ฝึกพูดภาษาอังกฤษด้วยเทคนิค Shadowing จากวิดีโอ: How To Be a Lynchian Woman

เลือกโหมดฝึก

แต่ละโหมดจะเปิดห้องฝึกแบบเต็มจอ

218 ประโยค

หากประโยคสั้นหรือยาวเกินไป กดที่ Edit เพื่อปรับแก้

Meow meow, it's me.

Hello everyone, welcome back to my channel or welcome if you're new here.

Today I want to talk about what makes a Lynchian woman.

In this collection of essays called The Women of David Lynch,

Lee Kelman Kolb writes of the essential duality in his female characters.

Women are not only angelic caretakers, they are abused and abusive, cheaters and cheated on, murderers and saviors,

FBI agents, and stay-at-home mothers.

They are the mysteries and mystery solvers. In this video,

I'm going to teach you how to be a Lynchian woman by going through some of the defining characteristics

that I think a lot of his characters have.

The five exemplary characters

that I'm going to talk about in this video are going to be Alice slash Renee in Lost Highway.

I dressed up as her for this video.

The woman in the radiator from Eraserhead, Dorothy Valens from Blue Velvet, Camilla slash Rita in Mulholland Drive,

and Lula from Wild at Heart.

It's imperative that we start out, however, with the idea that a Lynchian woman is a difficult and complex one.

If you were to adopt these characteristics in bulk, you would be an incredibly challenging woman.

And I think that's a fun time.

So let's explore what those characteristics are.

The first attribute that I think is very noticeable about Lynchian characters is their foreignness.

And I think that a foreignness or strangeness to the characters is amplified,

protected, and encouraged by the Lynchian sense of aesthetics,

the dreamlike quality the kind of atemporality of a lot of his films, like Lost Highway, Mulholland Drive, Inland Empire.

So for a strange setting, for a strange time, a strange feeling, you have to have a strange foreign feeling woman, I think, to go with that.

Because I believe that femininity and the feminine, in a way, is environmental.

It is a feeling, right?

It's experiential.

This foreignness can also be encapsulated in this otherness.

You know, she is other.

She is different.

She is something we can't explain.

She is the unknown.

She is terra incognita, uncharted waters.

It makes them tantalizing.

It makes them frustrating, horrifying, but also comforting in many ways and in many scenarios.

Women in Lynchian films, they are seers.

They're criminals their mothers, their ghosts, hallucinations.

They're all of these things.

You know, the prostitutes, I know these are not, this is not like one of the main people I talk, I'm talking about, but the prostitutes in Inland Empire, for example, they are, they know the future.

They know what will happen.

They're kind of like guardian angels in Eraserhead.

You know, you have the lady in the radiator.

She's a hallucination of Henry's mind.

Alice in Lost Highway is a fantasy, but she is also the very thing that violates that fantasy.

In Blue Velvet, Dorothy Valens is a nightclub singer.

She's someone seen through slats in the closet.

She's someone who wields a knife.

She gives in to these violent and sexual demands and also adopts certain preferences from her abuser.

She has an aura about her that is not immediately understood.

It's something we will have to decode throughout the duration of the film.

These are women that are challenging.

They need unboxing.

And at times they will never really be revealed.

Just when you think even in their nakedness, even in their exposed natures, we are still looking for an answer.

Just when you think that you were secure in what their intent might be, their truth, you are proven wrong.

The second key attribute to a Lynchian woman is that she is a refashioned neo-noir femme fatale,

which means that we are going to greatly reverse

and subvert the idea or the traditional fate of the femme fatale that we saw in film noir.

I'm going to read from a really, really cool book.

If you guys can stand to listen about psychoanalysis from Slavoj Zizek, if you who care about Lacanian analysis.

This is a very cool essay.

Zizek wrote an entire essay about Lost Highway.

It's called The Art of the Ridiculous Sublime.

So if you want to, if you want to read that, I'll link that in the description.

But this is how he described traditional feminist theory when it comes to the femme fatale narrative.

According to the standard feminist cinema theory, in classic noir, the femme fatale is punished at the level of explicit narrative line.

She's destroyed for being assertive and undermining the male patriarchal dominance for presenting a threat to it.

The myth of the strong, sexually aggressive woman first allows sensuous expression of her dangerous power and its frightening results,

and then destroys it, thus expressing repressed concerns of the female threat to male dominance.

The femme fatale thus ultimately loses physical movement,

influence over camera movement, and is often actually or symbolically imprisoned by composition as control over her is exerted and expressed visually.

So this is how the femme fatale is portrayed in old noir cinema.

But neo-noir, such as like The Last Seduction, Basic Instinct, and Lost Highway, this idea of what a femme fatale is,

not even, to say it's subverted is way too simple because really it's manipulated and And at the end,

you're left with more questions than answers.

And the open-endedness, I think, is perfectly shown in Lost Highway because there is no linear narrative in that film.

That film is a cyclical death loop.

There's this famous scene with Alice and Pete, and they're making love out in the middle of the desert.

And then, you know, he says, I want you, I want you.

And she climaxes and she says, you will never have me.

She walks away, leaving him there, humiliated and exhausted.

And then he turns back into Fred, into another character.

But this point is that all throughout the film, she kind of transitions into multiple different people.

In the beginning, she seems like the seducer.

Then she seems like a damsel in distress.

And then she turns into somebody that's clearly involved in crime

and is not ashamed of it and is very open about it to Pete.

And then later on, we have no idea what's going on.

If you've ever seen the film, there's the mystery man with the pasty face and the phone and the, you know, the video camera and everything.

It almost seems like she, she is part of his realm, you know, part of the supernatural realm.

Like, is she even real?

Like, we have to ask ourselves whether or not this is a fantasy, whether or not she is a supernatural figure,

if she's a spirit of some sort from the past or the future or whatever from beyond.

It's all kind of left up to interpretation this kind of

femme fatale at the at the very most basic level leaves man in a state of suffering

and uh because the the worst thing

that you could leave somebody with especially uh the masculine is

to leave them without an answer without them knowing them never

figuring it out the film is also like i said it's cyclical it's like a death loop in a way

100

And because there is no linearity,

101

there is no gradual, predictable progression that will eventually ensnare the femme fatale and remove her power from her.

102

If anything, it feels like this kind of thing is going to happen again and again and again and again.

103

In that way, she triumphs.

104

If you are to be a lynchian woman, you have to encapsulate that like that unknown, that like great terror that really,

105

really cannot be encapsulated by the symbolic, by the masculine.

106

Another thing that Jija talks about in his essay in regards to the neo-noir femme fatale is talking about

107

that you have to directly act out the threat that you are made out to be.

108

The femme fatale is a male threat that he created for himself in order to re-establish male order, male patriarchal order.

109

And the greatest that you can be is directly act out the things that he thinks you will do.

110

He writes here, I know that in wanting me, what you effectively want is the phantasmatic image of me.

111

So I'll thwart your desire by directly gratifying it.

112

And this way you'll get me, but deprived of the phantasmatic support background that made me an object of fascination.

113

Sometimes total self exposure and self transparency,

114

the awareness that there is no hidden content behind make the subject even more enigmatic.

115

And then I'm reminded of this one quote, the only way to con a con is to tell the truth.

116

So that's the kind of Lynchian attitude.

117

She is at times so obvious in her treachery that you're still looking for that good girl underneath.

118

Another example of the femme fatale trope kind of like reversed

119

would be how Dorothy Valen's character in Blue Velvet appears to be somebody who is very dangerous,

120

but in fact, she's actually somebody who needs help.

121

She's a mother who wants her child and her husband back and is being abused by her kidnapper.

122

So instead of her being legitimately evil or wanting money or wanting to kill somebody, she has learned the behaviors that she exhibits out of fear.

123

It's not because she has an ill will and she needs to be transformed.

124

She is a femme fatale that needs to be saved.

125

The Lynchian woman, no matter what her method is, disturbs people, disturbs men.

126

It disturbs the foundation which is set in place for the femme fatale to fail.

127

Subverts the idea that the femme fatale is a force to be destroyed.

128

The Lynchian woman is going to leave things open-ended and leave you in a less secure place than when you started.

129

Another noticeable and actually very fun and performative attribute

130

that you can adopt from a Lynchian woman would be to have a double, would be the incorporation of a double.

131

You see this, for example, with Rita and Camilla in Mulholland Drive and Renee and Alice in Lost Highway.

132

This double is Lynch's homage to Alfred Hitchcock's Vertigo.

133

It's one of his favorite films and Lost Highway is like kind of patterned off of that.

134

You can adopt this literally as a performative aspect.

135

Like you can throw on a wig and like become a different person and like change your, you know, personality when you're out in public.

136

Like I think that's so fun and like kind of trip people up, but like totally believe in it.

137

um, play two different roles, play two opposites.

138

When it comes to the double, I think a lot of Lynch's female characters have this duality about them.

139

If there isn't a literal double, they have duality.

140

Like for example, Dorothy in blue velvet is a mother, but also a nightclub singer involved with like the dark underground of the city.

141

Um, Lula in wild at heart is very childlike and very sincere and kind of naive,

142

but she's also sexually explosive and she's had horrible things happen to her.

143

She is knowledgeable of the world, but her and sailors love is very, very like protected and cringy.

144

And just like, it's, it's naive and pure and innocent in its own way.

145

So you have that, that, uh, dynamic aspect.

146

And then you have the woman in the radiator, which is she's meant to come off as this very sweet angelic woman girl

147

but she's also if you've ever looked into it she's also a sign that the main character should kill themselves

148

ever in heaven everything is all right like she is meant to be someone who encourages him to this

149

or this is a voice in the back of your head that's saying you know just die like it's good

150

so she has

151

that kind of sinister you know total submission aspect to her

152

even though she's a character that's meant to look like I

153

don't know give off this hopeful feeling this feeling of peace

154

and serenity but she's encouraging him to do a very dark thing the darkest thing really the fourth attribute

155

that I've noticed in David Lynch's women would be that they're hot pretty cute whatever all those things, attractive, but they're also weird.

156

They're also a little ugly too.

157

David Lynch loves to combine beauty and ugliness, whether this is aesthetically or in the plotline or literal facial features of the women that he puts in his films.

158

The beauty of them is that there's something wrong or off or a little weird.

159

It's an authenticity.

160

It's a trace you know, that keeps us looking, you know, they're not perfect.

161

For example, in Lula, its personality and like how she dresses.

162

She's a hottie, but like

163

the way that they talk a way that she talks

164

that kind of innocence that cringiness that freedom you know

165

that meme i'm cringe

166

but i'm free like that's lula like i can barely like i i like

167

that film i just oh the writing is purposefully like almost nauseating like I can barely watch

168

that movie because of how they talk but it is it's like

169

that juxtaposition of her just being like a wild cat

170

and like just dressing provocatively and just like being so into sailor

171

and then just being like just talking the way

172

that they do in uh the woman in the radiator

173

and erase our head the woman in the radiator has these

174

like mud like cheeks like these fake cheeks attached to her face, but it's still like, she's still sweet.

175

She still has that sweetness to her.

176

Isabella Rossellini, for example, Laura Dern, Patricia Arquette, they all are chosen for a reason.

177

It's not just because they're like eighties hot.

178

They're chosen because they have something off about them.

179

Patricia Arquette has a snaggle tooth and she's a very human looking person.

180

She's not like influencer, perfect body.

181

Isabella, when at her role in wild at heart, She has like the unibrow practically and the baby pink lips.

182

Damn.

183

Like it's ridiculous, but it's, it's almost like kind of campy.

184

It's cool.

185

So you need to be, you need to be hot, but also a little weird, a little ugly.

186

You got to have something about you that like makes people like gag a little.

187

Seduction is not about perfection.

188

Perfection is death.

189

Perfection is the end.

190

Some other qualities that I have noticed is that if you want to be a lynchian woman, your dilemma needs to be pretty obscure, pretty odd.

191

You need to be involved in, I don't know, a crime syndicate or be pulled by forces that you can't explain immediately.

192

Um, you should have some good one-liners, um, like Alice, the one that I, this, this one-liner that I started the video with meow, meow.

193

It's me like have a good one-liner.

194

Like Lula said, this whole world's wild at heart and weird on top,

195

you know, have something like kind of poetic or be like Laura Dern's character in blue velvet,

196

um, and be like overly cliched, overly sentimental and believe in the cliche and sentiment,

197

you know, be like saccharine with your like talk of blinding white light and Robbins and like peace and hope, like talk about stuff.

198

Like you fucking believe it, like dreams come true you know talk about it be a grown-ass woman talking about

199

that stuff like you were eight years old that's a very lynchian quality I think

200

that belief and that we are meant to Zizek talks about this

201

that you're meant to take it seriously like you watch wild at heart

202

and you're like oh my god like are you joking the integrity of the film is that they

203

they believe in this love.

204

They believe in each other.

205

They don't care what we think.

206

It's serious to them.

207

But that's how you can be a Lynchian woman.

208

A Lynchian woman is a little weird, highly seductive, kind of ugly,

209

challenging, tender, comforting, but also kind of insidious.

210

If you're dating a Lynchian woman, you might say, one day I knew her and the next day,

211

like i didn't know her at all you're in for a wild ride but i know i know you're having fun

212

at least for a little

213

while until you can't take it anymore all right let me know

214

if you guys like this video uh if i missed anything

215

if i got anything wrong um don't forget to like

216

and subscribe as always leave a comment uh on your thoughts please share this video

217

if you think somebody would like it and i will see you guys next week bye

218

Thank you.

ดาวน์โหลดแอป

ทุกอย่างที่ต้องใช้เพื่อพูดได้คล่อง

AI ให้คะแนนการออกเสียงให้คะแนนทุกประโยค

ฝึก IPAเชี่ยวชาญทุกเสียง

คำศัพท์สร้างคลังคำของคุณ

เกมคำศัพท์เล่นไปเรียนไป

สแกน QR

Download on theApp Store Get it onGoogle Play

ช่องเดียวกัน

วิดีโอแนะนำ

44 ประโยค

Lana Del Rey Reveals Taylor Swift 'Snow On The Beach' Collab Story | All About Me | Harper's BAZAAR

TeensDaily ConversationUniversity Students

144 ประโยค

why aren't you living like you're in a romcom?

Business EnglishDaily ConversationUniversity Students

91 ประโยค

The Powers of Horror Exploring Julia Kristeva’s Theory of Abjection

Daily ConversationUniversity Students

176 ประโยค

we're not really strangers... but i wish we were

Daily ConversationUniversity StudentsWorking Adults

คำศัพท์และข้อสังเกตด้านการพูดสำหรับบทเรียนนี้

บทเรียนฝึกพูดระดับ B2 นี้ใช้วิดีโอ “How To Be a Lynchian Woman” เป็นสื่อ คำที่ถูกพูดซ้ำบ่อยที่สุด: lynchian, fatale, femme, film, character วิดีโอนี้มี 218 ประโยค และ 2823 คำ สำหรับฝึกพูดตาม ช่วงที่มีเสียงพูดยาว 18:31 ผู้พูดพูดด้วยความเร็วเป็นธรรมชาติ ประมาณ 152 คำต่อนาที ใกล้เคียงกับบทสนทนาในชีวิตประจำวัน มีเพียง 80% ของคำที่อยู่ใน 3,000 คำที่ใช้บ่อยที่สุดในภาษาอังกฤษ คำศัพท์จึงค่อนข้างยาก

คำศัพท์สำคัญในวิดีโอนี้

คำที่ยากที่สุด 15 คำในวิดีโอ พร้อมคำอ่านและความหมาย:

คำศัพท์	คำอ่าน	ความหมาย
radiator คำนาม	/ˈɹej.di(j)ˌej.tɚ/	รังผึ้ง, หม้อน้ำ
velvet คำนาม	/ˈvɛlvɪt/	กำมะหยี่
meow	/miˈaʊ/	เหมียว
attribute คำนาม	/ˈæt.ɹɪˌbjut/	คุณลักษณะ, คุณสมบัติ
disturb คำกริยา	/dɪˈstɜːb/	รบกวน
perfection คำนาม	/pɚˈfɛk.ʃən/	ความสมบูรณ์
hallucination คำนาม	/həˌluːsɪˈneɪʃən/	ภาพลวงตา
nightclub คำนาม	/ˈnʌɪtklʌb/	ไนท์คลับ
naive คำคุณศัพท์	/naɪˈiv/	ไร้เดียงสา, นาอีฟ
sailor คำนาม	/ˈseɪ.lɚ/	กะลาสี, ลูกเรือ
supernatural คำคุณศัพท์	/ˌsu.pəɹˈnæ.tʃə.ɹəl/	เหนือธรรมชาติ
cheek คำนาม	/t͡ʃiːk/	แก้ม
cinema คำนาม	/ˈsɪn.ə.mə/	โรงภาพยนตร์, โรงหนัง
clichéd คำคุณศัพท์		เฝือ
deprive คำกริยา	/dɪˈpɹaɪv/	พราก

ประโยคที่ควรฝึกพูดซ้ำ

ประโยคสั้น ๆ ที่สมบูรณ์จากวิดีโอ ซึ่งนำไปใช้ในบทสนทนาประจำวันได้:

She is something we can't explain.
It's me like have a good one-liner.
They don't care what we think.

ไวยากรณ์ในวิดีโอนี้

โครงสร้างที่ผู้พูดใช้บ่อยที่สุด พร้อมคำพูดจริงจากวิดีโอ:

โครงสร้าง	ในวิดีโอ
ประโยคเงื่อนไข if + อนุประโยค, will/would + กริยา — เงื่อนไขและผลลัพธ์	if you want to read that, I'll link · if you think somebody would like
Passive voice be + กริยาช่อง 3 — เน้นสิ่งที่เกิดขึ้น ไม่ใช่ผู้กระทำ	are abused · is amplified · be encapsulated
Relative clauses who / which + อนุประโยค — ข้อมูลเพิ่มเติมเกี่ยวกับคนหรือสิ่งของ	someone who wields · women that are · somebody who is
Present perfect have/has + กริยาช่อง 3 — เหตุการณ์ในอดีตที่ยังเกี่ยวข้องกับปัจจุบัน	you've ever seen · has learned · you've ever looked

การออกเสียงที่ควรระวัง

ผู้พูดใช้รูปย่อและรูปลดเสียง 41 ครั้ง เช่น they're, you're, I'm ให้พูดแบบสั้นตามที่ได้ยิน

เสียง “th”: aesthetics /ɛsˈθɛt.ɪks/, authenticity /ɑθɛnˈtɪsɪti/, underneath /ˌʌndɚˈniθ/, tooth /tuθ/, myth /mɪθ/
เสียง “sh” และ “zh”: perfection /pɚˈfɛk.ʃən/, hallucination /həˌluːsɪˈneɪʃən/, cliché /kliˈʃeɪ/, experiential /ɪkˌspɪɹiˈɛnʃəl/, fascination /fæsɪˈneɪʃən/
คำยาว — ลงเสียงหนักให้ถูกพยางค์: radiator /ˈɹej.di(j)ˌej.tɚ/, duality /d(j)uːˈælɪti/, encapsulate /ɪnˈkæps(j)ʊˌleɪt/, characteristic /ˌkæɹ(ə)ktəˈɹɪstɪk/, hallucination /həˌluːsɪˈneɪʃən/

วิธีฝึกกับวิดีโอนี้

ฟังวิดีโอให้จบหนึ่งรอบโดยยังไม่ต้องพูด แล้วจดคำที่ยังไม่รู้จัก
เริ่มที่ความเร็ว 0.75× พูดตามทีละประโยค แล้วกลับไปใช้ความเร็วปกติเมื่อเริ่มคล่อง
อัดเสียงตัวเองแล้วเทียบกับต้นฉบับ โดยสังเกตคำอย่าง radiator, velvet, meow เป็นพิเศษ

เทคนิค Shadowing คืออะไร?

Shadowing เป็นเทคนิคการเรียนรู้ภาษาที่ได้รับการรับรองทางวิทยาศาสตร์ พัฒนาขึ้นสำหรับการฝึกนักแปลมืออาชีพ วิธีการนี้เรียบง่ายแต่ทรงพลัง: คุณฟังเสียงภาษาอังกฤษจากเจ้าของภาษาและพูดตามทันที — เหมือนเงาที่ตามผู้พูดด้วยช่วงเวลาห่าง 1-2 วินาที การวิจัยแสดงว่าเทคนิคนี้ปรับปรุงความแม่นยำในการออกเสียง ทำนองเสียง จังหวะ การเชื่อมเสียง การฟังเข้าใจ และความคล่องแคล่วในการพูดได้อย่างมีนัยสำคัญ

เทคนิค shadowing: อ่านคู่มือฉบับเต็มทีละขั้นตอน →

ฝึกพูดภาษาอังกฤษด้วยเทคนิค Shadowing จากวิดีโอ: How To Be a Lynchian Woman

เลือกโหมดฝึก

ดาวน์โหลดแอป

The Art of Reinvention

4 Key Lessons from Women Who Run With The Wolves by Clarissa Pinkola Estés

We Didn't Deserve David Lynch

The SYMBOLISM, MEANING, and BEAUTY of La La Land | EXPLAINED

Hellraiser, Bataille and Limit Experiences

The love You Attract Reveals Who You Are | Carl Jung

Learn Idioms & Slang With Fleabag series

Ethics of Care Lecture

Fawning: The Survival Strategy That Turns Into Self-Abandonment | Fawning #2