Shadowing-Übung: The Problem With Adventure Movies Today - Englisch Sprechen Lernen mit Video

There is a scene in Disney's Jungle Cruise where Emily Blunt's character picks up an old camera and,

in one sentence, pretty much explains the beautiful potential of adventure movies.

They're so much fun, and you can experience being anywhere in the world.

And I thought this was just so ironic, given how the movie itself didn't really let me do this at all.

From beginning to end, it felt fabricated, sterile, and simply unadventurous.

This is not to say it was a bad movie, it was okay, but it is to say that I didn't really get that experience of being anywhere in the world.

It didn't feel like a true adventure.

You coming or what?

And I'd say the same is true for other recent adventure movies, many of which seem to have been trying to recapture the classic tales

and story elements that the genre has been known and loved for, sometimes even blatantly copying them.

but in doing so they only seem to have revealed more clearly how they are not quite the same.

If you're a fan of adventure movies, I'm sure you've had that experience too, where you feel like you should be enjoying a movie that,

on paper, has all the right ingredients, and yet, something is missing.

Somehow, the whole is less than the sum of its parts.

And it's not just the over-reliance on, or bad quality of, special effects and CGI, That's not what this video is about.

Well, kind of.

But as we've seen with the recently released Jurassic World Dominion for example, which prided itself for using twice the amount of animatronics than the previous two movies,

but which still didn't even come close to the original Jurassic Park, the issue is more complicated than that.

It's about that more intangible spirit of adventure.

Because to me, true adventure movies are not necessarily about certain tropes, They are not defined by dinosaurs or mummies or hidden treasures,

but by the way they capture a mode of experience.

You know, that sense of discovery, of going into the unknown, and making it feel tangible and stimulating to the audience.

And this, it seems, is becoming a bit of a lost art.

To elaborate on this in more detail, let's zoom in on a more specific example to explore what really makes a great adventure movie.

The Last World Jurassic Park Actually, let's make this a bit more interesting.

The Last World Jurassic Park Yup, I rewatched The Last World Jurassic Park not too long ago,

and was surprised at how well it actually holds up.

Is it as perfect as the first one?

No. This is not a, the favorite movie from my childhood is actually a masterpiece kind of thing, although I do genuinely believe that The Last World,

which tends to be lumped into the same category as the other sequels, deserves some degree of re-appreciation.

Because as an adventure movie, I think it is still leagues ahead of the Jurassic World movies, and yes, that includes Dominion,

which was so frustrating that I made another full-length video to serve as a companion piece to this one.

In that video, I cover the entire Jurassic World saga, and explore in detail where and how it all went wrong.

The video is available exclusively on our creator-owned streaming service Nebula, but I'll get back to that at the end.

Furthermore, The Last World is a good example of how CGI, animatronics, and other cinematic trickery can be used, while still maintaining a sense of reality.

And most importantly, it highlights precisely, and in some ways even more clearly than the original, what is missing from so many adventure movies today.

Yeah, ooh, ah, that's how it always starts, but then later there's running and then screaming.

Let's begin with the fundamentals, the more thematic foundation at the heart of the adventure movie, which of course is the adventure itself.

Because this, I think, is already a point of misunderstanding in a lot of adventure movies.

In his video essay, Patrick Willems argued

that the reason the Jurassic Park sequels generally did not work is because we could no longer empathize with the main characters.

In the first film, the characters had no idea what they were getting into, and we empathized with them because neither did we.

But in the later films, we know what happened in the park, we know how everything went terribly wrong, And so, from this moment on,

as Patrick explained, there was going to be a disconnect between us

and any character who would want to return to the island.

And while I agree that this is true for Jurassic Park 3, which used convoluted writing to get people back to the dinosaurs, and for the Jurassic World sequels,

which used even more convoluted writing to get dinosaurs back to the people, when it comes to the Lost World, I respectfully disagree.

I originally wrote a section here about how The Lost World demonstrates,

like Jurassic Park, that it's not the factual but rather the subjective feeling of safety that motivates and progresses the story,

and that this is established well enough in both movies.

That's why we're taking extreme precautions.

The carnivals are isolated in the interior of the island, so the team can stay on the outer rim.

I also wrote about how The Lost World presents enough characters like Sarah and Owen,

characters who are not easily deterred by danger and who have their own reasons for wanting to go on this expedition.

I've worked around Predator since I was 20 years old.

I was in Rwanda, Chechnya, all over Bosnia.

But I realized I was just dancing around the real point,

the one simple and relatable reason for why people would willingly go to an island full of dinosaurs.

And that is… because it is an island full of dinosaurs.

In Arthur Conan Doyle's novel The Lost World, which was first adapted to cinema in 1925,

and which was one of the most prominent inspirations for the Jurassic Park sequel, we follow a group of characters on an expedition to a plateau in South America where it is rumored

that dinosaurs still exist.

One of the characters is very excited to go, which prompts another to remark, you seem very anxious to lose your life, to which he simply responds,

to justify my life sir.

The point is that the appeal of any great adventure lies in the adventure itself, and the promise of danger does not necessarily detract from that.

In fact, for some this is precisely what makes it so alluring.

At one point in The Lost World, a character named Roland recounts the story of a man who climbed Mount Everest without oxygen,

and when that man was asked why he went up there to die, he answered, I didn't, I went up there to live.

Roland himself came to the island to hunt a Tyrannosaurus Rex, and is at one point referred to as Ahab, the main character from Herman Melville's Moby Dick,

who was famously obsessed with chasing after a giant white whale, and who also captured that fiery drive towards adventure.

A longing that was so beautifully articulated by Ishmael, a member of Ayub's crew and the narrator of the book,

when he said, I am tormented with an everlasting itch for things remote.

I love to sail forbidden seas, and land on barbarous coasts.

The Last World, like the first Jurassic Park, and any great adventure story really, understood that this fascination with the unknown,

this call to adventure, even when it seems to go against all reason and rational judgment, is completely human and empathetic.

Actually, as Carl Sagan once argued, might not be as irrational and grandiose as we often assume, and could in fact be an essential element in our survival.

Long summers, mild winters, rich harvests, plentiful game, none of them last forever, he said.

Your own life, or your bands, or even your species might be owed to a restless view, drawn by a craving they can hardly articulate or understand,

to undiscovered lands and new worlds.

And so, to summarize the essence of adventures, are they dangerous?

Yes.

Does that stop us from passionately chasing after them and enjoying them?

Absolutely not.

Adventures are a part of who we are, there is an innate meaningfulness and excitement to them, and therefore, when we tell stories about them,

we do not need dozens of excuses or justifications that work around

that simple fact and which only tend to lead to overly convoluted plots.

What we need are storytellers that embrace our natural curiosity towards the undiscovered and the awe-inspiring,

that are able to capture that spirit of adventure, and then translate it to cinema.

But now for the hard part.

How to actually go about doing this?

How to ignite that passion within the audience and make them feel like they are on an actual adventure?

Because obviously all this is much easier said than done.

Wait, wait, shh, shh, shh.

Stay there, be quiet.

Be right back.

Sarah, no, no!

A good starting point is to have adventurous characters for the audience to connect with,

and who can serve as a gateway for us to channel our own enthusiasm for exploring a new world.

I already talked about Roland, and briefly mentioned Sarah, the young enthusiastic scientist

100

and studier of animal behavior whose passion for her work greatly energizes the feeling of adventure.

101

But do you also remember this guy?

102

Pachycephalosaurus!

103

although he only seems to be present to give quick exposition on some of the dinosaurs, You see that distinctive dome skull?

104

Nine inches of solid bone which, in any other type of story, could be considered as a breaking of the show don't tell rule.

105

I think his dinosaur nerdiness actually works quite infectious, and gets the audience excited to learn more about these creatures too,

106

thereby drawing them deeper into the adventure.

107

You cannot land on this island!

108

For contrast, compare this to Jurassic Park 3, which has some of these elements, but which, for me at least,

109

invokes an overwhelming vibe that no one wants to be there

110

and that the only goal from the very beginning is to go home as fast as possible.

111

And that just takes the fun out of it.

112

It's a bad idea!

113

What's a bad idea?

114

In Jurassic World Dominion 2, which throws more dinosaurs at you than ever before, No one seems to be all that interested in them,

115

and we as the audience also don't get to learn much about them,

116

thereby turning these creatures that should capture our imagination into mere obstacles for a mostly unrelated plot.

117

In short, an adventure story needs some guiding characters.

118

We need those archetypal magicians not only to enlighten us about what exactly it is that we are witnessing,

119

but also to invoke within us that passion that is needed to care about it.

120

You can still have skeptical characters like Malcolm,

121

in fact, they absolutely have their place as the voices of reason and prudence that define the line between adventure and hubris,

122

but that's not the same as erasing our enthusiasm altogether.

123

Look, she has to touch it.

124

She can't not touch.

125

The next step then is to present us with the undiscovered land, to give shape to the new world,

126

And the major challenge here is offering one that feels real and tangible, that makes us feel like we really are somewhere.

127

The easy answer here would be to do everything for real.

128

The filmmaker Werner Herzog for example was so convinced that an audience can immediately tell when something is real or not, that when he made his movie Fitzgerald,

129

the story about a man obsessed with transporting a giant riverboat through the jungle,

130

he ventured deep into the Amazon to haul an actual riverboat over an actual mountain.

131

And you can tell the difference, that this is not a plastic boat and that this, that this slope here is no joke at all.

132

But of course, not all movies can do everything completely for real, and nor should they.

133

This is, in part, why I wanted to zoom in on Jurassic Park, because it is a story that inherently demands fabrication

134

and cinematic trickery to make us believe in its reality to make us feel like these dinosaurs are actually there.

135

And that, in the end, is the only thing that matters.

136

It doesn't have to be real, it just has to feel real.

137

So, how do we do this?

138

Well, for me the key word here is texture.

139

Because sure, grand landscapes and beautiful vistas are absolutely part of a fun adventure.

140

But personally, and this might just be me, but when I'm on an adventure, I don't just want to look at things, I want to touch them,

141

I want to feel the surfaces of rocks, I want to put my hand in the water to feel how cold it is, I want that tactile experience.

142

And though you cannot directly experience that through a screen,

143

a movie can communicate what it would be like and utilize our capacity to imagine certain sensations to enhance its own reality.

144

The Last World Just take a look at how The Last World presents most of its dinosaurs.

145

Besides alternating between CGI and real animatronics, which in itself already helps to suspend disbelief,

146

the dinosaurs are always grounded within the environment.

147

Sometimes this simply means that they are contrasted with human characters to give them a sense of scale and presence,

148

but in most cases this means that they are in some way or another interacting with something real, be it humans or environmental elements.

149

The next time you watch The Last World, just focus on how often the dinosaurs are in direct contact with humans, how they are bumping into vehicles,

150

jumping around, destroying stuff, pushing things over, or just generally making some impact in the world around them.

151

To be fair, the newer movies do this too to some extent, but they've also clearly grown much more self-confident about the quality of their CGI,

152

and let it stand on its own far more often.

153

Back in the 90s the CGI was good, but contrary to popular opinion, it wasn't so good, definitely not better than what we can do today,

154

that they didn't have to make the effort to hide it somewhat, which possibly makes that grounded feeling of its dinosaurs a mere side effect from a lack of resources.

155

But whether intentional or not, the effectiveness is undeniable, And this also demonstrates why the dinosaurs in the newer movies,

156

despite looking more real, still don't always feel as real.

157

It's because they lack that tactile quality, they don't feel as grounded in their environment.

158

There are some other issues at play here though, the first being a lack of attention to detail.

159

Now, this might be for the dinosaur nerds only, but seeing the stegosauruses again in the Lost World,

160

I realized another thing that bothered me about the dinosaurs in the later films.

161

They are not moving correctly.

162

When I was a kid I was a huge fan of the show Walking with Dinosaurs, and in the making of, they showed how much care and effort went into bringing the dinosaurs to life.

163

Like Jurassic Park they used a combination of animatronics and CGI, but more importantly, they also paid a lot of attention to how these creatures would have moved.

164

They took into account their weight and joint structures,

165

and came to the conclusion that the bigger herbivores must have moved similarly to how larger mammals like rhinos and elephants do.

166

And this we see in the Lost World 2, where the stegosauruses move like they have actual weight.

167

Now, compare this with the later films.

168

Here, all these giant herbivores seem to be galloping like horses.

169

There's a weightlessness to them that to me just makes them feel more divorced from the world around them.

170

Secondly, there are some other more general technical issues that make it harder to suspend your disbelief.

171

Admittedly, I'm not an expert on this and so I won't linger on it for too long, but sometimes with more modern movies there's this general lack of realness.

172

You may have experienced this too, it's that feeling that, even when a movie was shot on real locations or some stunt was actually done for real,

173

it still feels kind of fake.

174

I think it has to do with the color grading, or some other form of digital alteration.

175

You can see it when you compare the early Pirates of the Caribbean movies with the newer ones for example.

176

In all of them, the actual CGI is really good, it's great even.

177

But the newer ones have this general digital feeling to them that makes the whole environment around it feel less real,

178

which to me also detracts from the realness of the CGI.

179

Lastly, there is the issue of narrative framing, and the way dinosaurs are contextualized within the larger story.

180

I initially liked Jurassic World's premise of a predator raised in

181

isolation without any regard for what this would do to it psychologically, but as the story unfolded, they never reflected back on this,

182

never again commented on the circumstances under which this creature was raised,

183

instead it just became this seemingly bulletproof monster that made up abilities on the spot.

184

Make your camera fly!

185

and this apparently became the guiding principle moving forward.

186

Dinosaurs weren't tangible realities they were not really to be understood or engaged with, they were just whatever the plot needed them to be at any given moment,

187

which, especially in Dominion, was mostly a momentary obstacle for our main characters.

188

In contrast, when revisiting The Lost World, I was surprised at how consistently the dinosaurs are treated like real animals, We get to know their habitats,

189

their behaviors and motivations, which not only adds to their believability as a real presence, but also contributes to the tension and the logic of the plot.

190

Because when you know, let's say, where the hunting grounds of the raptors are, you know what this is going to lead to.

191

Or when you know what the instincts are that drive the Tyrannosaurus, you know that this means there's going to be trouble.

192

Mommy's very angry.

193

And this brings us to another important element that draws us deeper into an adventure movie, that makes their worlds feel more tangible and more touchable,

194

and that is by having great action scenes.

195

Action, especially in adventure movies, is almost inherently defined by some kind of interaction with the environment,

196

and as such, it can serve really well to emphasize its more visceral qualities.

197

But, as you already know, not all action scenes are equal, there are good ways and bad ways to go about them,

198

and again, I think the key word here is texture, which to me is what makes me feel like I'm experiencing an actual sensation,

199

instead of just looking at visual noise.

200

Besides the issue of CGI versus practical effects, which also applies to action, but which I think we've covered enough for now.

201

One significant difference I've noticed with the later Jurassic World movies is

202

that even though they have a much greater quantity of action scenes, they also come and go much faster, and have far less individual beats within each one of them.

203

As a consequence, they lack the time and breathing room for us to get truly invested in them, and to really experience these moments viscerally.

204

What really happens in this scene for example?

205

What choices are being made?

206

Our characters encounter a dinosaur, they see an exit, grab the chair, climb up, fall down for a little bit, and then escape after a minor struggle.

207

Aside from a brief moment of slight tension, what do you really feel during a scene like this?

208

Now compare this to the T-Rex attack on the Cliffside trailer in The Last World, which is arguably one of the series' most iconic sequences.

209

But why is that?

210

Besides the fact that, as previously discussed, the scene is well set up by giving us information on the T-Rexes,

211

based on which we were already anticipating the coming danger and building tension for it, what makes this so much more visceral and memorable?

212

Well, for one, from the moment the T-Rexes arrive and our main characters are rescued by the hunting party.

213

It takes almost 15 minutes.

214

This is a sequence that doesn't just bombard us with quick action, but that takes its time to set up the stakes,

215

and that actually incorporates a lot of moments of silence and inaction.

216

This may sound a bit paradoxical, but I think it's precisely in these moments

217

that we really get to inhabit the characters and empathize with them as they try to figure out the best way forward.

218

Who's hurt?

219

What do you need?

220

I particularly loved the part with Eddie, who up until this moment was kind of present in the background as a rather unremarkable supporting character.

221

He certainly wasn't an overly emphasized heroic badass,

222

he was just a regular guy who suddenly emerges as the great unsung hero of the franchise.

223

Come in!

224

And really look at his part in the action here, look at how many elements it has going on.

225

There's the rope that is slipping, the trailer that's edging towards the cliff.

226

He grabs a second cable but it's too short, then he fixes the rope but now the car starts to move, and he tries to get a grip but it's muddy

227

and then the two T-Rexes return and his gun is stuck and it's just… And it's such a tactile scene too, you know, the rain, the water, the dirt.

228

I've seen this scene countless times

229

and it remains as effective as ever at invoking the discomfort of being utterly drenched

230

and making me feel that sting of what must have been called wet hands handling those rough steel cables.

231

This is what I would call a sequence with real texture, that absorbs me completely, and that makes me feel like I'm truly part of the adventure.

232

And despite some of its shortcomings, The Last World is full of these.

233

And so, to summarize, these are what I believe to be the necessary elements of any great adventure movie.

234

They are stories that capture the spirit of adventure, that inspire our curiosity and passion for the unknown and the undiscovered,

235

that understand that we want to be immersed in new worlds, that we actually want to learn about them, and that give us enthusiastic characters to help us do so,

236

to make us care, make us feel giddy about the journey ahead, and then channel our excitement by offering tangible worlds that feel real and lived in.

237

Worlds that, even if they are completely fantastical, convince us that we could reach out and touch them,

238

that make us feel like we are going on a true adventure.

239

Now, of course, there are plenty of other more general storytelling and filmmaking qualities that make a great adventure movie.

240

One such quality for example, which is also another reason for why I believe The Lost World deserves some re-appreciation,

241

is having three-dimensional characters that actually feel like human beings.

242

This is something that is sorely missing from the Jurassic World movies.

243

It's the kind of stuff

244

that turns the trophy hunter antagonist from a villainous caricature into a compelling character with an actual personality

245

and a solid transformation arc.

246

On top of that, there's the obvious importance of having a sensible storyline, thematic coherence, good editing, music,

247

that sort of stuff, basically all the things that I didn't get when I watched Jurassic World Dominion.

248

But because I wanted this video to maintain its focus on the more specific qualities of the adventure movie, I made a second full-length video called Fallen Franchise,

249

The Many Failures of Jurassic World Dominion, that offers a full breakdown of the concluding chapter of the Jurassic World saga,

250

and also traces its problems back to its earlier entries.

251

Among other things, I discuss how Jurassic World fundamentally misunderstands our fascination with dinosaurs, why this moment works and this one does not,

252

how Dominion's weird moralizing undermines the most important themes of the original Jurassic Park, how it absolutely wastes its legacy characters,

253

and how, despite finally arriving at its bold new premise of a dinosaur-infested world, It not only ends up in the exact same place,

254

but somehow also manages to make the dinosaurs completely unnecessary to their own story.

255

Fallen Franchise, the many failures of Jurassic World Dominion, is exclusively available on our creator-owned streaming platform Nebula.

256

Besides watching ad-free and exclusive videos from your favorite creators, and supporting an amazing community,

257

on Nebula you can also listen to monthly bonus episodes of my podcast Cinema of Meaning, which I host together with my fellow video essayist Thomas Flight.

258

The best way to get access to Nebula is by signing up for CuriosityStream, who kindly agreed to sponsor this video.

259

CuriosityStream is a streaming service with thousands of documentaries and nonfiction titles.

260

If you want to learn more about dinosaurs for example, they have some excellent series like Dino Hunt and Ancient Earth, which are definitely worth checking out.

261

Whereas CuriosityStream is all about big budget, nonfiction productions like these, They also love independent creators,

262

which is why they are helping us to grow our platform Nebula,

263

and which is why we can offer this great bundle to get both services for less than $15 for a whole year.

264

So if you'd rather be watching my exclusive video essay on Jurassic World Dominion instead of this ad,

265

enjoy some fantastic documentaries, and listen to exclusive episodes of Cinema of Meaning,

266

be sure to head on over to curiositystream.com slash likestoriesofold, to get the best deal in streaming today.

📺 Gleicher Kanal

Why We Can't Save Those We Love

University StudentsWorking Adults

Movie Monologues that Radicalized my Moral Philosophy

Daily ConversationUniversity StudentsWorking Adults

✨ Empfohlenes Video

525 Sätze

Wortschatz und Sprechhinweise zu dieser Lektion

Diese Sprechübung auf Niveau B2 basiert auf dem Video „The Problem With Adventure Movies Today“. Diese Wörter kommen am häufigsten vor: adventure, movie, Jurassic, dinosaur, character. Dieses Video enthält 266 Sätze und 4377 Wörter zum Nachsprechen. Der gesprochene Teil dauert 26:55. Der Sprecher spricht in natürlichem Tempo, etwa 163 Wörter pro Minute, ähnlich wie im Alltagsgespräch. Nur 80 % der Wörter gehören zu den 3.000 häufigsten im Englischen, der Wortschatz ist also anspruchsvoll.

Wichtiger Wortschatz in diesem Video

Die 15 anspruchsvollsten Wörter aus dem Video, mit Aussprache und Bedeutung:

Wort	Aussprache	Bedeutung
dinosaur Substantiv	/ˈdaɪnəsoɹ/	Dinosaurier, Dinosaurus
tangible Adjektiv	/ˈtæn.d͡ʒə.bəl/	greifbar, erfühlbar
cinema Substantiv	/ˈsɪn.ə.mə/	Kino, Filmtheater
convoluted Adjektiv	/ˌkɑnvəˈlutəd/	gewunden
tactile Adjektiv	/ˈtæktaɪl/	fühlbar
texture Substantiv	/ˈtɛkst͡ʃə(ɹ)/	Textur
sequel Substantiv	/ˈsiːkwəl/	Fortsetzung, Folge
precisely Adverb	/pɹɪˈsaɪs.li/	präzise
disbelief Substantiv	/dɪsbɪˈliːf/	Unglaube
empathize Verb	/ˈɛmpəˌθaɪz/	mitfühlen, Mitgefühl haben
fascination Substantiv	/fæsɪˈneɪʃən/	Faszination
herbivore Substantiv	/ˈ(h)ɜːɹbɪvɔːɹ/	Pflanzenfresser
nonfiction Substantiv		Sachliteratur
obsess Verb	/əbˈsɛs/	besessen sein
riverboat Substantiv	/ˈɹɪvɚˌboʊt/	Binnenschiff

Phrasal Verbs, die du hören wirst

Wort	Aussprache	Bedeutung
go up Verb		hinaufgehen, steigen
set up Verb	/ˌsɛt ˈʌp/	aufbauen, für den Einsatz vorbereiten
check out Verb		überprüfen
figure out Verb		herausfinden
get back to Verb		sich melden
hold up Verb		warten
make up Verb	/ˌmeɪk ˈʌp/	wiedergutmachen, kompensieren
move forward Verb		vorantreiben, vorwärtstreiben

Sätze zum Wiederholen

Kurze, vollständige Sätze aus dem Video, die du im Alltag wiederverwenden kannst:

You coming or what?
That's why we're taking extreme precautions.
Does that stop us from passionately chasing after them and enjoying them?
What do you need?

Grammatik in diesem Video

Die Strukturen, die der Sprecher am häufigsten verwendet, mit den genauen Worten aus dem Video:

Struktur	Im Video
Passiv be + Partizip Perfekt – wichtig ist, was geschieht, nicht wer es tut	has been known · are not defined · be lumped
Relativsätze who / which + Satz – eine Zusatzinformation über eine Person oder Sache	World, which was · and which was · man who climbed
Present Perfect have/has + Partizip Perfekt – eine vergangene Handlung, die jetzt noch wichtig ist	has been known · we've seen · I've worked

Aussprache, auf die du achten solltest

Der Sprecher verwendet 37 Kurzformen und abgeschwächte Formen, zum Beispiel didn't, don't, I'm. Sprich sie in der kurzen Form, so wie du sie hörst.

Die „th“-Laute: empathize /ˈɛmpəˌθaɪz/, thematic /θɪˈmætɪk/, enthusiastic /ɪnˌθjuːzɪˈæstɪk/, enthusiasm /ɪnˈθuziæzəm/, thereby /ðɛɹˈbaɪ/
Die Laute „sh“ und „zh“: fascination /fæsɪˈneɪʃən/, expedition /ɛkspəˈdɪʃən/, appreciation /əˌpɹiː.ʃiˈeɪ.ʃən/, rational /ˈɹæʃ(ə)nəl/, anxious /ˈæŋkʃəs/
Lange Wörter – auf die Betonung achten: animatronics /ˌænɪməˈtɹɒnɪks/, convoluted /ˌkɑnvəˈlutəd/, fascination /fæsɪˈneɪʃən/, kinematic /kɪn.əˈmæt.ɪk/, stegosaurus /ˌstɛɡəˈsɔːɹəs/

Laute, die Deutschsprachigen schwerfallen:

/w/ — mit runden Lippen, nicht wie das deutsche „w“ (/v/): sequel /ˈsiːkwəl/, overwhelm /ˌoʊ.vɚˈwɛlm/, quantity /ˈkwɑn(t)ɪti/, consequence /ˈkɑn.sɪ.kwəns/
Stimmhafter Auslaut — /b/, /d/, /g/, /z/, /v/ am Wortende nicht verhärten: convoluted /ˌkɑnvəˈlutəd/, empathize /ˈɛmpəˌθaɪz/, summarize /ˈsʌməˌɹaɪz/, suspend /səsˈpɛnd/, mild /ˈmaɪld/
/æ/ — offener als „ä“: tangible /ˈtæn.d͡ʒə.bəl/, animatronics /ˌænɪməˈtɹɒnɪks/, tactile /ˈtæktaɪl/, fascination /fæsɪˈneɪʃən/, kinematic /kɪn.əˈmæt.ɪk/

So übst du mit diesem Video

Höre dir das ganze Video einmal an, ohne zu sprechen, und notiere die Wörter, die du nicht kennst.
Beginne mit 0,75-facher Geschwindigkeit, sprich Satz für Satz nach und wechsle zur normalen Geschwindigkeit, sobald es leichtfällt.
Nimm dich auf und vergleiche mit dem Original; achte dabei auf Wörter wie dinosaur, tangible, cinema.

Was ist die Shadowing-Technik?

Shadowing ist eine wissenschaftlich fundierte Sprachlerntechnik, die ursprünglich für die professionelle Dolmetscherausbildung entwickelt und durch den Polyglotten Dr. Alexander Arguelles populär gemacht wurde. Die Methode ist einfach aber wirkungsvoll: Du hörst englisches Audio von Muttersprachlern und wiederholst es sofort laut — wie ein Schatten, der dem Sprecher mit nur 1–2 Sekunden Verzögerung folgt. Anders als passives Hören oder Grammatikübungen zwingt Shadowing dein Gehirn und deine Mundmuskulatur, gleichzeitig echte Sprachmuster zu verarbeiten und zu reproduzieren. Studien zeigen, dass es Aussprachegenauigkeit, Intonation, Rhythmus, verbundene Sprache, Hörverständnis und Sprechflüssigkeit signifikant verbessert — was es zu einer der effektivsten Methoden für die IELTS Speaking-Vorbereitung und reale englische Kommunikation macht.

Shadowing-Technik: die vollständige Schritt-für-Schritt-Anleitung lesen →

Shadowing-Übung: The Problem With Adventure Movies Today - Englisch Sprechen Lernen mit Video

Why We Can't Save Those We Love

Movie Monologues that Radicalized my Moral Philosophy

Learn English with PODCASTS — Our Favorite Movies of 2026

What If Jurassic Park Was Real? THEY ESCAPED

Tolkien Said He Would Have Refused to Go

The grindification of hobbies

Why Monsters University is Pixar's Greatest Underrated Masterpiece

I Tried Car Camping in an Extreme Storm

How Living Abroad Changed How I See America

Everything changes when you stop playing it safe

Green Book VS Oscar Bait - Let Me Explain

Books I Wish I Read In 2021!!

Walt Disney

How to Save Our Planet