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This article presents a study that tested the impact of audio description (AD) style on dimensions of presence (spatial presence, ecological validity, engagement, and negative effects) in blind and visually impaired audiences. The participants were shown two fragments of a naturalistic drama with two styles of description: 'standard' and 'creative'. While the former followed the principle of objectivity, the latter was an innovative type of AD that included elements of camera work and subjective descriptions of the characters, their actions, and scenes crucial to the plot. The findings show that the emotive AD prompted higher levels of presence for all participants. Overall, the new AD style seemed more natural, especially to participants with recent sight loss. The results suggest that creative scripts may stimulate presence and thus increase the chances of AD users having a more immersive viewing experience.

Introduction Time constraints limit the quantity and type of information conveyed in audio description (AD) for films, in particular the cinematic aspects. Inspired by introductory notes for theatre AD, this study developed audio introductions (AIs) for Slumdog Millionaire and Man on Wire. Each AI comprised 10 minutes of continuous description incorporating information about the film's visual style, fuller descriptions of characters and settings, a brief synopsis, and cast and production details. The AIs were tested with participants who are blind and have low vision. Method Twenty-four visually impaired volunteers listened to the AIs before or after watching the films with AD, and gave feedback about their experience, either at sessions organized at the University of Roehampton, United Kingdom, or at home. Results This was a small-scale, exploratory study that showed a positive response to the concept of AIs for film. Most participants felt the AIs helped bring the films to life and made them easier to follow. The majority of participants wanted AIs for other films. Discussion AD guidelines discourage describers from mentioning camera work, yet most participants reported that this information in the AI was not too technical, and that the proportion of the AI devoted to visual style was about right (14 of 20 for Slumdog Millionaire, 14 of 16 for Man on Wire). Only a minority felt that the AIs "told me things I could find out for myself." This suggests that access to screen media for people with a visual impairment can be enhanced by additional cinematic and other visual information. Implications for practitioners Given the limited time available for description during the film itself, AD providers should consider the use of AIs as a complement to standard film AD. These audio introductions could be stand-alone or accessed from a website.

For wayfinding at museums, galleries, and heritage sites, the majority of people who are blind or partially sighted favour verbal directions over tactile maps. Those who provide such directions are usually fully sighted. Can we assume that details considered important by those with vision are equally helpful to those without? This article presents a study comparing descriptions of familiar routes recalled by fully sighted, partially sighted, and blind participants, highlighting the differences in navigation strategies. All participants cited landmarks, but those with impaired vision also detailed significantly more objects, or 'milestones', en route. In the absence of such milestones, they relied on metrics that were often environmental or body-based. Distances were precisely specified, rather than 'vague'. Landmarks and milestones were accessed multimodally by blind and partially sighted participants, or a combination of landmarks and milestones were sought for corroboration. In contrast, fully sighted participants reported predominantly unimodal information, that is, visual. The findings may have practical implications for improving the type of verbal orientation information provided to assist blind or partially sighted people.