Prática de Shadowing: Directing Without Words: Visual Storytelling in Film - Aprenda a falar inglês com vídeo
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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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Vocabulário e dicas de fala para esta lição
Esta aula de conversação de nível C1 usa o vídeo “Directing Without Words: Visual Storytelling in Film”. As palavras que mais se repetem: scene, cut, character, shot, Ruben. Este vídeo tem 91 frases e 1233 palavras para praticar shadowing. A fala dura 9:23. O falante mantém um ritmo estável de cerca de 131 palavras por minuto, confortável para o shadowing. Apenas 78% das palavras estão entre as 3.000 mais comuns do inglês, por isso o vocabulário é exigente.
Vocabulário principal deste vídeo
As 15 palavras mais avançadas do vídeo, com pronúncia e significado:
| Palavra | Pronúncia | Significado |
|---|---|---|
| nuance substantivo | /ˈnjuː.ɑːns/ | nuance, nuança |
| omelette substantivo | /ˈɒmlɪt/ | omelete, fritada |
| underscore substantivo | /ˈʌn.dɚˌskoɹ/ | underline, sublinha |
| grin substantivo | /ɡɹɪn/ | sorriso aberto |
| forbid verbo | /fɚˈbɪd/ | proibir, negar |
| verbal adjetivo | /ˈvɜː.bəl/ | verbal |
| soundtrack substantivo | /ˈsaʊndˌtɹæk/ | banda sonora, trilha sonora |
| bombastic adjetivo | /bɑmˈbæs.tɪk/ | bombástico |
| bonfire substantivo | /ˈbɑnˌfaɪɚ/ | fogueira |
| captivate verbo | /ˈkæptəˌveɪt/ | cativar |
| compel verbo | /kəmˈpɛl/ | forçar, obrigar |
| crescendo substantivo | /kɹɪˈʃɛn.doʊ/ | crescendo |
| crutch substantivo | /ˈkɹʌt͡ʃ/ | muleta, canadiana |
| diegetic adjetivo | /ˌdaɪ.əˈdʒɛ.tɪk/ | diegético |
| elevate verbo | /ˈɛləveɪt/ | elevar |
Phrasal verbs que você vai ouvir
| Palavra | Pronúncia | Significado |
|---|---|---|
| back down verbo | recuar, voltar atrás | |
| settle down verbo | acalmar-se | |
| shut up | /ʃʌt ʌp/ | cala a boca, cale-se |
Gramática neste vídeo
As estruturas que o falante mais usa, com as palavras exatas do vídeo:
| Estrutura | No vídeo |
|---|---|
| Voz passiva be + particípio passado — o foco está no que acontece, não em quem faz | is left · has been poisoned · is located |
| Present perfect have/has + particípio passado — uma ação passada que ainda importa agora | has been poisoned · We've moved · has resulted |
Pronúncia para ficar de olho
O falante usa 9 contrações e formas reduzidas, como you're, aren't, couldn't. Diga-as na forma curta, do jeito que você ouve.
- Os sons de “sh” e “zh”: culmination /ˌkʌl.mɪˈneɪ.ʃən/, crescendo /kɹɪˈʃɛn.doʊ/, vanish /ˈvænɪʃ/, notification /ˌnoʊtɪfɪˈkeɪʃn̩/
- Palavras longas — acerte a sílaba tônica: culmination /ˌkʌl.mɪˈneɪ.ʃən/, diegetic /ˌdaɪ.əˈdʒɛ.tɪk/, exaggerate /ɛɡˈzæd͡ʒ.ə.ɹeɪt/, kinematic /kɪn.əˈmæt.ɪk/, tentatively /ˈtɛntətɪvli/
Sons difíceis para falantes de português:
- Consoante final — sem acrescentar um “i” depois: climactic /ˌklaɪˈmæk.tɪk/, omelette /ˈɒmlɪt/, forbid /fɚˈbɪd/, soundtrack /ˈsaʊndˌtɹæk/, bombastic /bɑmˈbæs.tɪk/
- /l/ final — a língua toca o céu da boca, não vira “u”: verbal /ˈvɜː.bəl/, compel /kəmˈpɛl/, pivotal /ˈpɪvɪtəl/, spoil /spɔɪl/, subtle /ˈsʌtəl/
- s + consoante no início — sem um “i” antes: spoil /spɔɪl/, swallow /ˈswɑ.loʊ/, stare /stɛɚ/, spark /ˈspɑɹk/, strengthen /ˈstɹɛŋ(k)θən/
Como praticar com este vídeo
- Ouça o vídeo inteiro uma vez sem falar e anote as palavras que você não conhece.
- Faça shadowing frase por frase na velocidade normal, repetindo cada uma até o seu ritmo ficar igual ao do falante.
- Grave a sua voz e compare com o original, prestando atenção a palavras como nuance, omelette, underscore.
O que é a Técnica de Shadowing?
Shadowing é uma técnica de aprendizado de idiomas com base científica, originalmente desenvolvida para o treinamento de intérpretes profissionais. O método é simples, mas poderoso: você ouve áudio em inglês nativo e repete imediatamente em voz alta — como uma sombra seguindo o falante com 1-2 segundos de atraso. Pesquisas mostram melhora significativa na precisão da pronúncia, entonação, ritmo, sons conectados, compreensão auditiva e fluência na fala.