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The Accessibility Report

WHAT IS THE ACCESSIBILITY REPORT?

The Accessibility Report is an interactive manual. It is divided into ten sections, which contain the different phases of the creative process of this film. Its aim is to capture the essence of each department of the project through videos, photographs and the testimonies of its main team, allowing the professionals in accessibility to know firsthand the most important data they will have to take into account  in the audio description and the enriched subtitling.

Fernando Villamanta, Whatscine’s CEO, reading the Accessibility Report.

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 Cinema for all: Part 2

An eye-opening anecdote

People are usually motivated by personal experience as a catalyst for universal change. Miguel Ángel Font Bisier admits he is not an agent of change who has personally been affected by any disability either through family members or his social bubble.

No, his defining moment was a result of a meeting with a deaf attendee at a film festival in San Diego 10 years ago. Admittedly, due to budget constraints and not thinking it would be selected for festival content, he had decided to shoot the film more as video art, abundant with visuals, few sound effects and complimenting music.

Miguel Ángel Font Bisier attending La Jolla Fashion Film Festival 2011. By Minh Huyhn.

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What inclusion has taught me – A life-changing story (complete)

What inclusion has taught me - A life-cha
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Cinema for all: Part 1

An unconscious bias exists towards the deaf, blind and disabled community among cinema enthusiasts.

At its premiere, XMILE was screened featuring SDH. By Sergio López.

How many of us have gone to the cinema to watch a film that included subtitles for audience members who were hearing impaired? Were you annoyed with the whispers of their companions trying to explain what was happening throughout the film? Further, have you ever seen a visually impaired person at the cinema? Personally, I have not.

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What inclusion has taught me: A life-changing story (Chapter 10)

10: THE RIPPLE EFFECT

Blues Time was meant to be innovative and also my most personal production, but this time I could not finance it myself.

Clearly, I had to find a production company to join the project.

Image 62: Cinematographer Fede Taus ready to shoot. By Miguel Serrano.

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