Karaoke Movies:
Dubbing Movies for Pronunciation
William Naoki Kumai
Nanzan Seirei Junior College, Seto City |
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Key Words: Pronunciation, Technology-assisted language learning
Learner English Level: Intermediate to Advanced
Learner Maturity Level: Sr. High School and above
Preparation Time: 2-3 weeks
Activity Time: one or two class periods
In dubbing movies, students substitute their voices for those of the
actors in an English movie excerpt shown with the sound turned off. I have
used this for three years in an English phonetics class. It raises students'
awareness of native speaker rhythm (including weak forms and liaison/sandhi),
intonation, emotion, and speed when speaking.
Theory
Besides providing paralinguistic information such as gestures, facial
expression, and mouth shape, movies rather than audio tapes provide a timing
framework for speaking. Karaoke songs provide a timing framework
for singing: singers try to match a song from clues provided by the music
and words on a monitor. English karaoke songs are good for students
when they are asked to pay attention to breaking their syllable-timed katakana
English as they aim for a stress-timed English. In dubbing movies, students
get clues from the action and script. This technique can be called "karaoke
movies."
The dramatic and emotional content of a movie coupled with the need to
match the actor's rate of speaking naturally focus the students' attention
on rhythm and intonation. According to Wong (1987:21), these two should
receive higher priority over individual sounds because native English speakers
rely on them more to understand speech. Without intonation students cannot
match the emotional content of the lines; without weak forms students will
tend to take too long in speaking.
Movie dubbing parallels oral interpretation, "... the art of communicating
to an audience a work of literary art in its intellectual, emotional, and
aesthetic entirety" (Lee and Gura, 1992:3; also see Omi, 1984:3 for
the Japanese translation). In both techniques, the context, the emotions,
and dramatic structures of a text must be understood before it can be successfully
read aloud. But unlike oral interpretation, the hard work of analysis has
been done by the movie actors and director, so the students can use them
as models.
Practice
Students in small groups choose their own movies, preferably one with
a script (otherwise they will have to create their own transcripts). Recently
many screenplays of popular movies are sold, providing a wide range of choices.
Movie videos can be rented, purchased, or recorded from television.
Students then choose a short, 10 minute section that they would like
to dub. The sound is then recorded onto audio tapes, one for each group
member. Usually there is only one video player in the classroom; while it
is in use, other groups must use the audio tapes. If there are not enough
tape players to go around, I have found that using inexpensive "Y"
adapters allow two or more students to plug their earphones into one portable
tape player (which most students have).
Students decide which parts they will speak, trying to give each member
equal time. When practicing, I have students use the technique of shadowing,
to "repeat as quickly as possible after hearing what has been said"
(Cooper, et al., 1991:21-22).
Students practice both in and out of class for two or more weeks before
the final presentation. During the course of practicing, many pronunciation
questions will arise, thus becoming an inductive lesson on phonetics. Advanced
students can begin to mimic gestures and facial expressions as well (Lonergan,
1984:41-45, and Cooper, et al., 1991:21-22). Just as in process writing,
the teacher can intervene in students' efforts towards achieving a final
product. In particular, the teacher can direct students' attention towards
the difficult aspects of pronunciation, such as liaison, weak forms, and
intonation. Finally, students present their dubbing live in front of the
class (the movie excerpt is shown with the sound off).
Conclusion
Because students were allowed to choose their own movies, coupled with
the novelty and public presentation, they were well motivated. Students
gained a practical knowledge of phonetics concepts, and they experienced
how it feels to approach native speaker-like fluency. It is also a technique
useful for independent study.
Further reading
Cooper, R., M. Lavery, and M. Rinvolucri (1991). Video.
Oxford: Oxford University Press.
Lee, C. I., and T. Gura (1992). Oral Interpretation,.
Boston: Houghton Mifflin Company.
Lonergan, J. (1984). Video in Language Teaching.
Cambridge: Cambridge University Press.
Omi, M. (1984). Oraru Intapuriteishon Nyumon (Introduction
to Oral Interpretation). Tokyo: Taishukan Shoten.
Wong, R. (1987). Teaching Pronunciation: Focus on English
Rhythm and Intonation. Englewood Cliffs, New Jersey: Prentice-Hall,
Inc.
Article
copyright © 1996 by the author.
Document URL: http://www.jalt-publications.org/tlt/files/96/sept/dub.html
Last modified: April 11, 1997
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