쉐도잉 연습: Directing Without Words: Visual Storytelling in Film - 영상으로 영어 말하기 배우기
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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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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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이 레슨의 어휘와 말하기 포인트
이 C1 수준 말하기 레슨은 영상 “Directing Without Words: Visual Storytelling in Film”을(를) 바탕으로 합니다. 가장 자주 반복되는 단어는 다음과 같습니다: scene, cut, character, shot, Ruben. 이 영상에는 섀도잉할 문장 91개와 단어 1233개가 있습니다. 말하는 구간의 길이는 9:23입니다. 화자는 분당 약 131단어의 일정한 속도로 말해서 섀도잉하기에 편한 속도입니다. 영어에서 가장 많이 쓰이는 3,000단어에 속하는 단어가 78%뿐이라 어휘가 어려운 편입니다.
이 영상의 핵심 어휘
영상에서 가장 어려운 단어 15개를 발음, 뜻과 함께 정리했습니다.
| 단어 | 발음 | 뜻 |
|---|---|---|
| nuance 명사 | /ˈnjuː.ɑːns/ | 뉘앙스 |
| omelette 명사 | /ˈɒmlɪt/ | 오믈렛 |
| underscore 명사 | /ˈʌn.dɚˌskoɹ/ | 밑줄 문자, 언더바 |
| forbid 동사 | /fɚˈbɪd/ | 금지하다, 금하다 |
| soundtrack 명사 | /ˈsaʊndˌtɹæk/ | 사운드트랙 |
| bonfire 명사 | /ˈbɑnˌfaɪɚ/ | 화톳불, 모닥불 |
| compel 동사 | /kəmˈpɛl/ | 강요하다 |
| crescendo 명사 | /kɹɪˈʃɛn.doʊ/ | 크레셴도 |
| crutch 명사 | /ˈkɹʌt͡ʃ/ | 목다리, 목발 |
| exaggerate 동사 | /ɛɡˈzæd͡ʒ.ə.ɹeɪt/ | 과대시하다, 과장하다 |
| foreground 명사 | /ˈfɔː(ɹ)ˌɡɹaʊnd/ | 전경 |
| impart 동사 | /ɪmˈpɑːt/ | 전하다 |
| novella 명사 | /nəˈvɛlə/ | 중편소설 |
| storyboard 명사 | 스토리보드, 콘티 | |
| suffocate 동사 | /ˈsʌfəkeɪt/ | 질식하다, 질식시키다 |
영상에 나오는 구동사
| 단어 | 발음 | 뜻 |
|---|---|---|
| shut up | /ʃʌt ʌp/ | 시끄러워, 닥쳐 |
이 영상의 문법
화자가 가장 많이 쓰는 문형을 영상 속 실제 표현과 함께 정리했습니다.
| 문형 | 영상 속 표현 |
|---|---|
| 수동태 be + 과거분사 — 누가 하는지보다 무슨 일이 일어나는지에 초점 | is left · has been poisoned · is located |
| 현재완료 have/has + 과거분사 — 과거의 일이 지금도 관련이 있을 때 | has been poisoned · We've moved · has resulted |
주의할 발음
화자는 you're, aren't, couldn't 같은 축약형과 약화된 형태를 9번 사용합니다. 들리는 대로 짧게 발음하세요.
- “sh”와 “zh” 소리: culmination /ˌkʌl.mɪˈneɪ.ʃən/, crescendo /kɹɪˈʃɛn.doʊ/, vanish /ˈvænɪʃ/, notification /ˌnoʊtɪfɪˈkeɪʃn̩/
- 긴 단어 — 강세 위치에 주의: culmination /ˌkʌl.mɪˈneɪ.ʃən/, diegetic /ˌdaɪ.əˈdʒɛ.tɪk/, exaggerate /ɛɡˈzæd͡ʒ.ə.ɹeɪt/, kinematic /kɪn.əˈmæt.ɪk/, tentatively /ˈtɛntətɪvli/
한국어 화자가 어려워하는 소리:
- /f/ — ㅍ(/p/)으로 바꾸지 말고 윗니를 아랫입술에 대기: forbid /fɚˈbɪd/, bonfire /ˈbɑnˌfaɪɚ/, foreground /ˈfɔː(ɹ)ˌɡɹaʊnd/, suffocate /ˈsʌfəkeɪt/, symphony /ˈsɪm.fə.ni/
- /v/ — ㅂ(/b/)과 구별하기: verbal /ˈvɜː.bəl/, captivate /ˈkæptəˌveɪt/, elevate /ˈɛləveɪt/, novella /nəˈvɛlə/, pivotal /ˈpɪvɪtəl/
- /z/ — ㅈ이 아니라 성대를 울리는 /s/: exaggerate /ɛɡˈzæd͡ʒ.ə.ɹeɪt/, symbolize /ˈsɪmbəlaɪz/, gaze /ɡeɪz/, poison /ˈpɔɪ.zən/
이 영상으로 연습하는 방법
- 먼저 말하지 않고 영상을 끝까지 듣고 모르는 단어를 적어 둡니다.
- 보통 속도로 한 문장씩 섀도잉하고, 화자의 리듬과 맞을 때까지 반복합니다.
- 자신의 목소리를 녹음해 원본과 비교하고, nuance, omelette, underscore 같은 단어에 특히 주의합니다.
쉐도잉이란? 영어 실력을 빠르게 키우는 과학적 방법
쉐도잉(Shadowing)은 원래 전문 통역사 훈련을 위해 개발된 언어 학습 기법으로, 다언어 학자인 Dr. Alexander Arguelles에 의해 대중화된 방법입니다. 핵심 원리는 간단하지만 매우 강력합니다: 원어민의 영어를 들으면서 1~2초의 짧은 지연으로 즉시 소리 내어 따라 말하는 것——마치 '그림자(shadow)'처럼 화자를 따라가는 것입니다. 문법 공부나 수동적인 청취와 달리, 쉐도잉은 뇌와 입 근육이 동시에 실시간으로 영어를 처리하고 재현하도록 훈련합니다. 연구에 따르면 이 방법은 발음 정확도, 억양, 리듬, 연음, 청취력, 말하기 유창성을 크게 향상시킵니다. IELTS 스피킹 준비와 자연스러운 영어 소통을 원하는 분들에게 특히 효과적입니다.