Практика Shadowing: Directing Without Words: Visual Storytelling in Film - Изучайте разговорный английский по видео
Выберите режим практики
Каждый режим открывает полноэкранную комнату практики.
91 предложений
Если предложения слишком короткие или длинные, нажмите Edit, чтобы их изменить.
1
Film is a medium where the adage show don't tell is a golden rule.
2
And yet since the advent of sound, many filmmakers have used dialogue as a crutch to tell the audience what is happening.
3
That spider can give superhuman strength and power like Las Arañas.
4
This isn't necessarily bad, and there can be captivating and cinematic ways to use dialogue.
5
Sometimes you can relay an entire conversation's worth of information with just a look, a shot, or a cut.
6
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.
7
So how can a film talk without using words?
8
Why waste time say lot word when few word do dreck?
9
Before we shut up, be sure to subscribe and enable notifications to stay up to date on all our videos.
10
We will be spoiling the following films.
11
Time to get quiet.
12
A non-verbal exchange between two characters often puts the focus on performance.
13
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
14
The games begin as Alma prepares the omelette Reynolds watches on curious even a bit confused Alma meanwhile seems in control
15
The test of wills is at hand hand.
16
When they sit to eat, their expressions are playfully petulant, with suppressed grins and exaggerated movements.
17
But once Reynolds takes the bite of the omelette, which the audience knows has been poisoned, Alma's grin vanishes.
18
Paul Thomas Anderson moves to a close-up in order to get the extreme nuances of her reaction
19
that both the audience and Reynolds are trying to read.
20
And in this context, a subtle tilt of the head feels enormous.
21
As Reynolds tentatively chews, Alma explains what she wants.
22
I want you flat on your back.
23
Helpless.
24
Tender.
25
Open.
26
With only me to help.
27
And then I want you strong again.
28
You're not going to die.
29
You might wish you were going to die, but you're not going to.
30
You need to settle down a little.
31
And it's a simple swallow that acts as an agreement to the dynamic she's laid out.
32
Camera placement too can help guide a sequence without words.
33
In this scene from Sound of Metal, where the camera is located creates a small emotional arc.
34
We start in front of Ruben.
35
He's in his own head, wanting to be left alone.
36
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.
37
But when the kid hits the slide again, we get a new angle.
38
This time behind Ruben, signalling that he is now focused on the child.
39
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.
40
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.
41
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.
42
but it's these small moments of joy that Ruben has to learn to appreciate.
43
When characters aren't talking, setting can often take the foreground.
44
Take this sequence from Portrait of a Lady on Fire, where the two principal characters make a big step in their forbidden relationship.
45
Their relationship is forbidden because of the suffocating norms of the society they exist within, so it is fitting that it progresses outdoors,
46
far from the trappings of their buttoned up world.
47
The singers provide a rousing diegetic soundtrack, underscoring the rising feelings the two characters feel for each other in this moment.
48
The bonfire, meanwhile, acts as a symbol for their passion.
49
Sparks are literally flying in front of Eloise.
50
She herself is lit on fire, symbolizing the danger their feelings pose.
51
And of course, it provides for a powerful match cut.
52
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.
53
Of course, without words, how a character moves can speak multitudes.
54
Beau Travail is a symphony of blocking, letting movement inform themes, relationships and narrative.
55
This scene between rivals Galoup and Gilles is perhaps the culmination of director Claire Denis's approach.
56
The two military men circle each other like boxers in a ring, getting closer and closer.
57
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.
58
But it also speaks to their relationship, as well as the themes of the film.
59
Neither man is going to back down.
60
But there is also something more complicated than just rivalry happening.
61
As their faces get closer, the scene begins to feel almost erotic, prompting the audience to wonder, do these men hate each other?
62
Or are they denying something deeper inside of them?
63
This scene also makes great use of a soundtrack.
64
The music hears from the opera Billy Budd, based on the same novella as the film,
65
and its bombastic crescendos help elevate the scene and its tension.
66
Other post-production choices, such as how a scene is cut, are also pivotal when creating a non-verbal conversation.
67
This climactic scene from Alfred Hitchcock's Sabotage shows how powerful editing can be on this front.
68
This sequence is between a husband and wife.
69
The husband is a terrorist whose plot has resulted in the death of his wife's brother.
70
Just before the scene, the wife learns that her husband was responsible for his death.
71
I didn't mean any harm to come to the boy.
72
When the dialogue cuts out of the scene is when the drama really kicks in.
73
She debates whether or not to kill him, told entirely through reaction, eyeline matches, and shot reverse shots.
74
The camera pushes in on the wife who looks off screen.
75
We match her gaze with a close-up on her husband.
76
Then his stare is matched as we cut to a close-up of his wife's hands reaching for a knife.
77
back to him and we see that he is beginning to put the pieces together.
78
He looks up and we cut to his wife's nervous face.
79
After another close-up we cut out to a medium to follow the husband as he moves closer into a tight shot.
80
We cut to another eyeline match this time dollying in on his wife as he approaches.
81
The tension builds in a two-shot which holds and holds.
82
until the climactic move.
83
Help me!
84
It's a suspenseful scene from the master of suspense, all created through cuts.
85
With performance, smart coverage choices, setting, blocking and editing, you can tell an entire story.
86
After that, the dialogue is just the cherry on top.
87
One, two, three, yippee-yay.
88
Ready to make your silent film?
89
Start planning with StudioBinder's pre-production software, which includes apps for shot listing, storyboarding and more.
90
And keep in mind, if a picture's worth a thousand words, a movie image is worth a whole lot more.
91
Thank you.
Скачать приложение
Всё для свободной речи
ИИ-оценка произношенияОценка каждой фразы
Практика IPAОсвойте каждый звук
СловарьСоберите свой словарный запас
Игра со словамиУчитесь играя
Тот же канал
C1Recording Sound for Film — How to Get Pristine Audio for Film
Daily ConversationUniversity StudentsWorking Adults
B22
Why Some Movie Endings Stay With You
Business EnglishUniversity StudentsWorking Adults
B21
What is the Uncanny Valley – How to Use It and How to Avoid It in Film
Business EnglishUniversity StudentsWorking Adults
FOR YOU
Рекомендуемое видео
C15
143 предложений
This is how you master cinematography
Business EnglishUniversity StudentsWorking Adults
C126
29 предложений
How to Define Your Story in One Sentence | Robert McKee Answers
Business EnglishUniversity StudentsWorking Adults
B2372 предложений
Callum Turner Keeps It Simple While Eating Spicy Wings | Hot Ones
Business EnglishDaily ConversationUniversity Students
C12
99 предложений
Fav Movie Scenes - Joker's interrogation (The Dark Knight)
IELTS PrepTOEFL PrepBusiness English
B22
176 предложений
The Animation of Phoenix Wright
Business EnglishUniversity StudentsWorking Adults
B29
60 предложений
Character: Advice
Business EnglishUniversity StudentsWorking Adults
B296 предложений
This Scriptless Speaking Style Is Quietly Blowing Up on YouTube
Business EnglishUniversity StudentsWorking Adults
B211
60 предложений
Shadowing English with Meryl Streep | American Accent Practice & Fluency Exercises
Business EnglishDaily ConversationUniversity Students
C12
92 предложений
Buster Keaton - The Art of the Gag
Daily ConversationUniversity StudentsWorking Adults
B24
398 предложений
How to Tell Stories That Makes People Whisper ‘Damn, that’s good.’
Business EnglishUniversity StudentsWorking Adults
Лексика и советы по произношению к этому уроку
Этот урок разговорной практики уровня C1 построен на видео «Directing Without Words: Visual Storytelling in Film». Чаще всего повторяются слова: scene, cut, character, shot, Ruben. В этом видео 91 предложений и 1233 слов для шедоуинга. Речь длится 9:23. Говорящий держит ровный темп — около 131 слов в минуту, удобный для шедоуинга. Только 78% слов входят в 3000 самых частых слов английского языка, поэтому лексика сложная.
Ключевая лексика этого видео
Самые сложные слова из видео (15), с произношением и значением:
| Слово | Произношение | Значение |
|---|---|---|
| culmination существительное | /ˌkʌl.mɪˈneɪ.ʃən/ | кульмина́ция |
| nuance существительное | /ˈnjuː.ɑːns/ | нюа́нс, отте́нок |
| omelette существительное | /ˈɒmlɪt/ | омле́т, яи́чница |
| underscore существительное | /ˈʌn.dɚˌskoɹ/ | подчёркивание |
| grin существительное | /ɡɹɪn/ | усме́шка, ухмы́лка |
| forbid глагол | /fɚˈbɪd/ | запреща́ть, запрети́ть |
| verbal прилагательное | /ˈvɜː.bəl/ | слове́сный, верба́льный |
| soundtrack существительное | /ˈsaʊndˌtɹæk/ | звукова́я доро́жка |
| bombastic прилагательное | /bɑmˈbæs.tɪk/ | напы́щенный, помпе́зный |
| bonfire существительное | /ˈbɑnˌfaɪɚ/ | костёр |
| captivate глагол | /ˈkæptəˌveɪt/ | очаро́вывать, очарова́ть |
| compel глагол | /kəmˈpɛl/ | подчиня́ть |
| crescendo существительное | /kɹɪˈʃɛn.doʊ/ | креще́ндо |
| crutch существительное | /ˈkɹʌt͡ʃ/ | косты́ль |
| elevate глагол | /ˈɛləveɪt/ | поднима́ть, подня́ть |
Фразовые глаголы, которые вы услышите
| Слово | Произношение | Значение |
|---|---|---|
| back down глагол | пойти́ на усту́пки, пойти́ на попя́тный | |
| look up глагол | /ˌlʊk ˈʌp/ | улучша́ться |
| settle down глагол | успоко́иться | |
| shut up | /ʃʌt ʌp/ | заткни́сь, заткни́тесь |
Грамматика в этом видео
Конструкции, которые говорящий использует чаще всего, с точными словами из видео:
| Конструкция | В видео |
|---|---|
| Пассивный залог be + причастие прошедшего времени — важно, что происходит, а не кто это делает | is left · has been poisoned · is located |
| Present Perfect have/has + причастие прошедшего времени — прошлое действие, важное сейчас | has been poisoned · We've moved · has resulted |
Произношение, на которое стоит обратить внимание
Говорящий использует 9 сокращённых и редуцированных форм, например you're, aren't, couldn't. Произносите их коротко, так, как слышите.
- Звуки «sh» и «zh»: culmination /ˌkʌl.mɪˈneɪ.ʃən/, crescendo /kɹɪˈʃɛn.doʊ/, vanish /ˈvænɪʃ/, notification /ˌnoʊtɪfɪˈkeɪʃn̩/
- Длинные слова — следите за ударением: culmination /ˌkʌl.mɪˈneɪ.ʃən/, diegetic /ˌdaɪ.əˈdʒɛ.tɪk/, exaggerate /ɛɡˈzæd͡ʒ.ə.ɹeɪt/, kinematic /kɪn.əˈmæt.ɪk/, tentatively /ˈtɛntətɪvli/
Звуки, трудные для русскоязычных:
- Звонкие согласные в конце слова — не оглушайте их: forbid /fɚˈbɪd/, foreground /ˈfɔː(ɹ)ˌɡɹaʊnd/, symbolize /ˈsɪmbəlaɪz/, unabated /ʌn.əˈbeɪ.tɪd/, gaze /ɡeɪz/
Как заниматься с этим видео
- Прослушайте всё видео один раз молча и выпишите незнакомые слова.
- Повторяйте предложение за предложением на обычной скорости, пока ваш ритм не совпадёт с ритмом говорящего.
- Запишите себя и сравните с оригиналом, обращая внимание на такие слова, как culmination, nuance, omelette.
Что такое техника Shadowing?
Shadowing — это научно обоснованная техника изучения языка, изначально разработанная для подготовки профессиональных переводчиков и популяризированная полиглотом доктором Александром Аргуэльесом. Метод прост, но эффективен: вы слушаете аудио на английском от носителей языка и немедленно повторяете вслух — как тень, следующая за говорящим с задержкой в 1–2 секунды. В отличие от пассивного прослушивания или грамматических упражнений, Shadowing заставляет мозг и мышцы рта одновременно обрабатывать и воспроизводить реальные речевые паттерны. Исследования показывают, что это значительно улучшает точность произношения, интонацию, ритм, связную речь, понимание на слух и беглость речи — что делает его одним из самых эффективных методов для подготовки к IELTS Speaking и реального общения на английском.