Pratique du Shadowing: Akira Kurosawa - Composing Movement - Apprendre l'anglais à l'oral avec la vidéo

Hi my name is Tony and this is Every Frame a Painting.

So here’s a fundamental question: When you’re judging a shot, what’s the first thing you look for?

Is it balance?

Leading lines?

Golden ratio?

Color? Light? Shapes?

I think these are all essential, and they’re all part of good images.

But there’s one thing I always notice first Movement --For me, Kurosawa is the Beethoven of movie directors --It's that recognizable full sound that Beethoven had --that is so unmistakable A Kurosawa film moves like no one else’s Each one is a masterclass in different types of motion and also ways to combine them.

Over a career spanning half a century he made 30 films and in all of them, the movement is surprising and cinematic.

Wow. If you’d like to see the names of the films, press the CC button below.

So what types of movement did he like?

First, there’s the movement of nature.

In every one of his films, the background of the shot features some kind of weather.

Wind Water Fire Smoke Snow One advantage of this approach is that shots have a lot of visual interest.

Even when people are still, there’s rain in the background to draw your eye.

--Rain is a real emotional trigger that works in any film.

--You know, anything that’s excessive because it gives you --another layer that the audience can relate to sensually.

Second, there’s the movement of groups.

Kurosawa films usually feature large groups of people who band together or split apart.

Crowds like this are really cinematic. When you put this many people in a shot, any emotion feels big.

If you want a good reaction shot, try using four people Or twenty-five And if you want something really big...

Which brings us to #3: the movement of individuals.

One of my favorite things about Kurosawa is that that his blocking is unrealistic and exaggerated.

If someone is nervous, they pace left and right.

If they’re outraged, they stand straight up.

And if they’re ashamed… He would often tell his actors to pick one gesture for their character and repeat it throughout the film.

That way, the audience can quickly see who’s who and how they’re feeling.

Number four: movement of the camera.

One of the hallmarks of Kurosawa’s style are his fluid camera moves that go from close-up to full shot to OTS in a single unbroken take.

I did another essay about these shots, called the Spielberg Oner, but what’s important here is that every camera move has a clear beginning middle and end.

Just by itself, this camera move tells a story.

And last, there’s movement of the cut.

Kurosawa is one of the few directors who worked as his own editor.

One of the reasons his movies just flow is that he tends to cut on movement.

Often, you’re paying so much attention to someone who's moving that you don’t see the edit.

When he finishes the scene, he switches the rhythm usually by ending on something static.

and then cutting straight into movement.

By switching up the rhythm, he keeps you on your toes, because you can’t guess the next cut.

So with all that, let’s break down one scene and study the motion.

This scene is from Seven Samurai. I won't tell you what it’s about.

See how long it takes you to figure it out. Ready?

The first shot shows the whole village, then just the important characters then just the samurai.

Right about here...

most people get what’s happening.

As Kikuchiyo sits down his mood ripples outwards to affect the whole village.

Notice how much the wind adds to the scene. Even when people are still there’s that little bit of wind to spice up the frame.

So that’s pretty straightforward.

Now let’s jump 60 years into the future. This is The Avengers.

Here, we start with a camera move into an establishing shot. But this time...

--These were in Phil Coulson's jacket.

We get dialogue right away.

Throughout this scene, the only things that move are the camera and Nick Fury.

Even though we have weather outside and actors in the background none of them are used.

Notice that the camera movement doesn’t have a beginning or an end.

And there’s no variation. Each shot goes in the exact same direction --Maybe I had that coming.

But in Seven Samurai...

The camera moves have a distinct beginning middle and end.

And each shot changes direction from the previous one.

As he climbs up, Kurosawa uses the movement of the flag to cut smoothly into this angle: all seven samurai and their banner, together.

This scene has every type of movement carefully pieced together and spaced throughout.

The weather.

The group. The individual.

The camera.

The cut. But this scene tells its story mostly through dialogue --called the Avengers Initiative.

Sure, the camera moves. But it’s pointless movement.

For all the money that was put into it, this scene feels flat --It's an old-fashioned notion.

But how could you improve this scene? Well...

if you know what the scene’s about, try to express it through movement.

Start with the character. How are they feeling?

Is there any way the actor can convey that by moving?

Okay, maybe that's too much. Let’s be more subtle.

Take the feeling that’s inside the character and bring it out through the background.

If a character is angry and menacing, you can do this Or if she's simmering with resentment.

Another option is to contrast one person against the group.

So if somebody suffers a very public humiliation, this works.

Or if they’re looking for a needle in a haystack You can use camera movement to convey excitement You can cut on movement to show surprise And you can combine every type of motion into one amazing image By the way, you don’t need to put every type of movement in every shot.

That’s just tiring.

But there’s a nice middle ground with lots of variation and subtlety and you won’t know what works best until you try it.

If you combine the right motion and the right emotion you get something cinematic.

--But just for me, I look at his movies two or three times a year --just to feel, oh wow, that’s why I wanted to be a filmmaker --and look what I’m doing now.

--Special effects, and then another movie about special effects --and then a third movie about special effects.

Now pick any of his films. Go to any scene.

And watch how everything moves together --You know, it’s the visual stimulation that hits the audience.

That’s the reason for film.

Otherwise, we should just turn the light out and call it radio.

Subtitles by the Amara.org community

📺 Même chaîne

Buster Keaton - The Art of the Gag

University Students

✨ Vidéo recommandée

133 phrases

The Art of Cinematic Composition

Business EnglishUniversity StudentsWorking Adults

359 phrases

'The Odyssey' Cast Explains How Christopher Nolan Shoots Blockbusters Like Independent Films

Business EnglishUniversity StudentsWorking Adults

23 phrases

Mark Bowden Tests Raj’s Body Language | Mark Bowden - Raj Shamani #shorts #bodylanguage

Business EnglishUniversity StudentsWorking Adults

198 phrases

Vocabulaire et conseils d’expression pour cette leçon

Cette vidéo contient 86 phrases et 1131 mots à répéter en shadowing. La partie parlée dure 8:20. Le locuteur parle à un rythme régulier d’environ 136 mots par minute, confortable pour le shadowing. 87 % des mots font partie des 3 000 mots les plus courants en anglais, le vocabulaire est donc facile à suivre.

Vocabulaire clé de cette vidéo

15 mots de la vidéo à retenir, avec leur prononciation et leur sens :

Mot	Prononciation	Sens
samurai nom	/ˈsæməˌɹaɪ/	samouraï
combine verbe	/kəmˈbaɪn/	combiner
dialogue nom	/ˈdaɪəˌlɑɡ/	dialogue, conversation
emotion nom	/ɪˈməʊ.ʃən/	émotion
variation nom	/ˌvɛəɹiˈeɪʃn̩/	variation
rhythm nom	/ˈɹɪð.əm/	rythme
convey verbe	/kənˈveɪ/	transporter
carefully adverbe	/ˈkɛɹf(ə)li/	soigneusement
contrast nom	/kənˈt(ʃ)ɹæst/	contraste
establish verbe	/ɪˈstæb.lɪʃ/	affermir, instaurer
suffer verbe	/ˈsʌfɚ/	souffrir
mood nom	/muːd/	humeur, mauvaise humeur
layer nom	/ˈleɪ̯ɚ/	couche
angle nom	/ˈæŋ.ɡəl/	angle
pace nom	/peɪs/	pas

Les verbes à particule que vous entendrez

Mot	Sens
break down verbe	tomber en panne
sit down verbe	s'asseoir

Prononciation à surveiller

Le locuteur utilise 15 contractions et formes réduites, comme they're, don't, won't. Prononcez-les sous leur forme courte, telles que vous les entendez.

Les sons « th »: rhythm /ˈɹɪð.əm/, smoothly /ˈsmuːðli/
Les sons « sh » et « zh »: emotion /ɪˈməʊ.ʃən/, variation /ˌvɛəɹiˈeɪʃn̩/, contrast /kənˈt(ʃ)ɹæst/, establish /ɪˈstæb.lɪʃ/, ratio /ˈɹeɪ.ʃoʊ/
Mots longs — placez bien l’accent: fundamental /ˌfʌn.dəˈmɛn.təl/, stimulation /stɪm.jʊˈleɪ.ʃən/, humiliation /hjuːˌmɪliˈeɪʃən/, kinematic /kɪn.əˈmæt.ɪk/, exaggerate /ɛɡˈzæd͡ʒ.ə.ɹeɪt/

Comment s’entraîner avec cette vidéo

Écoutez la vidéo en entier une fois sans parler et notez les mots que vous ne connaissez pas.
Répétez phrase par phrase à vitesse normale, en reprenant chacune jusqu’à ce que votre rythme corresponde à celui du locuteur.
Enregistrez-vous et comparez avec l’original, en faisant attention à des mots comme samurai, combine, dialogue.

Qu'est-ce que la technique du Shadowing ?

Le Shadowing est une technique d'apprentissage des langues fondée sur la science, développée à l'origine pour la formation des interprètes professionnels. Le principe est simple mais puissant : vous écoutez de l'anglais natif et le répétez immédiatement à voix haute — comme une ombre suivant le locuteur avec un décalage de 1 à 2 secondes. Les recherches montrent une amélioration significative de la précision de la prononciation, de l'intonation, du rythme, des liaisons, de la compréhension orale et de la fluidité.

Technique du shadowing : lire le guide complet étape par étape →

Pratique du Shadowing: Akira Kurosawa - Composing Movement - Apprendre l'anglais à l'oral avec la vidéo

Buster Keaton - The Art of the Gag

The Art of Cinematic Composition

'The Odyssey' Cast Explains How Christopher Nolan Shoots Blockbusters Like Independent Films

Mark Bowden Tests Raj’s Body Language | Mark Bowden - Raj Shamani #shorts #bodylanguage

Kim Jung Gi - How to Become a Master

The Animation of Phoenix Wright

Why your best work happens when you stop taking it too seriously

Michael B. Jordan Best Actor Press Room Speech | 98th Oscars (2026)

Motion

Martin Scorsese Breaks Down His Most Iconic Films | GQ

Direction Matters More Than Speed | B2 English Shadowing

The Art of Sfumato: An In-Depth Oil Painting Masterclass

Daniel Day-Lewis - 'Movies 101' Part 2

Vocabulaire et conseils d’expression pour cette leçon

Vocabulaire clé de cette vidéo

Les verbes à particule que vous entendrez

Prononciation à surveiller

Comment s’entraîner avec cette vidéo

Qu'est-ce que la technique du Shadowing ?