Pratica di Shadowing: Directing Without Words: Visual Storytelling in Film - Impara a parlare inglese con i video
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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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Vocabolario e note di pronuncia per questa lezione
Questa lezione di conversazione di livello C1 si basa sul video “Directing Without Words: Visual Storytelling in Film”. Le parole che ritornano più spesso: scene, cut, character, shot, Ruben. Questo video contiene 91 frasi e 1233 parole da ripetere con lo shadowing. Il parlato dura 9:23. Chi parla mantiene un ritmo costante di circa 131 parole al minuto, comodo per lo shadowing. Solo il 78% delle parole rientra nelle 3.000 più comuni dell’inglese, quindi il lessico è impegnativo.
Vocaboli chiave di questo video
Le 15 parole più avanzate del video, con pronuncia e significato:
| Parola | Pronuncia | Significato |
|---|---|---|
| nuance sostantivo | /ˈnjuː.ɑːns/ | sfumatura, dettaglio m sottigliezza |
| omelette sostantivo | /ˈɒmlɪt/ | omelette, frittata |
| underscore sostantivo | /ˈʌn.dɚˌskoɹ/ | trattino m basso |
| grin sostantivo | /ɡɹɪn/ | sorriso |
| forbid verbo | /fɚˈbɪd/ | proibire, vietare |
| verbal aggettivo | /ˈvɜː.bəl/ | verbale |
| soundtrack sostantivo | /ˈsaʊndˌtɹæk/ | pista sonora |
| bombastic aggettivo | /bɑmˈbæs.tɪk/ | ampolloso, pomposo |
| bonfire sostantivo | /ˈbɑnˌfaɪɚ/ | falò |
| captivate verbo | /ˈkæptəˌveɪt/ | accattivare, attirare l'attenzione |
| compel verbo | /kəmˈpɛl/ | forzare, costringere |
| crescendo sostantivo | /kɹɪˈʃɛn.doʊ/ | crescendo |
| crutch sostantivo | /ˈkɹʌt͡ʃ/ | stampella, gruccia |
| diegetic aggettivo | /ˌdaɪ.əˈdʒɛ.tɪk/ | diegetico |
| elevate verbo | /ˈɛləveɪt/ | elevare |
I phrasal verb che sentirai
| Parola | Pronuncia | Significato |
|---|---|---|
| back down verbo | cedere | |
| go through verbo | attraversare | |
| settle down verbo | calmarsi, placarsi | |
| shut up | /ʃʌt ʌp/ | chiudi la bocca, stai zitto |
La grammatica di questo video
Le strutture che chi parla usa di più, con le parole esatte del video:
| Struttura | Nel video |
|---|---|
| Forma passiva be + participio passato — conta ciò che accade, non chi lo fa | is left · has been poisoned · is located |
| Present perfect have/has + participio passato — un’azione passata che conta ancora adesso | has been poisoned · We've moved · has resulted |
Pronuncia a cui fare attenzione
Chi parla usa 9 contrazioni e forme ridotte, come you're, aren't, couldn't. Pronunciale nella forma breve, così come le senti.
- I suoni “sh” e “zh”: culmination /ˌkʌl.mɪˈneɪ.ʃən/, crescendo /kɹɪˈʃɛn.doʊ/, vanish /ˈvænɪʃ/, notification /ˌnoʊtɪfɪˈkeɪʃn̩/
- Parole lunghe — attenzione all’accento: culmination /ˌkʌl.mɪˈneɪ.ʃən/, diegetic /ˌdaɪ.əˈdʒɛ.tɪk/, exaggerate /ɛɡˈzæd͡ʒ.ə.ɹeɪt/, kinematic /kɪn.əˈmæt.ɪk/, tentatively /ˈtɛntətɪvli/
I suoni difficili per chi parla italiano:
- Consonante finale — senza aggiungere una vocale dopo: climactic /ˌklaɪˈmæk.tɪk/, nuance /ˈnjuː.ɑːns/, omelette /ˈɒmlɪt/, forbid /fɚˈbɪd/, soundtrack /ˈsaʊndˌtɹæk/
- /æ/ — più aperta della “e”: climactic /ˌklaɪˈmæk.tɪk/, soundtrack /ˈsaʊndˌtɹæk/, bombastic /bɑmˈbæs.tɪk/, captivate /ˈkæptəˌveɪt/, exaggerate /ɛɡˈzæd͡ʒ.ə.ɹeɪt/
Come esercitarsi con questo video
- Ascolta tutto il video una volta senza parlare e annota le parole che non conosci.
- Fai shadowing frase per frase a velocità normale, ripetendo ognuna finché il tuo ritmo coincide con quello di chi parla.
- Registrati e confronta con l’originale, facendo attenzione a parole come nuance, omelette, underscore.
Cos'è la tecnica dello Shadowing?
Shadowing è una tecnica di apprendimento delle lingue supportata da studi scientifici, originariamente sviluppata per la formazione dei traduttori professionisti e resa popolare dal poliglotta Dr. Alexander Arguelles. Il metodo è semplice ma potente: ascolti un audio in inglese di madrelingua e lo ripeti immediatamente ad alta voce — come un'ombra che segue il parlante con un ritardo di solo 1–2 secondi. A differenza dell'ascolto passivo o degli esercizi di grammatica, lo shadowing costringe il tuo cervello e i muscoli della bocca a elaborare e riprodurre simultaneamente i modelli di discorso reale. La ricerca dimostra che migliora significativamente la precisione della pronuncia, l'intonazione, il ritmo, il discorso connesso, la comprensione dell'ascolto e la fluidità del parlato — rendendolo uno dei metodi più efficaci per la preparazione alla prova di speaking dell'IELTS e per la comunicazione reale in inglese.