跟读练习: Why Some Movie Endings Stay With You - 通过视频学习英语口语
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123 句
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1
Watch this ending.
看看这个结局。
2
Tell us how you feel.
告诉我们你的感受。
3
I feel alive!
我感觉充满活力！
4
It feels like a victory.
这感觉就像一场胜利。
5
Now watch this one.
现在看好了。
6
Same technique, a freeze frame.
同样的手法，一个定格画面。
7
But it feels like devastation.
但这感觉就像一场毁灭性的灾难。
8
Same tool, opposite feeling.
同样的工具，截然不同的感受。
9
That's the secret of every ending technique.
这就是所有收尾技巧的秘诀。
10
On its own, it's neutral.
就其本身而言，它是中性的。
11
A freeze frame.
一个定格画面。
12
A cut to black.
画面切黑。
13
A fade.
淡入淡出效果。
14
None of them carry an inherent meaning.
它们本身都不具有内在含义。
15
Their entire impact comes from what came before them.
它们的全部影响力都源自于此前的积累。
16
In part one, we looked at what an ending can say.
在第一部分中，我们探讨了结尾可以传达哪些信息。
17
Now, the tools filmmakers used to say it.
如今，这些就是电影创作者用来表达观点的工具。
18
We will be spoiling many movies.
我们会剧透很多电影。
19
Head over to our blog post on story endings to see the full list.
20
You've been warned.
21
The freeze frame is behind some of the most iconic endings in cinema history.
22
It stops the film's movement on a single moment and holds on that image for the audience to soak it in.
23
As a technique it works in almost any form.
24
It can be used to show triumph or tragedy.
25
It can mark the ascension of a single character, or the transformation of a relationship.
26
However it's used, the freeze frame declares that this particular moment should outlast the film.
27
That it should persist in the viewer's memory exactly as it is.
28
Perhaps the most classic case of this can be found with Thelma and Louise.
29
As the car hangs in mid-air above the canyon, frozen at the apex of their final act of defiance, director Ridley Scott refuses to show the fall.
30
But this doesn't mean he's left the story unfinished.
31
It means he found a single frame that expresses exactly what the audience needs to feel.
32
The straight cut to black is the most abrupt way to end a movie.
33
It denies the audience a gradual transition out of the story and forces them to truly feel the ending.
34
It can be paired with an ecstatic musical swell, or timed with the VO for a narrative slam dunk.
35
You have no idea what I'm talking about, I'm sure. But don't worry.
36
You will someday.
37
The effect varies entirely with context.
38
The cut to black can be used as a punchline, to leave the audience with a sense of shock after their expectations are subverted.
39
But in most cases, the cut to black is often used to punctuate the final story beat.
40
In Un Prophète, Jacques Odial does exactly this.
41
After the entirety of the narrative has unfolded during Malik's sentence in a French prison, his release is barely shown before the movie cuts to black.
42
The cut perfectly signifies the end of his prison sentence and the start of his freedom.
43
We've seen the abrupt cut to black.
44
Its gentler sibling is the fade to black.
45
Where the cut punctuates, the fade dissolves the story away, a slow dimming, like a curtain lowering.
46
It reads as sleep, as death, as quiet closure, the film letting go of you instead of dropping you.
47
It's the oldest ending in cinema and still the most common one there is.
48
But black isn't the only color option.
49
The fade to white is a much softer gradual approach to end a movie.
50
It can represent transcendence or erasure.
51
The Fade to White is among the most emotionally directional of all ending techniques.
52
And there's no stronger example of this than Fast and Furious 7.
53
The ending of this movie delivered a powerful real-world farewell to Paul Walker, who tragically died during the making of the film.
54
Ultimately, a fade to white almost always signals something beyond an ordinary resolution.
55
After an entire film of carefully composed sound design and music, the absence of audio in the final moments of a film can be incredibly powerful.
56
This could mean reducing the sound to a bare minimum of diegetic sound, like in Son of Saul,
57
or to a very faint score, as in Pawlikowski's Ida.
58
By doing this, the director places almost complete focus on the image alone.
59
It can feel isolating and eerie.
60
In Sound of Metal, silence is used as a way to reflect the entire message of the story, and is directly linked to the protagonist's character arc.
61
As Reuben finally comes to accept his deafness, he bathes in the silence.
62
Marla, look at me.
63
If silence is one way to end on sound, the opposite is just as powerful.
64
The music ending.
65
It's gonna be fun.
66
After an entire film, the right song or score over the final image does what dialogue can.
67
This can.
68
Consider the end of Goodfellas.
69
Scorsese chose the song My Way, which lyrically sums up Henry Hill's journey, but instead of Sinatra's classic version,
70
for an additional layer of systemic rebellion.
71
A needle drop can lift a hard ending into catharsis.
72
Forget about me Or curdle a happy image into irony.
73
Hello darkness, my old friend Either way,
74
the music becomes the last thing the audience feels and usually the thing they're still humming on the way out.
75
Creeping Left its seeds while I was sleeping The voiceover coda closes a film on a voice rather than an image.
76
Often the narrator steps back from the story to deliver a final thought.
77
But it was agreed among them that Royal would have found the event to be most satisfactory.
78
Or a commentary on the end of the story itself.
79
We'd only been gone two days, but somehow the town seemed different, smaller.
80
In other cases, it allows the story to enter a new liminal space, space, unrestricted by the boundaries of the story.
81
In Legend, for example, Frances's final voiceover is delivered despite her death earlier in the film.
82
Reggie, my prince, we were supposed to go to Ibiza after all.
83
The voiceover coda often occurs from movies that have been adapted from books.
84
Miss Honey moved back into her father's house.
85
For example, in Matilda, Danny DeVito's narration bookends the movie, leaving it on an optimistic note for its protagonist.
86
The happiest part of the story is that Matilda and Miss Honey each got that they had always wanted.
87
A loving family.
88
The fourth wall break collapses the barrier between the movie and the audience.
89
This can come through voiceover as a character speaks directly to the audience.
90
Who doesn't love a happy ending, huh?
91
Or it could just come from a single look flashed toward the screen.
92
In many cases, the intention of breaking the fourth wall is to deliver a thematic message, or to ask a question of the audience.
93
What the f* have you done lately?
94
Alternatively though, the intention may be more comedic and playful, such as with this famous ending to The Big Lebowski.
95
Well, that about does her.
96
Wraps her all up.
97
The lingering shot holds on its subject long after the conventional moment to cut has passed.
98
It refuses to release the audience from the moment.
99
In cinematic language, the extra time spent on a shot changes the meaning of what we see.
100
It brings extreme focus to the subject, which deliberately communicates something meaningful.
101
A face held for a few seconds reads as an expression.
102
But when held for much longer, it expresses a deeper internal experience for the character.
103
It is amongst the most demanding techniques because it often requires an unwavering performance.
104
For example, in Call Me By Your Name, Guantanino holds on Elio's face in front of the fireplace for about three and a half minutes.
105
It's arguably one of the most technical endings for a filmmaker, as it requires both the performance and framing to be perfect.
106
The montage ending delivers a final emotional punch through a series of images, rather than just a single one.
107
It trusts that an interconnected sequence of shots will carry more emotional weight than any one of them alone.
108
It is sometimes used to carry the audience through time after the story has finished.
109
Or to express a sense of interconnectedness, a shared feeling experienced by the characters.
110
Or alternatively, to deliver a feeling of hope and optimism optimism,
111
like in Cinema Paradiso, as the famous montage of kisses expresses the triumph of art over censorship.
112
In Mommy, Xavier Dolan uses the montage technique as a false ending,
113
projecting a bright future for Steve before the crushing weight of reality sets in,
114
as Diane faces the decision she's made to institutionalize her son.
115
Every single frame in a film comes from a choice, but the final choice the filmmaker leaves an audience with is the first one they remember.
116
A filmmaker who understands this doesn't simply end their story, they decide what feeling to leave behind.
117
The best endings use the tools at hand to finalize the story's intention.
118
So, as a filmmaker, you must know what you have to say at the end of your story, and learn exactly how to say it.
119
Map out your perfect ending in Studio Binder, either in your script, breakdown or storyboard, so all of your collaborators understand how to stick the landing.
120
And now, the big question.
121
How should we end this video?
122
Behold, the first ever fourth wall breaking VO driven montage followed by a freeze cut fade.
123
Perfect.
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本课的词汇与口语要点
这段视频共有 123 个句子、1529 个单词可供跟读。 讲话部分时长为 12:32。 说话人语速平稳，每分钟约 122 个词，很适合跟读。 只有 79% 的单词属于英语最常用的 3,000 词，词汇难度较高。
视频中的重点词汇
视频中 15 个值得学习的单词，附发音和释义：
| 单词 | 发音 | 释义 |
|---|---|---|
| fade 动词 | /feɪd/ | 衰落, 枯萎 |
| technique 名词 | /tɛkˈniːk/ | 技術 /技术, 技巧 |
| freeze 动词 | /ˈfɹiːz/ | 凍結 /冻结, 凍 /冻 |
| filmmaker 名词 | 製片人 /制片人 | |
| silence 名词 | /ˈsaɪ̯ləns/ | 沉默 |
| intention 名词 | /ɪnˈtɛnʃn̩/ | 意向, 意圖 /意图 |
| cinema 名词 | /ˈsɪn.ə.mə/ | 電影院 /电影院, 影院 |
| narrative 名词 | /ˈnæɹ.ə.tɪv/ | 記敘文 /记叙文 |
| refuse 动词 | /ɹɪˈfjuːz/ | 拒絕 /拒绝, 回絕 /回绝 |
| triumph 名词 | /ˈtɹaɪ̯əmf/ | 凱旋 /凯旋, 勝利 /胜利 |
| gradual 形容词 | /ˈɡɹæd͡ʒuəl/ | 逐漸的 /逐渐的, 平緩的 /平缓的 |
| optimism 名词 | /ˈɑptɪmɪzəm/ | 樂觀主義 /乐观主义 |
| audio 形容词 | /ˈɔ.di.oʊ/ | 音頻 /音频, 伴音 |
| occur 动词 | /əˈkɜː/ | 發生 /发生 |
| carefully 副词 | /ˈkɛɹf(ə)li/ | 小心地 |
视频中出现的短语动词
| 单词 | 释义 |
|---|---|
| leave behind 动词 | 遺棄 /遗弃 |
视频中的语法
说话人最常用的结构，并附上视频中的原话：
| 结构 | 视频中的用法 |
|---|---|
| 被动语态 be + 过去分词 — 强调发生了什么，而不是谁做的 | You've been warned · can be found · can be paired |
| 现在完成时 have/has + 过去分词 — 过去发生但与现在仍有关联的事 | You've been warned · has unfolded · We've seen |
需要注意的发音
说话人用了 12 次缩略和弱读形式，例如 doesn't, I'm, don't。请按听到的简短形式来说。
- “th” 音: bathe /beɪð/, catharsis /kəˈθɑɹˌsɪs/, thematic /θɪˈmætɪk/
- “sh” 和 “zh” 音: intention /ɪnˈtɛnʃn̩/, shock /ʃɔk/, transition /tɹænˈzɪʃ.ən/, flash /flæʃ/, conventional /kənˈvɛnʃənl̩/
- 长单词——注意重音位置: alternatively /ɔlˈtɝ.nə.tɪv.li/, optimism /ˈɑptɪmɪzəm/, ordinary /ˈɔɹdɪnɛɹi/, incredibly /ɪŋˈkɹɛdɪbli/, transformation /ˌtɹæns.fɔɹˈmeɪ.ʃən/
如何用这段视频练习
- 先完整听一遍视频，不要开口，记下不认识的单词。
- 用正常速度逐句跟读，每句重复到你的节奏与说话人一致为止。
- 录下自己的声音并与原声对比，特别注意 fade, technique, freeze 这类单词。
什么是跟读法？
跟读法 (Shadowing) 是一种有科学依据的语言学习技巧，最初开发用于专业口译员的培训，并由多语言者Alexander Arguelles博士普及。这个方法简单而强大：您在听英语母语原声的同时立即大声重复——就像是一个延迟1-2秒紧跟说话者的影子。与被动听力或语法练习不同，跟读法强迫您的大脑和口腔肌肉同时处理并模仿真实的讲话模式。研究表明它能显着提高发音准确性，语调，节奏，连读，听力理解和口语流利度——使其成为雅思口语备考和真实英语交流最有效的方法之一。