Prática de Shadowing: Hellraiser, Bataille and Limit Experiences - Aprenda a falar inglês com vídeo

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Clive Barker, the writer behind the Hellraiser franchise, being a gay man born in 1952,

definitely knew both what it's like to have desires that society deems unacceptable, and what it's like to be treated as some kind of foreign other.

of queer cinema on the grounds that the queer characters in his movies have no positive representation.

And although it's true that the so -called Cenobites in Hellraiser are by no means straightforwardly sympathetic,

to portray them as merely negative is a very reductive mistake.

Take a look at this quote from Clive Barker: "Horror fiction tends to be reactionary.

It's usually about a return to the status quo.

The monster is the outsider who must be banished

I've created monsters who came from the outside and who call out to somebody to join them in the sanctum.

This is a very insightful quote and very true to the philosopher and writer George Bataille, whose books Clive Barker himself has read

and whose theoretical works are extremely useful as a lens to look at a movie like Hellraiser.

Most traditional horror narratives function like this: First, some idealized and well -functioning normal order is introduced.

That is the status quo.

Then, the normal order is threatened by some kind of invading or parasitic threat.

Finally, the threat is vanquished and the status quo is restored.

As Szczek pointed out in his analysis of the movie Jaws, this is how certain forms of ideology work.

For instance, Nazi ideology.

First, you have the ideal and healthy social organism, the nation -state.

The reason people are clearly unhappy is not because of some problem within the parasite,

for example, people of other ethnicities.

This narrative functions in two ways.

First of all, it is appealing to people because it allows them to structure the world in a very simple way.

While typically one would have innumerable fears, such as unemployment, abstract exploitation, loss of meaning and identity,

instability, this ideological narrative allows one to trade all of those elusive and abstract fears into one concrete fear only.

because rather than addressing internal problems that the system has, it encourages people to focus on some kind of external threat.

Clive Barker in his works of fiction, as well as Bataille in his theoretical works, actively fight against this kind of narrative.

Bataille talks, for example, of how one responds to works of philosophy

that threaten one's established system of thought and transgresses certain bounds, for example Nietzsche or Marquis de Sade.

One response is to simply reject it.

transgressive, too foreign for us.

It is therefore dangerous and must be dismissed, abolished, ignored, or vanquished." Another response is to first neutralize it and then accept it.

Deprive it of everything that is different about it and then internalize it.

Think for example of Martin Luther King, Jr. During his life, American state authorities and certain media outlets took the first route,

simply rejecting him as the second route.

They neutralized him, started remembering him and teaching about him, but only after stripping away almost everything that was radical about him,

thereby accepting him into the existing system.

This happens in many other ways too, for instance when certain figures become commodified or turn into aesthetic fixtures.

Or for instance like in my video on world music, traditional music from other countries is commercially introduced but only after being

Both of these ways of treating the other are equally faulty, because they refuse to accept what may be different, but at the same time valid about the other,

and in this way protects the status quo, whether it's a political system, an ideology, or some system of concepts.

Bataille, just like Clive Barker himself, suggests a third way.

We should note and even emphasize what's different about the other, while neither neutralizing it nor rejecting it, and being open to the ways in which it might change the status quo.

be a difficult thing to do.

It requires facing that which might make us uncomfortable without looking away.

If for instance Bataille's ideas about transgressing taboos make you a bit uncomfortable, that's exactly what Bataille would have wanted.

He wouldn't have wanted to be simply neutralized and made harmless, but to be a source of change in our thinking.

This is how the Cenobites should be viewed.

They can't be reduced to villainous monsters.

as well as that which is socially unaccepted within us.

It is made clear that the Cenobites themselves were once human, and that they do not actively seek out victims, but only come when they are summoned by a person's desire.

It is not.

and It's all awesome.

you It is desire.

This is a principle that was abandoned in the third film, but only because Clive Barker was no longer working on it.

In this way, Hellraiser invites us to confront that which is different within us, even that which we ourselves would sometimes like to reject.

This kind of transgression is a big topic in Bataille's works.

He talks about the way in which transgression and taboo are not straightforwardly opposed.

They in fact reinforce each other.

When we explicitly think of it as forbidden, it becomes alluring, mysterious, and inviting.

This can be seen in many instances, whether it's a child taking pleasure in using a swear word forbidden by one's parents, or an act of love that society deems unacceptable.

In this way, the taboo reinforces the desire for the breaking of that very taboo.

At the same time, taboos themselves are only possible if we also have transgressions that sometimes cross those taboos.

murder functions on the basis of that same taboo being regularly broken, such as human sacrifice in ancient societies,

or the death penalty in war in contemporary ones.

And once again, this is how the Cenobites work.

The reason they are so alluring is because of the taboos that they at once break and reinforce.

And the primary way in which they do this is through what Bataille calls "limit experiences".

Let me explain this subject with a pretty shocking starting point.

disturbing.

One day, Bataille was shown a photograph of Lingqi, also known as "Death by a Thousand Cuts".

That is the Chinese method of torture where one's body is slowly cut into pieces.

This photograph was a public instance of Lingqi, a man being tortured surrounded by a large crowd.

How did Bataille respond to this image?

He hung it on his wall and often looked at it throughout the years.

Sometimes just stared at it.

Why?

Well, not just because he has major problems, although probably that too, but because he saw it as an extreme example of a limit experience.

He was intrigued by the shocking and disturbing way in which the face of the victim seemed almost ecstatic.

In Bataille's own words at the site of this photograph,

"What burst upon me was the fact that these two complete contrasts were identical." divine ecstasy and extreme horror.

That's what a limit experience is.

A kind of extreme experience in which we are taken to the limits of our being.

Where boundaries are broken down, such as the boundary between pain and pleasure, anguish and ecstasy.

And this is exactly the experience that Hellraiser focuses on.

"Explorers in the further regions of experience.

Demons to some, angels to others." In fact, one can even see a similarity between the face of the victim of Link -Chi

and Frank in the movie as he is being torn apart by hooks.

It is the paradoxical nature of joy and passion that Bataille was interested in.

The aforementioned paradoxical relationship between taboo and transgression, but also the paradoxical nature of the highest pleasures.

in things even more when we risked something for them, when they are also a source of danger for us.

And what interested Bataille is that, because of this, the height of pleasure is not just pure pleasure, but pleasure intermixed with danger, fear, or pain.

A passionate experience of joy that at the same time risks to destroy us.

Such experiences for Bataille are philosophically interesting because they lead us to the boundaries of our thinking, at which language breaks down

and the limitations of our thought are He himself wanted to live at the edge of such limits,

even going so far as to form a secret society called Asifal with some acquaintances

and offering himself up as a sacrificial victim in it.

Although no one wanted to adopt the role of executioner.

It opens doors.

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What kind of doors?

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Doors to the pleasures of heaven or hell.

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I didn't care which.

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I thought I'd gone to the limits.

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I hadn't.

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The Cenobites gave me an experience beyond the limits.

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Pain and pleasure.

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"Indivisible." Bataille often compared such transgressive experiences at the same time to religious experiences, and for understandable reasons.

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Think for example of the ascetic who purposefully deprive themselves of food

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and test their body to the point where their suffering meets divine ecstasy in a mystic experience.

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An experience that takes them to the limit of thought, and thereby becomes also an experience of revelation.

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Think also of the way that angels are portrayed in the Bible.

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They are often not simply attractive humans with wings, as is portrayed in Neutralized Christianity, in which everything transgressive about it is stripped away.

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Instead, cherubs are winged lions, while seraphim are six -winged snakes.

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And take Ezekiel's vision of God, which is almost like a monster from a work of cosmic horror.

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They are not merely pleasant human figures there to affirm our beliefs.

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Instead, like the Cenobites, they take us to the limit of our thought, and in their radical difference, make our boundaries less stable.

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It is no wonder then that just as in Bataille's work, religious experiences are related to limit experiences, the Cenobites also have religious connotations.

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Not just their ritualistic behavior, but also the name Cenobite itself, which means a member of a monastic community, and the fact that their world has a god.

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This religious connotation is then contrasted, while at the same time strengthened by, their sadomasochism and their fetishistic leather clothes.

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The familiar and the taboo here, in intersect.

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But of course, you do not have to be tortured to reach a limit experience.

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Such experiences can be found in many other sources, whether it's art, eroticism, religion, or perhaps substance use.

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You might have already thought of certain forms of fetishism, for example, where pain and pleasure become indistinguishable, leading to new forms of pleasure that we can uncover.

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This is where eroticism is also connected to art.

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Both are activities in which we can into an object of affirmation, and thereby encounter limit experiences.

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Just like Hellraiser, Bataille connects eroticism even to death, as both the encounter of death and the sexual encounter destabilize our boundaries.

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For instance, the boundaries between one person and another.

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In Hellraiser, the breaking of such boundaries is symbolized by the literal transfiguration of the human body.

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In his book The Accursed Chair, Volume 2, Bataille says that "eroticism is contrary expenditure is contrary to acquisition.

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Our self -assertion in the social sphere is always tied to behavior aimed at growth.

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But in the fever of sexual passion, we behave in a contrary fashion.

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We expend our forces without counting, and we lose substantial amounts of energy without restraint and without gain.

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Sensual pleasure is so closely connected with ruination that we have named the moment of its paroxysm: "la petite mort".

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The last phrase to the sensation in which the orgasm is likened to death,

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or an anticipation of death, in which we experience a moment of losing ourselves.

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So, this paradoxical connection between sex and death that Hellraiser explores has been felt by many people in different ways throughout history.

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But this quote mentions another interesting notion that pervades Bataille's philosophy: the distinction between acquisition and expenditure.

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In our daily lives, we try to acquire energy and resources, try to view everything in terms of utility.

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This is the world of profane things.

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However, during a limited experience, at the height of passionate art, sex, or celebration, we let ourselves go.

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We forget acquisition and waste resources with no expectation of return or gain.

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This is the sacred world, in which we escape from the servitude of utility and a firm life itself.

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One of the things Bataille found distasteful about contemporary life is the way in which everything must be justified in

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being given a number in cost and benefit analysis done by corporations.

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However, during a moment of pure expenditure, of pure wastefulness, we engage in an act for its own sake.

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And so, if one asks what the purpose of the Cenobites is, what utility they serve, the answer might be precisely that they do not have any utility.

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Their purpose is the pure expenditure of energy, the elimination of surplus energy.

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And this is precisely where their sacredness comes from.

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Perhaps, to an us in a very mild way closer to limit experiences, where that which we find horrifying,

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repulsive, or disgusting, at the same time attracts us, fascinates us, even entertains us.

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For a battalion, that's probably what a good horror movie should do.

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First of all, it should not simply treat the monster as an invading force threatening an otherwise healthy and ideal system,

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nor as something to be simply neutralized and ingested, but something at the boundary between the two.

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and perhaps already residing at the limits of our thought, threatening our comfortable ways of conceptualizing things.

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At the same time, such a horror movie would bring us closer to a limit experience, perhaps even a revaluation of our values and our perceptions of difference in horror.

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As the media scholar Henry Jenkins says, "The best artists working in the horror genre don't just want to provoke horror or revulsion,

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they want to slowly reshape our sensibilities, erotically desirable.

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And further, representing the monstrous gives popular artists a chance to move beyond conventional modes of representation,

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to imagine alternative forms of sensuality and perception, and to invert or transform dominant ideological assumptions.

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And this is why it is wrong to exclude Clive Barker from discussions of queer cinema.

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Hellraiser reaches the extreme core of what it is to encounter difference, while neither rejecting it nor neutralizing it.

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To suicide to be eradicated, but something that uncovers the limits of our thought and shakes us out of our prejudices,

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forces us to look at things with new eyes.

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So, that was my Halloween video.

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I hope you enjoyed and I'd like to, of course, thank my patrons.

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There's so many of them at this point

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that this might be the last video in which I'll be able to read out all of them.

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And I'm sorry for any mispronounced names.

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Mani Hamidi, Lucy Pearson, D'Saan, Esketix, Alex Wenberg, Jinwoo Lee, Red Panda Meat, Alexander Gilnitsky,

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Mall Cops are Bastards, Keith Braynon Georg Hegan,

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Galileo, Butt Johnson, Philip Dobrovski, Peggy Leonard, Bongo Teeth Running,

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Johan Stridsman, Royal Boo, William Kearney Richardson, Dilveny Thomas, Edwin Camarena, I will not give you my full name,

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Joseph Ullman, Simon Peter, Sebastian Roll, Genesis Chavares, Igor Darkkiller228, Ka Elbaba Jones,

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Alexander Sepp, Daniel Grimmer, Evan Hill, Timpy, uh, Shimin Quang, Simulacral, Irene Adler, Maxwell Kopelman, John O 'Brien,

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Eric Goldman, Always Your Comrade, Matt Hutchinson, Do You Know Psy, Anton Gula, I Didn't Enjoy Bard College,

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Alan Jensen, Some Kind of Deviated Prevert, I always thought this said pervert but it's actually prevert,

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Marshall Lorden, Christopher, Simon Scholl Jacobson, Michael Q.

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Warnock, Josh Bowling, Stephen Hicks and the Gaius Gracchus,

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Trevor Stevenson, Evie Roske, Nathaniel Lark, Koba, Dunning -Kruger Posterchild, Brian J.

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Knuckles, Haley Husk, A pronounceable name, Sean Oscar, Bad Dreams, Sean Brocklehurst,

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Ben Kalzicki, Nikolai Lissak, Eric Coronado, Tom Marino, Mary of Magdala, Comfy Ackerman, Ilya Pipa, Jason Bourne,

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Aperture413, Criminally Vulgar, Kato Last, Azzy The Mazzy, Donald E.

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Strong Jr., Noah Trenson, Trappolino, Cancer Pigeons, Simon Cook, Yavin Arba, Ark Stanton, Space Mile, Pistol Pete,

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Steven Z, Aidan Williams, Elizabeth Ward, Joseph Patrone, Bad Horn Choir, Quantum Computation, Rooftop Korean, Industrial Robot,

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Andrew Burns, Dee Lang, Sina B, Isabel Abdullali, Robert Phillips, Indies123, John Beadles, and Susie Oh.

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Thank you.

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250 frases

Objetivos de fala para este vídeo

Este vídeo é perfeito para quem quer alcançar um marco de fluência: a capacidade de falar sobre temas complexos, como filosofia e análise de filmes, com clareza. Ao praticar com ele, você aprende a conectar ideias abstratas, usar termos específicos e manter um fluxo natural — habilidades essenciais para conversas mais profundas em inglês. Além disso, é uma ótima oportunidade para treinar o shadowing, uma técnica eficaz para melhorar a pronúncia e a intonação.

Banco de frases reutilizáveis

"call out to somebody to join them" (chamar alguém para se juntar a eles)
"trade all of those elusive and abstract fears into one concrete fear" (transformar todos esses medos elusivos e abstratos em um medo concreto)
"strip away almost everything that was radical about him" (remover quase tudo o que era radical nele)
"be open to the ways in which it might change the status quo" (estar aberto às maneiras como ele pode mudar o status quo)

Essas frases são versáteis e podem ser adaptadas para discussões sobre cultura, política ou até mesmo relações pessoais. Pratique - las repetidamente para integrá - las ao seu vocabulário ativo.

Corrija seus pontos fracos

Um dos maiores desafios ao falar inglês é a pronúncia de palavras longas e complexas, como "ideology" (ideologia), "transgressive" (transgressivo) e "commodified" (comercializado). Este vídeo ajuda a lidar com isso, pois o narrador fala com uma taxa de palavras média e enuncia claramente. Use a técnica do shadowing: reproduza pequenos trechos do vídeo, imitando a entonação, a pausa e a ênfase do falante. Para isso, um shadowing site ou até mesmo o YouTube (usando a função de repetição) pode ser útil. Lembre - se: a chave é não apenas repetir, mas sentir o ritmo da língua. Com isso, você não só melhora a pronúncia em inglês, mas também ganha confiança para falar com fluidez. Aprender inglês com YouTube nunca foi tão prático!

Se você quer aprofundar mais, busque por "shadowspeak" ou "shadow speak" — termos usados para descrever essa técnica de imitação. Com consistência, você verá uma grande evolução em sua habilidade de se comunicar em inglês.

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	be treated · must be banished · is introduced
Present perfect have/has + particípio passado — uma ação passada que ainda importa agora	I've created · has read · have named
Orações relativas who / which + oração — informação extra sobre uma pessoa ou coisa	that which is · God, which is · itself, which means

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.

Técnica de shadowing: leia o guia completo passo a passo →

Prática de Shadowing: Hellraiser, Bataille and Limit Experiences - Aprenda a falar inglês com vídeo

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Objetivos de fala para este vídeo

Banco de frases reutilizáveis

Corrija seus pontos fracos

Gramática neste vídeo

O que é a Técnica de Shadowing?