Pratique du Shadowing: Directing Without Words: Visual Storytelling in Film - Apprendre l'anglais à l'oral avec la vidéo
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Film is a medium where the adage show don't tell is a golden rule.
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And yet since the advent of sound, many filmmakers have used dialogue as a crutch to tell the audience what is happening.
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That spider can give superhuman strength and power like Las Arañas.
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This isn't necessarily bad, and there can be captivating and cinematic ways to use dialogue.
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Sometimes you can relay an entire conversation's worth of information with just a look, a shot, or a cut.
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A great scene that doesn't rely on dialogue can contain nuances, subtleties, and lightning in a bottle moments a conversation couldn't get close to.
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So how can a film talk without using words?
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Why waste time say lot word when few word do dreck?
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Before we shut up, be sure to subscribe and enable notifications to stay up to date on all our videos.
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We will be spoiling the following films.
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Time to get quiet.
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A non-verbal exchange between two characters often puts the focus on performance.
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In this extended silent moment between Reynolds and Alma in Phantom Thread, The audience is left to interpret what is going through the characters minds simply based on facial expressions
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The games begin as Alma prepares the omelette Reynolds watches on curious even a bit confused Alma meanwhile seems in control
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The test of wills is at hand hand.
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When they sit to eat, their expressions are playfully petulant, with suppressed grins and exaggerated movements.
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But once Reynolds takes the bite of the omelette, which the audience knows has been poisoned, Alma's grin vanishes.
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Paul Thomas Anderson moves to a close-up in order to get the extreme nuances of her reaction
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that both the audience and Reynolds are trying to read.
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And in this context, a subtle tilt of the head feels enormous.
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As Reynolds tentatively chews, Alma explains what she wants.
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I want you flat on your back.
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Helpless.
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Tender.
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Open.
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With only me to help.
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And then I want you strong again.
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You're not going to die.
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You might wish you were going to die, but you're not going to.
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You need to settle down a little.
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And it's a simple swallow that acts as an agreement to the dynamic she's laid out.
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Camera placement too can help guide a sequence without words.
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In this scene from Sound of Metal, where the camera is located creates a small emotional arc.
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We start in front of Ruben.
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He's in his own head, wanting to be left alone.
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When the kid behind him first bangs on the slide, Ruben is mildly amused, but still not fully giving him his attention, so the camera stays in front of him.
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But when the kid hits the slide again, we get a new angle.
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This time behind Ruben, signalling that he is now focused on the child.
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The camera is also much more mobile, underscoring the burst of energy Ruben is feeling as he's able to impart his passion for drumming onto someone else.
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Eventually we get a new angle on the kid, a little bit closer, and we see Ruben closer as well, strengthening the bond between these two characters.
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It's an intimate moment, and when we cut out to a wide shot, we are reminded of how small it is, just two people playing on a slide.
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but it's these small moments of joy that Ruben has to learn to appreciate.
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When characters aren't talking, setting can often take the foreground.
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Take this sequence from Portrait of a Lady on Fire, where the two principal characters make a big step in their forbidden relationship.
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Their relationship is forbidden because of the suffocating norms of the society they exist within, so it is fitting that it progresses outdoors,
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far from the trappings of their buttoned up world.
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The singers provide a rousing diegetic soundtrack, underscoring the rising feelings the two characters feel for each other in this moment.
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The bonfire, meanwhile, acts as a symbol for their passion.
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Sparks are literally flying in front of Eloise.
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She herself is lit on fire, symbolizing the danger their feelings pose.
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And of course, it provides for a powerful match cut.
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We've moved to the next day, but the match signals to the audience that the yearning continues unabated and leads us to its culmination.
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Of course, without words, how a character moves can speak multitudes.
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Beau Travail is a symphony of blocking, letting movement inform themes, relationships and narrative.
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This scene between rivals Galoup and Gilles is perhaps the culmination of director Claire Denis's approach.
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The two military men circle each other like boxers in a ring, getting closer and closer.
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This simple movement creates compelling coverage, letting the deserts spin around them, and revealing subtly that they are being watched by the rest of the Legionnaires.
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But it also speaks to their relationship, as well as the themes of the film.
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Neither man is going to back down.
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But there is also something more complicated than just rivalry happening.
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As their faces get closer, the scene begins to feel almost erotic, prompting the audience to wonder, do these men hate each other?
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Or are they denying something deeper inside of them?
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This scene also makes great use of a soundtrack.
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The music hears from the opera Billy Budd, based on the same novella as the film,
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and its bombastic crescendos help elevate the scene and its tension.
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Other post-production choices, such as how a scene is cut, are also pivotal when creating a non-verbal conversation.
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This climactic scene from Alfred Hitchcock's Sabotage shows how powerful editing can be on this front.
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This sequence is between a husband and wife.
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The husband is a terrorist whose plot has resulted in the death of his wife's brother.
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Just before the scene, the wife learns that her husband was responsible for his death.
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I didn't mean any harm to come to the boy.
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When the dialogue cuts out of the scene is when the drama really kicks in.
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She debates whether or not to kill him, told entirely through reaction, eyeline matches, and shot reverse shots.
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The camera pushes in on the wife who looks off screen.
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We match her gaze with a close-up on her husband.
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Then his stare is matched as we cut to a close-up of his wife's hands reaching for a knife.
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back to him and we see that he is beginning to put the pieces together.
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He looks up and we cut to his wife's nervous face.
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After another close-up we cut out to a medium to follow the husband as he moves closer into a tight shot.
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We cut to another eyeline match this time dollying in on his wife as he approaches.
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The tension builds in a two-shot which holds and holds.
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until the climactic move.
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Help me!
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It's a suspenseful scene from the master of suspense, all created through cuts.
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With performance, smart coverage choices, setting, blocking and editing, you can tell an entire story.
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After that, the dialogue is just the cherry on top.
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One, two, three, yippee-yay.
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Ready to make your silent film?
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Start planning with StudioBinder's pre-production software, which includes apps for shot listing, storyboarding and more.
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And keep in mind, if a picture's worth a thousand words, a movie image is worth a whole lot more.
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Thank you.
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Vocabulaire et conseils d’expression pour cette leçon
Cette leçon d’expression orale de niveau C1 s’appuie sur la vidéo « Directing Without Words: Visual Storytelling in Film ». Les mots qui reviennent le plus souvent : scene, cut, character, shot, Ruben. Cette vidéo contient 91 phrases et 1233 mots à répéter en shadowing. La partie parlée dure 9:23. Le locuteur parle à un rythme régulier d’environ 131 mots par minute, confortable pour le shadowing. Seuls 78 % des mots font partie des 3 000 mots les plus courants en anglais, le vocabulaire est donc exigeant.
Vocabulaire clé de cette vidéo
Les 15 mots les plus avancés de la vidéo, avec leur prononciation et leur sens :
| Mot | Prononciation | Sens |
|---|---|---|
| nuance nom | /ˈnjuː.ɑːns/ | nuance, détail |
| omelette nom | /ˈɒmlɪt/ | omelette |
| underscore nom | /ˈʌn.dɚˌskoɹ/ | tiret bas, souligné |
| grin nom | /ɡɹɪn/ | sourire |
| forbid verbe | /fɚˈbɪd/ | interdire, nier |
| verbal adjectif | /ˈvɜː.bəl/ | verbal |
| soundtrack nom | /ˈsaʊndˌtɹæk/ | bande son, piste sonore |
| bombastic adjectif | /bɑmˈbæs.tɪk/ | ampoulé, boursouflé |
| bonfire nom | /ˈbɑnˌfaɪɚ/ | feu de joie |
| captivate verbe | /ˈkæptəˌveɪt/ | captiver |
| compel verbe | /kəmˈpɛl/ | contraindre, forcer |
| crescendo nom | /kɹɪˈʃɛn.doʊ/ | aller crescendo |
| crutch nom | /ˈkɹʌt͡ʃ/ | béquille |
| diegetic adjectif | /ˌdaɪ.əˈdʒɛ.tɪk/ | diégétique |
| elevate verbe | /ˈɛləveɪt/ | élever |
Les verbes à particule que vous entendrez
| Mot | Prononciation | Sens |
|---|---|---|
| back down verbe | baisser d'un ton | |
| go through verbe | traverser | |
| settle down verbe | s'installer | |
| shut up | /ʃʌt ʌp/ | tais-toi! informal, taisez-vous! formal or plural |
La grammaire de cette vidéo
Les structures que le locuteur utilise le plus, avec les mots exacts de la vidéo :
| Structure | Dans la vidéo |
|---|---|
| Voix passive be + participe passé — l’accent est mis sur ce qui arrive, pas sur qui le fait | is left · has been poisoned · is located |
| Present perfect have/has + participe passé — une action passée qui compte encore maintenant | has been poisoned · We've moved · has resulted |
Prononciation à surveiller
Le locuteur utilise 9 contractions et formes réduites, comme you're, aren't, couldn't. Prononcez-les sous leur forme courte, telles que vous les entendez.
- Les sons « sh » et « zh »: culmination /ˌkʌl.mɪˈneɪ.ʃən/, crescendo /kɹɪˈʃɛn.doʊ/, vanish /ˈvænɪʃ/, notification /ˌnoʊtɪfɪˈkeɪʃn̩/
- Mots longs — placez bien l’accent: culmination /ˌkʌl.mɪˈneɪ.ʃən/, diegetic /ˌdaɪ.əˈdʒɛ.tɪk/, exaggerate /ɛɡˈzæd͡ʒ.ə.ɹeɪt/, kinematic /kɪn.əˈmæt.ɪk/, tentatively /ˈtɛntətɪvli/
Les sons difficiles pour les francophones :
- /tʃ/ et /dʒ/ — à ne pas adoucir en « ch » et « j »: crutch /ˈkɹʌt͡ʃ/, diegetic /ˌdaɪ.əˈdʒɛ.tɪk/, exaggerate /ɛɡˈzæd͡ʒ.ə.ɹeɪt/, petulant /ˈpɛt͡ʃʊlənt/, chew /tʃuː/
- /r/ anglais — langue recourbée, sans frotter la gorge: underscore /ˈʌn.dɚˌskoɹ/, grin /ɡɹɪn/, soundtrack /ˈsaʊndˌtɹæk/, crescendo /kɹɪˈʃɛn.doʊ/, crutch /ˈkɹʌt͡ʃ/
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 nuance, omelette, underscore.
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.