シャドーイング練習: Directing Without Words: Visual Storytelling in Film - 動画で英語スピーキングを学ぶ
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91 文
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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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このレッスンの語彙とスピーキングのポイント
このC1レベルのスピーキングレッスンは、動画「Directing Without Words: Visual Storytelling in Film」を教材にしています。 繰り返し出てくる語は次のとおりです：scene, cut, character, shot, Ruben。 この動画には、シャドーイング用の文が91文、単語が1233語あります。 音声の長さは9:23です。 話す速さは1分あたり約131語で安定しており、シャドーイングしやすいペースです。 英語の頻出3,000語に含まれる単語は78%だけなので、語彙は難しめです。
この動画の重要語彙
動画の中で特に難しい単語15語を、発音と意味つきで紹介します。
| 単語 | 発音 | 意味 |
|---|---|---|
| nuance 名詞 | /ˈnjuː.ɑːns/ | ニュアンス, 意味合い |
| omelette 名詞 | /ˈɒmlɪt/ | オムレツ |
| underscore 名詞 | /ˈʌn.dɚˌskoɹ/ | アンダーバー, アンダースコア |
| forbid 動詞 | /fɚˈbɪd/ | 禁じる, 止める |
| soundtrack 名詞 | /ˈsaʊndˌtɹæk/ | サウンドトラック |
| bonfire 名詞 | /ˈbɑnˌfaɪɚ/ | 焚き火, たき火 |
| captivate 動詞 | /ˈkæptəˌveɪt/ | 惹き付ける |
| compel 動詞 | /kəmˈpɛl/ | 強いる |
| crescendo 名詞 | /kɹɪˈʃɛn.doʊ/ | クレッシェンド |
| crutch 名詞 | /ˈkɹʌt͡ʃ/ | 松葉杖 |
| exaggerate 動詞 | /ɛɡˈzæd͡ʒ.ə.ɹeɪt/ | 誇張する, 大袈裟に言う |
| foreground 名詞 | /ˈfɔː(ɹ)ˌɡɹaʊnd/ | 前景 |
| kinematic 形容詞 | /kɪn.əˈmæt.ɪk/ | 運動学的な |
| novella 名詞 | /nəˈvɛlə/ | 短編小説 |
| storyboard 名詞 | 絵コンテ |
動画に出てくる句動詞
| 単語 | 発音 | 意味 |
|---|---|---|
| look up 動詞 | /ˌlʊk ˈʌp/ | 見上げる |
| settle down 動詞 | 落ち着く | |
| shut up | /ʃʌt ʌp/ | だまれ, うるさい |
この動画の文法
話し手がよく使っている文型を、動画の実際の表現とともに紹介します。
| 文型 | 動画での表現 |
|---|---|
| 受動態 be + 過去分詞 — 誰がするかより、何が起きるかに焦点を当てる | is left · has been poisoned · is located |
| 現在完了形 have/has + 過去分詞 — 過去の出来事が今も関係している | has been poisoned · We've moved · has resulted |
注意したい発音
話し手はyou're, aren't, couldn'tなど、短縮形や弱形を9回使っています。聞こえたとおりの短い形で発音しましょう。
- 「sh」と「zh」の音: culmination /ˌkʌl.mɪˈneɪ.ʃən/, crescendo /kɹɪˈʃɛn.doʊ/, vanish /ˈvænɪʃ/, notification /ˌnoʊtɪfɪˈkeɪʃn̩/
- 長い単語（アクセントの位置に注意）: culmination /ˌkʌl.mɪˈneɪ.ʃən/, diegetic /ˌdaɪ.əˈdʒɛ.tɪk/, exaggerate /ɛɡˈzæd͡ʒ.ə.ɹeɪt/, kinematic /kɪn.əˈmæt.ɪk/, tentatively /ˈtɛntətɪvli/
日本語話者が苦手な音：
- /r/ と /l/ の区別 — /l/ は舌先を歯茎につけ、/r/ はどこにもつけない: rivalry /ˈɹaɪ.vəl.ɹi/, relay /ˌɹiˈleɪ/
- /v/ — /b/ にならないように、上の歯を下唇に当てる: verbal /ˈvɜː.bəl/, captivate /ˈkæptəˌveɪt/, elevate /ˈɛləveɪt/, novella /nəˈvɛlə/, pivotal /ˈpɪvɪtəl/
- /f/ — 「フ」ではなく、上の歯と下唇で出す: forbid /fɚˈbɪd/, bonfire /ˈbɑnˌfaɪɚ/, foreground /ˈfɔː(ɹ)ˌɡɹaʊnd/, suffocate /ˈsʌfəkeɪt/, symphony /ˈsɪm.fə.ni/
この動画での練習方法
- まず声を出さずに動画を最後まで聞き、知らない単語をメモします。
- 通常の速度で一文ずつシャドーイングし、話し手のリズムに合うまで繰り返します。
- 自分の声を録音して元の音声と比べます。nuance, omelette, underscoreなどの単語に特に注意しましょう。
シャドーイングとは？英語上達に効果的な理由
シャドーイング（Shadowing）は、もともとプロの通訳者養成プログラムで開発された言語学習法で、多言語習得者として知られるDr. Alexander Arguelles によって広く普及されました。方法はシンプルですが非常に効果的：ネイティブスピーカーの英語を聞きながら、1〜2秒の遅延で声に出してすぐに繰り返す——まるで「影（shadow）」のように話者を追いかけます。文法ドリルや受動的なリスニングと異なり、シャドーイングは脳と口の筋肉が同時にリアルタイムで英語を処理・再現することを強制します。研究により、発音精度、抑揚、リズム、連音、リスニング力、そして会話の流暢さが大幅に向上することが確認されています。IELTSスピーキング対策や自然な英語コミュニケーションを目指す方に特におすすめです。