 20% of their programming with AD (RNIB, n.d.; RNIB, 2016). On a wider level, on 6 November 2018, the European Council adopted the revisedAudiovisual Media Services Directivegoverning “EU-wide coordination of national legislation on all audiovisual media, both traditional TV broadcasts and on-demand services” (European Commission, 2018a). Article 7 suggests that governments of member states must encourage media service providers under their jurisdiction to make audiovisual products accessible to people with a visual disability by audio description (ADLAB, 2012, p. 26; European Commission, 2018b). In countries and regions like South Korea, the promotion of access services is instigated from above and the Korean Communications Commission provides full or partial funding for making TV programmes accessible for the blind and the partially sighted. As for the Chinese speaking world, there is no official media access legislation nor is there any regular provision of AD on TV.

    In addition to the provision of AD for TV programmes, most countries and regions also offer AD services for films that are distributed on DVD or in the cinema. So far, in the UK and the USA, between 550 and 1100 DVD titles include AD soundtracks while in Germany over 130 titles on DVD come accompanied with AD (ADLAB, 2012, p. 26; American Council of the Blind, 2016; Your Local Cinema.com, n.d.). In the specific instance of cinema distribution and exhibition, funding has been offered by some governments to support the installation of AD equipment in cinema theatres, as in the cases of the UK and Australia. The UK Film Council offered partial funding for installation in 78 cinemas (World Blind Union, 2011, p. 36, 2016, p. 38), while a one-off grant from the Federal Government in Australia supported 12 cinemas (Mikul, 2010, p. 4). Although AD for films is available in Chinese speaking countries and regions, there is virtually no information available that could reveal to what extent AD is provided in cinemas or commercially distributed on DVD.

    Different from the countries and regions that have experienced a more mature development in the provision of AD, Hong Kong SAR, China has a much shorter history that can be traced back to the year 2011. In this short, though rather productive period of time, AD has made its appearance in the cinema exhibition of films and, at the time, there is still no regular AD provision on TV. As far as the regulation of AD requirements is concerned, no legislation has been passed or imposed on the broadcasting or film industries. Recent AD developments and current practice of AD production for films in Hong Kong SAR, China will be discussed.

    3. Recent developments and practice of AD in Hong Kong SAR, China

    Awareness of the particular needs of visually impaired people as regards their access to the audiovisual media began to increase in Hong Kong SAR, China only in 2009. It was at that time that AD services started to be introduced by local NGOs to meet the needs of visually impaired people and to help them better integrate into society. As shown below, in the discussion of the different types of AD provision in Hong Kong, the Audio Description Association (Hong Kong) has played a key role in the recent developments of AD practices in the city.

    3.1 Audio Description Association (Hong Kong)

    Founded in 2015, the Audio Description Association (Hong Kong) (AuDeAHK) (www.audeahk.org.hk) is a non-governmental organisation that works to raise the standards and profile of AD in Hong Kong SAR, China while offering professional AD training and AD services for the community. Since the offer of AD is very limited in Hong Kong the AuDeAHK takes a leading role in the provision of training and public education in the city and in other neighbouring regions such as Macao and Guangzhou. AuDeAHK offers two forms of professional AD training: certificate courses and workshops. Each course or workshop has a focus, for example, basic AD skills, AD for films, and AD for museum exhibitions. Other than offering AD public education sessions and AD training, AuDeAHK also provides numerous professional AD services, including AD script writing, AD production (i.e. pre-recorded AD/AD sound tracks), AD service consultation, and research on AD users (reception studies and AD activity/event evaluations and analysis), as well as end-to-end AD services from preparation (e.g. site visit) and research through AD script writing to AD quality control and AD delivery. As an access service provider, AuDeAHK offers a vast array of AD services, including AD for films, TV programmes, short videos, performing arts, visual arts, museum exhibitions, outdoor activities (e.g. Stargaze Camp for All), sports (e.g. the World Cup 2018), and events, such as lion dance performances, film festivals, and music awards presentations ceremonies (Commercial Radio Hong Kong, 2018; Etnet, 2018; HK01, 2018; i-CABLE news, 2018; Metro Broadcast, 2017a, 2017b; Ming Pao, 2017, 2018; Sing Tao Daily, 2019; Sky Post, 2018). These services are especially provided to organisations for the blind and partially sighted (such as Hong Kong Society for the Blind, HKSB) and to visually impaired individuals upon request. This encourages social inclusion and increases accessibility for the visually impaired to art, cultural, sports, and recreational activities. In addition, AuDeAHK has successfully secured government funding for the development of several social innovation initiatives: Audio Description Services for Museums (SIE Fund, 2017), Audio Description Services for Outdoor Activities (SIE Fund, 2018a) and Film Audio Description Services (SIE Fund, 2018b). To ensure that its AD services better fulfil the needs of end users, AuDeAHK has created a job position ‘Audio Description Quality Evaluators’ (口述影像質(zhì)量評(píng)估員) and recruited blind and partially sighted people who are frequent AD users to serve as evaluators, so that they can be involved in AD production through contributing to the evaluation of the quality of the AD and providing constructive feedback that can be used for its improvement after trial runs (Leung, 2018; SIE Fund, 2017).

    3.2 AD in museums

    During a nine-month project, supported by the Hong Kong SAR Government’s Social Innovation and Entrepreneurship Development Fund (SIE Fund), the AuDeAHK was able back in 2017 to launch an initiative called ‘Audio Description Services for Museums’, with the main objective to increase visually impaired people’s participation and interaction in society (SIE Fund, 2017). The major beneficiaries are non-governmental organisations serving the blind and partially sighted. Live described tours are provided for permanent and special exhibitions at local museums, such as the special exhibition ‘Eternal Life — Exploring Ancient Egypt’ hosted at Hong Kong Science Museum, and one entitled ‘Miles upon Miles: World Heritage along the Silk Road’ celebrated at the Hong Kong Museum of History. Other permanent and special exhibitions have also been organised at the Hong Kong Museum of Medical Sciences. During the tour of these exhibitions, live AD is delivered via headsets. To complement the description, tactile props and diagrams are also provided to enhance the experience and assist the comprehension of the blind and partially sighted participants. For the exhibition on ancient Egypt, for instance, ten tactile props and seven tactile diagrams were prepared. Tactile props such as 6-inch mummies together with coffins were used when describing Nestawedjat’s mummy (內(nèi)斯達(dá)華狄特的木乃伊) and her three coffins. Other tactile props included dummies of canopic jars and small figures of the Egyptian god Anubis and scarab beetles among others. Tactile diagrams were also provided for the Stela of Neferabu (尼弗拉布石碑) and the Eye of Horus (the protective wedjat 荷露斯之眼) (Leung, 2018; Ming Pao, 2017). Another example is for the exhibition at Hong Kong Museum of Medical Sciences. Besides delivering live AD via headsets, more than 15 tactile props were tailor-made such as the Schimmelbusch Mask (施氏麻醉面罩), and purchased for this tour, including 3D human body models, medical tools, and laboratory containers. Tactile props were used throughout the tour to complement the description (HK01, 2018; i-CABLE News, 2018; Leung, 2018). Before the official launch of the described tours for museums, visually impaired Audio Description Quality Evaluators were recruited to evaluate the tours during trial runs. They provided end user feedback on the audio descriptions, tactile props, and tactile diagrams. (Leung, 2018; Metro Broadcast, 2017b; SIE Fund, 2017)

    3.3 AD for lion dance performances

    In recent years, AuDeAHK has been invited to provide AD for the lion dance performance at Spring Festival dinner, which is a common gathering with relatives, friends or co-workers after the Chinese New Year. The lion dance is a unique live traditional Chinese performance that is popular not only in Chinese areas but also all over the world. It is the most common performance during the Chinese New Year celebrations in Asia and in Chinatowns throughout the world, and it has been featured in a wide range ofkung fufilms. Lion dance performances can take place in a restaurant, a ballroom or in the street. Those in the former locations have a set routine with an essential climax known as 采青, pronounced as ‘choi cheng’ in Cantonese and as ‘cai qing’ in Putonghua, which literally means ‘pluck the greens/lettuce’. The lion dancers must rehearse the performance beforehand because of the limited space provided in the actual venues. In contrast, street performers can move freely for their show and may not include the ‘choi cheng’ routine. In the street, the pace of the performance is slower, and there is usually more space, such as in a parade. When a describer knows that s/he is going to deliver the AD for indoor performance, it is common that s/he can view the rehearsal in advance and make notes of some of the key movements and actions in order to better prepare for the production of the AD script. The describer should develop some notes to describe the set routine, i.e. the beginning, the climax, and the end of the performance. S/he should also familiarise herself/himself with this kind of performance to be able to use the appropriate register and terminology freely in context. Having extensive and detailed knowledge of this traditional dance will be helpful in case the performers make impromptu changes to certain movements and actions.

    The martial arts-related performance usually lasts for 10 to 12 minutes. Responding to unique drumbeats, two performers (one at the head and the other at the tail of the lion), wearing tailor-made costumes, mimic movements of a lion/cat. To describe a lion dance performance, the describer will need first to depict the lion and then describe the eye-dotting ceremony, a symbol of life-giving. The lion’s forehead, eyes (left, then right), nose, mouth, ears, horn, back of the body, and tail will be dotted. In these early stages, the describer should focus on the awakening of the lion. Next, the lion starts its own performance, bowing, walking, looking for food, eating, playing, jumping, lying low, and rolling. The highlight of the performance is when the lion starts to ‘choi cheng’, a traditional custom that represents good luck. The lion will chew the lettuce and spit it out, which represents the spreading of wealth and prosperity. Finally, the lion will bow again. Throughout the performance, a Big Head Buddha carrying a rattan fan will lead the lion from the starting point to the place of ‘choi cheng’, and a drum, gongs, and cymbals will be played for the performers to follow. During the whole event, the lion will also interact with the audience. Non-governmental organisations for the blind and partially sighted, such as HKSB, are in favour of the provision of AD for lion dances to entertain all of the staff, including those with visual impairments, at the Spring Festival dinner to achieve social inclusion. (Leung, 2015; Leung, 2018; Media Access Australia, 2015)

    4. The current practice of AD production for films

    Since 2010, 21 Chinese films with AD have become available on DVD. Some of them offer both Cantonese and Mandarin AD soundtracks, for example,A Simple Life(《桃姐》) (Lee, Hui, Chan, & Hui, 2012),Blind Detective(《盲探》) (To, 2013), andLittle Big Master(《五個(gè)小孩的校長(zhǎng)》) (Chan, Lam, Tong, & Kwan, 2015) (Leung, 2018). Since 2018, the provision of AD can be found in six local cinemas equipped with AD systems (MCL Cinemas, n.d.; The Metroplex, 2018; UA Cinemas, n.d.). Visually impaired audiences can hire a receiver at the cinema and listen to the AD sound track via headsets inside the cinema theatre.

    Different modes of audiovisual translation have been adopted when encountering foreign languages in local Cantonese films. The filmStill Human(《淪落人》) (Chan & Chan, 2018) is a good example. It is a story about a paralyzed Hong Kong man in a wheelchair and his new Filipino domestic worker, and several languages including Cantonese, English, and Tagalog are used. I am the audio describer that has provided pre-recorded AD for this film. Cantonese audio subtitling has been adopted to voice over dialogue in English and Tagalog during AD recording. The AD sound track has been played in four local cinemas. (Sing Tao Daily, 2019)

    The process of AD production for films will be discussed below. The process consists of five stages.

    Hernández-Bartolomé and Mendiluce-Cabrera (2004, pp. 270-271) list nine steps in the production and distribution of AD for films: (1) choosing suitable films, (2) viewing the film, (3) preparing a draft script, (4) synchronising the description with the film images and soundtrack, (5) rehearsing the description, (6) reviewing the description, (7) recording the description, (8) reviewing the recording, and (9) distributing the audio described film.

    AD script writing can be considered to share many similarities with the writing process experienced in language teaching and learning. Langan (2008) divides the writing process into four main stages, namely (1) prewriting, (2) writing the first draft, (3) revising and (4) editing. Inspired by Langan’s (ibid.) work, according to the nature of the various stages, and based on the practical experience that I have accumulated over the years as a practising audio describer in Hong Kong SAR, China, I have merged the above mentioned nine steps (Hernández-Bartolomé & Mendiluce-Cabrera, 2004) together with three newly added phases — namely conducting research on the selected film, editing the description, and proofreading the description, to come up with a total of 12 steps (Leung, 2018). In addition, further to the four main stages of the writing process suggested by Langan (2008), a new main stage (post-writing) has been added to the AD production process because, on occasion, the description will be recorded and distributed in DVD format. The three new steps proposed on the basis of my professional experience (in bold) have all been grouped under five main umbrella stages: (1) pre-writing, (2) drafting, (3) revising, (4) editing/ proofreading, and (5) post-writing, as illustrated in Table 1 below:

    Table 1. Five stages of AD production for films (Leung, 2018, p.48)

    In what follows, these stages are discussed in detail using the Hong Kong socio-cultural context as the case study.

    Stage 1: Pre-writing

    The pre-writing stage refers to any preparations that need to be taken care of before the actual AD script writing can take place. There are three steps within this stage.

    Step 1-Choosing suitable films/assigning films. In Hong Kong SAR, China, AD is not provided for broadcast productions and the provision for film screening sessions in cinemas is rather limited and usually done on a voluntary basis. Therefore, on most occasions, it is the volunteers themselves who get to choose the films that they would like to audio describe. However, when the service is requested by a film production company or an organisation, the company will decide and assign which film is to be described. In the decision of what productions to audio describe, it has to be kept in mind that not all the films are equally suitable for AD. Indeed, as highlighted by authors like Hernández-Bartolomé and Mendiluce-Cabrera (2004, p. 270), some films have “more action than dialogue, and the description would be almost continuous” with not much interference from the original; whereas in the case of other productions, in which the dialogue exchanges are profuse, users may find the AD “tiring to listen to, even irritating”. Given the limited availability of films with AD in Hong Kong SAR, China, it should not prove too difficult to find productions that lend themselves easily to be audio described.

    Step 2-Viewing the film. After a film has been selected, the recommendation is that audio describers should watch the whole film at least once to gain an overall idea of the characters and the plot. They should get first-hand experience, remember the mood and feelings of the film in their first watch, and try to re-create that mood when writing the AD script. They should then watch it for a second time in order to spot all the silent gaps in the dialogue that are suitable for inserting the AD information. To reinforce their empathy towards the target audience, Hernández-Bartolomé and Mendiluce-Cabrera (ibid., p. 270) suggest that the audio describer could use a special technique and “view the film without the picture or use simspecs (a pair of glasses that simulate visual impairments)” so that they can put themselves in the shoes of the visually impaired audience.

    Step 3 – Conducting research on the selected film. Conducting background research on the selected film to be audio described is highly beneficial for preparing a precise and accurate description of some of the visual elements shown in the films. For example, when describingKung fufilms, the describers should conduct extensive research about martial arts and be able to identify the various moves and techniques, so that they can use the accurate lexicon to draft a more exciting and appropriate description of the fight scenes.

    Stage 2: Drafting

    The drafting stage implies the writing of the first AD script and consists of two steps.

    Step 4 – Preparing a draft script. While identifying suitable gaps for the overlaying of the AD, describers may want to start drafting the AD script as well. They should decide what, when, how, and how much to describe. According to the AD guidelines prepared by Ofcom (2015, p. 20) in the UK, which visual elements to describe greatly depends on the extent to which they are relevant to the storyline, and the AD “should describe characters, locations, time and circumstances, any sounds that are not readily identifiable, on-screen action, and on-screen information”. As for when to incorporate the AD, a study carried out by Chmiel and Mazur (as cited in ADLAB, 2012, p. 50) in Poland, reported that most AD consumers found that the major barrier for them to receiving the AD is when it overlaps with dialogue. Hence, Puigdomènech, Matamala, and Orero (2010, p. 40) advise that describers should insert descriptions “when there is no dialogue and always [try] to anticipate the action”, a piece of advice that is also found in Hyks (2005, p. 6). As far as possible, AD should not overlap with sound effects or song lyrics either, unless it is extremely necessary (Ofcom, 2015, p. 21).

    Two contrasting views of AD styles, namely objective vs. interpretative, have generated heated debate among scholars and professionals. In this respect, the USA approach towards AD is said to be more objective than that practised in Europe (Audio Description Coalition 2009, p. 2), and so, for instance, when describing emotions, the USA solution may stay on the descriptive level and state ‘tears are pouring out of his eyes’ or ‘there is a big smile on her face’. In contrast, other professionals prefer to opt for a more interpretative approach and use adjectives such as ‘sad’ or ‘happy’ to describe the same emotions (Puigdomènech et al., 2010, p. 40). Based on the findings of her reception study with people with visual impairment, Leung (2018) suggests that “The use of emotive adjectives should be given priority instead of merely describing facial expressions. ... If time permits, emotive adjectives combined with the description of facial expressions and/or gestures could be used as in, for example, ‘he frowns, feeling strange’ and ‘she shrugs, a bit helpless’.”

    Another aspect that sparks off an intense debate in academic exchanges is whether cinematic language and terminology should be used as part of the AD discourse or not. As pointed out by Orero (2012), filmic language has great importance in the creation of the original production since it is the primary fabric for film directors to produce their oeuvre. Indeed, “a film has a paradigmatic connotation when the director has chosen specific cinematic aids to portray an effect, such as a camera angle or move, a colour filter, etc.” (ibid., p. 18), which may be missed altogether by the visually impaired audience if this information is not somewhat conveyed in the AD. The traditional approach has been to avoid any reference in the AD to the technical artifice behind a film, and many guidelines, such as the ones compiled by Ofcom (2015, p. 21), discourage the use of filmic terms. Nonetheless, and against this traditional conception, two recent studies by Fryer and Freeman (2012, p. 412) and by Leung (2018, p. 221) reveal that the majority of the visually impaired hold a positive opinion when it comes to the use of cinematic terminology in the AD.

    As there are no standard guidelines in the Chinese context, the current situation in Hong Kong SAR, China is rather fluid and different describers adopt their own AD styles, be it objective or interpretative, in which cinematic terminology can be present or absent. In this sense, it seems imperative that more reception studies on AD style should be carried out in order to elicit the preferences of end users as a basis for the compilation of a set of AD standards targeted towards the visually impaired population in Hong Kong SAR, China.

    Since describers should try their very best to assure that their descriptions fit in the silent gaps found between the dialogue, they should be fully aware of the importance of time restrictions, and only plotrelated images should be described to assist the end users in following the storyline. The Spanish Standard UNE 153020 also suggests that describers “must avoid causing the visually impaired listener to become tired due to saturation of information or anxiety due to a lack thereof” (Rai, Greening, & Petré, 2010, p. 16). In other words, describers should not fill all the gaps (Cronin & King, 1990) and some pauses should be respected, if possible, so that the audience does not feel overwhelmed by the amount of information they are receiving. Similarly, describers should not leave long empty breaks in their description because the visually impaired viewers may think that there has been a technical problem in the delivery of the AD or be anxious to know what is happening on the screen.

    Step 5-Synchronising the description. When drafting the AD, describers should also consider whether the AD inserts are well synchronised with the moving images on screen. Authors like Hernández-Bartolomé and Mendiluce-Cabrera (2004, p. 270) consider the degree of synchronisation to be no less than utopian, which is “seldom achieved” since as experience suggests, “descriptions tend to appear just two seconds before the images”; a rather categorical assertion by the authors. Indeed, although it is true that achieving full synchronisation is difficult, such an argument that the descriptions appear ‘just two seconds, before the images’ is too dogmatic and bound not to be true in all cases. In fact, on occasion, the description may even come slightly later than the images and the authors seem to be aware of this circumstance when they explicitly acknowledge that, “Thrillers should receive special treatment, since the description could be delayed after the action in order not to anticipate events and destroy the film’s atmosphere” (ibid., p. 270).

    Stage 3: Revising

    The revising stage covers the two steps that should be carried out after the AD draft has been completed.

    Step 6-Rehearsing the description. Orally rehearsing the AD script is a crucial task, especially in the Hong Kong context where the majority of AD provision for films is done live. When making the AD recording, describers can retake the same line as many times as they deem necessary. However, in a live AD screening, the describer is involved in the continuous delivery of the AD from the beginning to the end of the film, and there is no break in between. When a human error occurs, such as a slip of the tongue, a mispronunciation or a grammatical/syntactical mistake, there may not be a chance to rectify it. Sometimes, important information may be lost in this way. Conducting sufficient rehearsals before the actual event can help to reduce the chance of making such mistakes because the describer is more familiar with the AD script. One of the potential drawbacks of not rehearsing the script is that describers may not be aware that a given section of the description is too long to fit in a particular gap. Therefore, describers should run through the AD, out loud if possible, at least once in order to make sure that they have enough time to read aloud all the descriptions that need to be inserted within the silent gaps in the dialogue, particularly the short ones.

    Step 7-Reviewing the description. Describers are advised to check whether there are any mistakes or inconsistencies in the AD. The accuracy of the AD is extremely important because a misdescription may result in confusion and miscomprehension of the plot among the audience. One of the drawbacks of not reviewing the AD before it is recorded is that some inconsistencies that may have cropped up in critical moments, especially in fast-changing scenes, may be overlooked and end up making it into the final AD version. In this part of the process, teamwork can be one of the solutions to avoid these potential mishaps and having a sighted script quality supervisor working in close collaboration with a blind description quality specialist can improve the chances of spotting any mistakes and, consequently, of boosting the quality of the end product.

    Stage 4: Editing and proofreading

    After revising the first draft, two more steps should be taken to finalise the AD script.

    Step 8 – Editing the description. Once the first draft is considered finished, describers should polish the AD by creating more succinct descriptions and using targeted terminology where appropriate, as the use of accurate vocabulary can “keep description lively and brief” (Yeung, 2007, p. 234). Any unnecessary words should be deleted to save time and the tone and style of the AD should be checked so as to make sure that they fit the mood of the film. In this regard, the use of more elegant wording is recommended if the AD is to accompany a literary film, whereas some slang could be used if the film is about pop culture or youth delinquency. Attention should also be paid to the “moods and feelings of the film if [the describers] aim at creating comparable experiences for the unsighted as that experienced by the sighted” (Chao, as cited in Yeung, 2007, p. 241). Effective use of punctuation is also highly recommended as it can help the end users to understand the description more efficiently.

    Step 9 – Proofreading the description. Having an extra pair of eyes to check one’s work is always a good way to spot any mistakes, inconsistencies or potential areas for improvement, and describers should share their final work with other describers to achieve this goal. By correcting errors or receiving suggestions for improvement, confusion can be avoided, and good professional practice can be enhanced among describers. Indeed, for professionals like Dosch and Benecke (2004) the ideal professional environment is the one that allows for collaboration between two colleagues, one sighted and the other visually impaired so that they can advise and help each other to produce the most appropriate audio description possible.

    Stage 5: Post-writing

    Once the AD script is considered final, there are still three more steps to be taken. As mentioned previously, usually only live AD is available in Hong Kong SAR, China for audiovisual programmes such as films and TV programmes. This means that only on very few occasions is the AD pre-recorded, as highlighted in the brief discussion below.

    Step 10-Recording the description. In the particular case of Hong Kong of China SAR, the person in charge of writing and revising the AD script is also responsible for its live delivery. However, if the AD script has been produced to be recorded rather than delivered live, then it is more common to hire a professional voice talent to do the recording of the AD in the studio.

    At present, the practice of recording AD is not fully standardised, and it varies greatly across productions because the actual sound mixing is usually done in a studio hired by the different film production companies that own the film to be described. As a result, instances can be found of productions in which the sound is recorded at a lower volume than the original version, sometimes higher, and on other occasions it is equalised. Further research into the technical aspects of AD will be necessary to reach a more detailed account of this professional practice.

    Step 11-Reviewing the recording. Ideal practice includes conducting a final check of the recorded AD to ensure the best technical quality. It is suggested that a different person from the voice talent should review the recording. To date, in Hong Kong SAR, China, only the AD recording of certain films has actually undergone review where the process was conducted by a second person. In these cases, the reviewer checked whether there were any missing or misplaced AD items (i.e. discrete insertions of AD narration into the original soundtrack) after sound mixing. In most cases, this step regarding the technical production of AD for films in Hong Kong SAR, China is unknown by most describers.

    Step 12-Distributing the audio described films. At the time when this research was being conducted, pre-recorded AD was mainly found on DVDs and no described films had been broadcast on television, hence the emphasis on the former. In Hong Kong SAR, China, only 21 DVDs of commercial films with AD in Cantonese have been made available on the market so far. In 2013, a documentary entitledA Wallless World IV, produced by the public broadcaster Radio Television Hong Kong was broadcast on TV without the provision of AD (Yu, & Chan, 2013). Months later, and due to the level of interest it raised, the documentary was made available with AD and has also been freely distributed on DVD. The DVD copies of this documentary are not for sale and some are kept in various public libraries in the city whereas others have found their way to some of the local NGOs working with people with visual impairments, such as the Hong Kong Society for the Blind.

    5. Conclusion

    Although the provision of AD in Hong Kong SAR, China is still far less developed, it is also true that Hong Kong SAR has been playing a pioneering role in the Chinese speaking world as far as AD is concerned. From a quantitative perspective, Hong Kong has witnessed the production of AD soundtracks in Chinese, including both Cantonese and Mandarin Chinese, of more than 21 film titles on DVD, which serve not only viewers in Hong Kong, but also those in other parts of China, thus being the very first film titles that serve a wide spectrum of Chinese-speaking communities. In addition, the provision of pre-recorded AD is now available in six cinemas that have been equipped with AD systems, which means that more visually impaired people can be served with the help of technology, and these audiences are better able to go to the cinema according to their own preferences, be it the time or venue.

    ‘Audio Description’ is more than an access service; it is an essential tool for people with visual impairment to enjoy their basic human rights. It helps them to have equal opportunities to gain access to the media and to other arts, cultural, and sports activities just like their visually-able counterparts. The profile of this profession should be raised more widely in Chinese academia, and audio describers should receive proper training before serving the community. To foster the developments of AD in the Chinese world, the use of AD-related terminologies in Chinese should be consistent. Table 2 shows a list of these terminologies. Taking into account the situation of AD in various countries and regions around the world, more research investigating the provision and practice of AD should be conducted in a Chinese context. Research results may serve as a reference for the Hong Kong SAR government and other Chinese-speaking regions, informing the future development of AD in the Chinese world. A set of professional guidelines and best practice should be prepared for practitioners in Chinese AD.

    Table 2. English-Chinese glossary of terms related to AD (Leung, 2018, p. 338-9)

    to be continued

    Table 2. continued

    猜你喜歡
    施氏桃姐內(nèi)斯
    施氏礦物同時(shí)吸附磷酸根和Cd(II)的研究
    忘卻歌
    含笑花(2022年3期)2022-05-27 00:55:57
    德國(guó)在華顧問(wèn)的神秘另一面
    施氏和孟氏
    Abstracts of Major Articles
    蒼茫又輕柔的生活
    溫暖的悲傷
    摔出來(lái)的創(chuàng)意
    《桃 姐》
    《桃姐》:非典型敘事與張力人物關(guān)系
    男女啪啪激烈高潮av片| 亚洲自偷自拍三级| 国产成人免费观看mmmm| 国产av不卡久久| 有码 亚洲区| 美女xxoo啪啪120秒动态图| 国精品久久久久久国模美| 国模一区二区三区四区视频| 大香蕉97超碰在线| 精品一区二区三区视频在线| 特大巨黑吊av在线直播| 精品午夜福利在线看| 日日摸夜夜添夜夜爱| 亚洲色图av天堂| av黄色大香蕉| 国产老妇伦熟女老妇高清| 少妇丰满av| 亚洲精品久久久久久婷婷小说| 久久久成人免费电影| 亚洲av电影在线观看一区二区三区 | 欧美亚洲 丝袜 人妻 在线| 国产精品av视频在线免费观看| 听说在线观看完整版免费高清| 国产精品嫩草影院av在线观看| 亚洲久久久久久中文字幕| 小蜜桃在线观看免费完整版高清| 亚洲精品亚洲一区二区| 精品一区在线观看国产| 99热6这里只有精品| 一级爰片在线观看| 亚洲av日韩在线播放| 少妇人妻久久综合中文| 欧美xxxx黑人xx丫x性爽| 久久99热6这里只有精品| 中文在线观看免费www的网站| 特级一级黄色大片| 日韩av不卡免费在线播放| xxx大片免费视频| 插阴视频在线观看视频| 国产综合懂色| 在线看a的网站| 男女边摸边吃奶| av专区在线播放| 国产亚洲av片在线观看秒播厂| 97人妻精品一区二区三区麻豆| 国产色婷婷99| 成年人午夜在线观看视频| 亚洲精品国产色婷婷电影| 3wmmmm亚洲av在线观看| 九九在线视频观看精品| 久久久精品免费免费高清| 亚洲精品456在线播放app| 国产成人福利小说| 2022亚洲国产成人精品| h日本视频在线播放| 一级av片app| 一级毛片久久久久久久久女| 久久99蜜桃精品久久| 日韩成人伦理影院| 高清毛片免费看| 久久午夜福利片| 一边亲一边摸免费视频| 国产午夜精品久久久久久一区二区三区| 99re6热这里在线精品视频| 超碰97精品在线观看| 卡戴珊不雅视频在线播放| 丰满人妻一区二区三区视频av| 久久99蜜桃精品久久| 国产成人一区二区在线| 亚洲久久久久久中文字幕| 高清欧美精品videossex| 国产一区二区亚洲精品在线观看| 成人黄色视频免费在线看| 亚洲成色77777| 联通29元200g的流量卡| 久久久久精品性色| 国产黄片视频在线免费观看| 777米奇影视久久| 国内少妇人妻偷人精品xxx网站| 乱码一卡2卡4卡精品| 亚洲va在线va天堂va国产| av免费观看日本| 欧美日韩一区二区视频在线观看视频在线 | 日韩大片免费观看网站| 婷婷色麻豆天堂久久| 国产精品99久久久久久久久| 蜜桃久久精品国产亚洲av| 啦啦啦啦在线视频资源| 在线免费十八禁| 亚洲婷婷狠狠爱综合网| 欧美一区二区亚洲| 日韩大片免费观看网站| 日韩欧美精品v在线| 国产成人精品久久久久久| 人妻制服诱惑在线中文字幕| 涩涩av久久男人的天堂| 97精品久久久久久久久久精品| 亚洲最大成人手机在线| av卡一久久| 色视频在线一区二区三区| 男女下面进入的视频免费午夜| 日日啪夜夜撸| 汤姆久久久久久久影院中文字幕| 大陆偷拍与自拍| 少妇高潮的动态图| 亚洲av中文字字幕乱码综合| 尤物成人国产欧美一区二区三区| 一级av片app| 亚洲欧美一区二区三区国产| 简卡轻食公司| 丝袜美腿在线中文| 亚洲av电影在线观看一区二区三区 | 成人国产麻豆网| 男女边摸边吃奶| 国产免费福利视频在线观看| 亚洲欧美一区二区三区黑人 | 成人综合一区亚洲| 水蜜桃什么品种好| 亚洲欧美中文字幕日韩二区| 51国产日韩欧美| 亚洲国产最新在线播放| 综合色丁香网| 听说在线观看完整版免费高清| 中文精品一卡2卡3卡4更新| 少妇人妻一区二区三区视频| 亚洲精品久久久久久婷婷小说| 在线a可以看的网站| 一个人看视频在线观看www免费| 国产午夜精品一二区理论片| 久久久精品免费免费高清| 欧美变态另类bdsm刘玥| 亚洲人成网站高清观看| 能在线免费看毛片的网站| 婷婷色综合大香蕉| 亚洲成人精品中文字幕电影| 欧美精品人与动牲交sv欧美| 亚洲电影在线观看av| 在线播放无遮挡| 日韩一区二区视频免费看| 国产精品麻豆人妻色哟哟久久| 嘟嘟电影网在线观看| 亚洲久久久久久中文字幕| 国产大屁股一区二区在线视频| 干丝袜人妻中文字幕| 国产亚洲一区二区精品| 国产69精品久久久久777片| 性色av一级| 天堂俺去俺来也www色官网| 亚洲久久久久久中文字幕| 涩涩av久久男人的天堂| 成人美女网站在线观看视频| 免费人成在线观看视频色| 人妻 亚洲 视频| 欧美老熟妇乱子伦牲交| 午夜免费男女啪啪视频观看| 久久久精品免费免费高清| 另类亚洲欧美激情| 不卡视频在线观看欧美| 亚洲最大成人中文| 国产一区二区三区综合在线观看 | 视频区图区小说| 国产一区二区在线观看日韩| 日韩欧美精品v在线| 亚洲成人精品中文字幕电影| 亚洲精品,欧美精品| 久久99蜜桃精品久久| 精品人妻视频免费看| 日本wwww免费看| 精品一区二区免费观看| 亚洲av.av天堂| 97超视频在线观看视频| 久久久精品欧美日韩精品| 久久韩国三级中文字幕| 亚洲婷婷狠狠爱综合网| 毛片女人毛片| 日本黄色片子视频| 精品亚洲乱码少妇综合久久| 欧美潮喷喷水| 国产欧美亚洲国产| 大话2 男鬼变身卡| 亚洲精品,欧美精品| 亚洲一级一片aⅴ在线观看| 日韩强制内射视频| 久久6这里有精品| 最近2019中文字幕mv第一页| 欧美 日韩 精品 国产| 亚洲三级黄色毛片| 十八禁网站网址无遮挡 | 亚洲va在线va天堂va国产| 久久精品国产亚洲网站| 中文字幕人妻熟人妻熟丝袜美| 欧美潮喷喷水| 国产白丝娇喘喷水9色精品| 插逼视频在线观看| 欧美日韩精品成人综合77777| 国产伦精品一区二区三区视频9| 视频中文字幕在线观看| 在现免费观看毛片| 国产乱人偷精品视频| 久久鲁丝午夜福利片| 午夜福利在线在线| av免费在线看不卡| 69人妻影院| 男人爽女人下面视频在线观看| 亚洲国产成人一精品久久久| 97超碰精品成人国产| 亚洲精品aⅴ在线观看| 少妇被粗大猛烈的视频| a级毛片免费高清观看在线播放| 午夜老司机福利剧场| 国产精品久久久久久精品古装| 大又大粗又爽又黄少妇毛片口| 女人久久www免费人成看片| 深夜a级毛片| 在线观看av片永久免费下载| 亚洲成人中文字幕在线播放| 亚洲精品国产成人久久av| 午夜老司机福利剧场| 女人被狂操c到高潮| 欧美一级a爱片免费观看看| 老司机影院毛片| 日韩av不卡免费在线播放| 久久99热这里只有精品18| 久久人人爽人人爽人人片va| 亚洲aⅴ乱码一区二区在线播放| 韩国高清视频一区二区三区| 国产色婷婷99| 亚洲av二区三区四区| 婷婷色麻豆天堂久久| 亚洲怡红院男人天堂| 偷拍熟女少妇极品色| av女优亚洲男人天堂| 国产亚洲av片在线观看秒播厂| 国产探花极品一区二区| 久久久午夜欧美精品| 中文精品一卡2卡3卡4更新| 亚洲国产精品成人综合色| 国产日韩欧美亚洲二区| 观看免费一级毛片| 黄色配什么色好看| 欧美精品人与动牲交sv欧美| 黄片wwwwww| 亚洲av电影在线观看一区二区三区 | 亚洲婷婷狠狠爱综合网| 亚洲国产精品成人久久小说| 免费黄频网站在线观看国产| 美女脱内裤让男人舔精品视频| 少妇丰满av| 欧美性感艳星| 久久人人爽人人片av| 国产成人a区在线观看| av福利片在线观看| 亚洲天堂av无毛| 精品午夜福利在线看| 丰满少妇做爰视频| 久久精品国产a三级三级三级| 国产毛片在线视频| 日日啪夜夜撸| av免费在线看不卡| 最近中文字幕高清免费大全6| 国产乱来视频区| 男女无遮挡免费网站观看| av福利片在线观看| 欧美日韩视频精品一区| 91在线精品国自产拍蜜月| 国产69精品久久久久777片| 一级毛片aaaaaa免费看小| 国产乱人视频| 欧美性感艳星| 欧美日韩亚洲高清精品| 成年女人看的毛片在线观看| 亚洲美女视频黄频| 免费观看无遮挡的男女| 亚洲成人一二三区av| 亚洲,欧美,日韩| 国内少妇人妻偷人精品xxx网站| 亚洲精品色激情综合| 欧美日韩国产mv在线观看视频 | 久久国内精品自在自线图片| 国产爽快片一区二区三区| 久久精品国产亚洲av涩爱| 亚洲真实伦在线观看| 久久久久久久午夜电影| 亚洲av免费高清在线观看| 久久久a久久爽久久v久久| 看十八女毛片水多多多| 久久精品国产自在天天线| 久久6这里有精品| 欧美 日韩 精品 国产| 日本熟妇午夜| 五月伊人婷婷丁香| 91久久精品国产一区二区成人| 三级国产精品片| 午夜免费观看性视频| 男的添女的下面高潮视频| 高清av免费在线| 国产 精品1| 午夜视频国产福利| 中文字幕av成人在线电影| 大片电影免费在线观看免费| 久久午夜福利片| 亚洲美女搞黄在线观看| 网址你懂的国产日韩在线| 亚洲av.av天堂| 亚洲精品日本国产第一区| 国产午夜精品一二区理论片| 汤姆久久久久久久影院中文字幕| 国产av不卡久久| 在现免费观看毛片| 日韩电影二区| 男女边摸边吃奶| 久久久久久国产a免费观看| 日韩亚洲欧美综合| 欧美一级a爱片免费观看看| 午夜福利网站1000一区二区三区| 欧美精品国产亚洲| 黄色视频在线播放观看不卡| 亚洲人成网站在线观看播放| 2021天堂中文幕一二区在线观| 在线观看美女被高潮喷水网站| 国产精品久久久久久精品古装| 人妻制服诱惑在线中文字幕| 婷婷色综合大香蕉| 青青草视频在线视频观看| 如何舔出高潮| 三级男女做爰猛烈吃奶摸视频| 免费播放大片免费观看视频在线观看| 一区二区三区免费毛片| 又爽又黄无遮挡网站| 在现免费观看毛片| 国产精品国产三级国产av玫瑰| 亚洲精品日韩在线中文字幕| 免费黄频网站在线观看国产| 成人漫画全彩无遮挡| 国产精品三级大全| av国产久精品久网站免费入址| 亚洲不卡免费看| 日本免费在线观看一区| 3wmmmm亚洲av在线观看| 午夜福利视频精品| 亚洲国产精品国产精品| 熟女电影av网| 国产男人的电影天堂91| 国产人妻一区二区三区在| 亚洲无线观看免费| 26uuu在线亚洲综合色| 午夜老司机福利剧场| 精品久久久噜噜| 22中文网久久字幕| 久久久久久久精品精品| 中文在线观看免费www的网站| 免费观看av网站的网址| 亚洲精品国产色婷婷电影| 美女视频免费永久观看网站| 看十八女毛片水多多多| 精品午夜福利在线看| 免费在线观看成人毛片| 天天一区二区日本电影三级| 一区二区av电影网| 午夜福利视频1000在线观看| 久久精品熟女亚洲av麻豆精品| 欧美日韩在线观看h| 欧美成人a在线观看| 国产色婷婷99| 成年版毛片免费区| 久久久久久久久大av| 亚洲四区av| 熟女av电影| 久久久成人免费电影| 国产片特级美女逼逼视频| 国产伦理片在线播放av一区| 亚洲欧美成人综合另类久久久| 色婷婷久久久亚洲欧美| 赤兔流量卡办理| 国产午夜精品久久久久久一区二区三区| 日日摸夜夜添夜夜爱| 老女人水多毛片| 久久99蜜桃精品久久| 一区二区三区乱码不卡18| 看黄色毛片网站| 久久久成人免费电影| 99热6这里只有精品| 亚洲成人av在线免费| 舔av片在线| 成年av动漫网址| 国产精品一区二区性色av| 观看美女的网站| 日本一本二区三区精品| 久久精品人妻少妇| 亚洲aⅴ乱码一区二区在线播放| 成年女人在线观看亚洲视频 | 国产成人aa在线观看| 国产成人freesex在线| av免费在线看不卡| 人妻系列 视频| 欧美日韩综合久久久久久| 亚洲精品国产成人久久av| 欧美高清性xxxxhd video| 边亲边吃奶的免费视频| 一区二区三区四区激情视频| 成人美女网站在线观看视频| 国产亚洲5aaaaa淫片| 97热精品久久久久久| 国产精品国产av在线观看| 亚洲精品日韩av片在线观看| 99久国产av精品国产电影| 精品少妇黑人巨大在线播放| 在线观看三级黄色| 久久99热6这里只有精品| 国产精品久久久久久久电影| 听说在线观看完整版免费高清| 久久久久久久久久久丰满| 亚洲精品乱码久久久久久按摩| 大片免费播放器 马上看| 80岁老熟妇乱子伦牲交| 亚洲国产av新网站| 久久久久国产精品人妻一区二区| 国产白丝娇喘喷水9色精品| 久久精品综合一区二区三区| 蜜桃久久精品国产亚洲av| 久久久午夜欧美精品| 美女内射精品一级片tv| 免费看不卡的av| 国产成人免费观看mmmm| 欧美丝袜亚洲另类| 夫妻性生交免费视频一级片| 欧美性感艳星| 国产探花在线观看一区二区| av免费观看日本| 国产片特级美女逼逼视频| 五月开心婷婷网| 国产高清国产精品国产三级 | 又爽又黄a免费视频| 亚洲自拍偷在线| 国产老妇伦熟女老妇高清| 99久久九九国产精品国产免费| 搡老乐熟女国产| 免费少妇av软件| 亚洲国产av新网站| a级毛色黄片| 亚洲av日韩在线播放| 一个人观看的视频www高清免费观看| 看黄色毛片网站| 一本—道久久a久久精品蜜桃钙片 精品乱码久久久久久99久播 | 联通29元200g的流量卡| 3wmmmm亚洲av在线观看| 少妇人妻精品综合一区二区| 亚洲精品日韩av片在线观看| 嫩草影院精品99| 国产成人a区在线观看| 精品久久久久久久久亚洲| 97精品久久久久久久久久精品| av天堂中文字幕网| 亚洲av一区综合| 久热这里只有精品99| 国产伦精品一区二区三区视频9| 秋霞在线观看毛片| 国产午夜福利久久久久久| 亚洲aⅴ乱码一区二区在线播放| 国产伦精品一区二区三区四那| 日韩制服骚丝袜av| 又爽又黄无遮挡网站| 久久久久久九九精品二区国产| 性插视频无遮挡在线免费观看| av在线亚洲专区| 国国产精品蜜臀av免费| videos熟女内射| 亚洲精品成人久久久久久| 最近的中文字幕免费完整| 午夜福利在线观看免费完整高清在| 一个人观看的视频www高清免费观看| 国产成人一区二区在线| 男女国产视频网站| 亚洲av成人精品一区久久| 少妇被粗大猛烈的视频| 亚洲精品成人av观看孕妇| 亚洲电影在线观看av| 丝袜美腿在线中文| 久久亚洲国产成人精品v| 亚洲国产欧美人成| 又黄又爽又刺激的免费视频.| 少妇丰满av| 亚洲成人一二三区av| 亚洲激情五月婷婷啪啪| 免费观看的影片在线观看| 三级男女做爰猛烈吃奶摸视频| 啦啦啦中文免费视频观看日本| 日韩一区二区视频免费看| 日韩大片免费观看网站| 午夜精品国产一区二区电影 | 欧美国产精品一级二级三级 | 美女xxoo啪啪120秒动态图| 国产色婷婷99| 一本色道久久久久久精品综合| 99热这里只有精品一区| 免费看a级黄色片| 2021少妇久久久久久久久久久| 最近中文字幕2019免费版| 在线观看免费高清a一片| 久久鲁丝午夜福利片| 欧美一区二区亚洲| 人人妻人人看人人澡| 国产男人的电影天堂91| 亚洲av在线观看美女高潮| 我的老师免费观看完整版| 国产成人a∨麻豆精品| 成人高潮视频无遮挡免费网站| 国产综合精华液| 看黄色毛片网站| 各种免费的搞黄视频| 国产精品久久久久久精品古装| 2022亚洲国产成人精品| 黄色视频在线播放观看不卡| 日本黄大片高清| 欧美成人一区二区免费高清观看| 日本熟妇午夜| 天美传媒精品一区二区| 熟女av电影| 男女国产视频网站| av专区在线播放| 精品久久久久久久久av| 欧美一级a爱片免费观看看| 一级毛片 在线播放| 伊人久久国产一区二区| 国产伦精品一区二区三区视频9| 国产一级毛片在线| 国产真实伦视频高清在线观看| 久久久久性生活片| 神马国产精品三级电影在线观看| 熟女人妻精品中文字幕| 人妻夜夜爽99麻豆av| 日韩免费高清中文字幕av| 人人妻人人澡人人爽人人夜夜| 亚洲欧美日韩卡通动漫| 欧美+日韩+精品| 嫩草影院精品99| 人人妻人人看人人澡| 欧美少妇被猛烈插入视频| 成年女人在线观看亚洲视频 | 伊人久久国产一区二区| 久久久久精品久久久久真实原创| 特大巨黑吊av在线直播| 欧美日韩视频精品一区| 成人二区视频| av免费观看日本| 亚洲av不卡在线观看| av国产免费在线观看| 干丝袜人妻中文字幕| 亚洲精品日韩av片在线观看| 久久99热6这里只有精品| 亚洲成人精品中文字幕电影| 欧美丝袜亚洲另类| 免费高清在线观看视频在线观看| 少妇人妻精品综合一区二区| 国产黄色免费在线视频| 日韩 亚洲 欧美在线| 久久久午夜欧美精品| 国产乱来视频区| 久久99蜜桃精品久久| 亚洲精品中文字幕在线视频 | 国内精品宾馆在线| 麻豆久久精品国产亚洲av| 在现免费观看毛片| 麻豆久久精品国产亚洲av| 亚洲欧美中文字幕日韩二区| 亚洲av欧美aⅴ国产| 亚洲精品第二区| 国产精品成人在线| 国产亚洲一区二区精品| 亚洲精品日韩av片在线观看| 特大巨黑吊av在线直播| 国产精品秋霞免费鲁丝片| 在线观看人妻少妇| 爱豆传媒免费全集在线观看| 欧美97在线视频| 一级a做视频免费观看| 赤兔流量卡办理| 国产视频首页在线观看| 人妻一区二区av| 亚洲色图综合在线观看| 亚洲色图av天堂| 成人无遮挡网站| 高清午夜精品一区二区三区| 禁无遮挡网站| 精品人妻偷拍中文字幕| 狂野欧美激情性bbbbbb| 自拍偷自拍亚洲精品老妇| 国产精品久久久久久精品古装| 自拍偷自拍亚洲精品老妇| 一级av片app| 国内揄拍国产精品人妻在线| 老师上课跳d突然被开到最大视频| 黑人高潮一二区| 久热这里只有精品99| 日韩强制内射视频| 欧美人与善性xxx| 日日摸夜夜添夜夜爱| 欧美日韩综合久久久久久| 成年人午夜在线观看视频| 天天躁夜夜躁狠狠久久av| 韩国高清视频一区二区三区| 少妇丰满av| 观看免费一级毛片| 精品久久久久久久久av| 国产精品国产av在线观看| 午夜亚洲福利在线播放| 久久久久久久久久久免费av| 免费观看的影片在线观看| 男的添女的下面高潮视频| 久久精品久久久久久久性| 日本午夜av视频| 中文字幕人妻熟人妻熟丝袜美| 一边亲一边摸免费视频| kizo精华| 国产av国产精品国产|