TEDWomen 2016
Stacy Smith: The data behind Hollywood's sexism
Stejsi Smit (Stacy Smith): Podaci iza holivudskog seksizma
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Gde su sve te žene i devojke na filmu? Društvena naučnica Stejsi Smit analizira kako su žene u medijima nezastupljene i loše portretisane - kao i potencijalno razorne efekte koje to portretisanje može da ima na gledaoce. Deli sa nama čvrste podatke iza rodnih predrasuda u Holivudu, gde su muškarci na ekranu brojniji od žena u odnosu tri prema jedan (a u slučaju radnika iza kamere je daleko gore).
Stacy Smith - Media researcher
Stacy Smith shows how Hollywood’s homogenous (and overwhelmingly male) culture systematically excludes women and minorities. Full bio
Stacy Smith shows how Hollywood’s homogenous (and overwhelmingly male) culture systematically excludes women and minorities. Full bio
Double-click the English transcript below to play the video.
00:12
Today, I want to tell you
about a pressing social issue.
about a pressing social issue.
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Danas želim da vam govorim
o gorućem društvenom pitanju.
o gorućem društvenom pitanju.
00:16
Now, it's not nuclear arms,
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Ne, ne radi se o nuklearnom oružju,
00:19
it's not immigration,
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ne radi se o imigraciji
00:20
and it's not malaria.
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i ne radi se o malariji.
00:22
I'm here to talk about movies.
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Ovde sam da bih vam govorila o filmovima.
00:26
Now, in all seriousness,
movies are actually really important.
movies are actually really important.
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Sad, skroz ozbiljno,
filmovi su zapravo veoma važni.
filmovi su zapravo veoma važni.
00:30
In film, we can be wildly entertained,
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Film može da nas ludo zabavi
00:34
and we can also be transported
through storytelling.
through storytelling.
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i takođe putem pripovedanja
možemo da se transportujemo.
možemo da se transportujemo.
00:39
Storytelling is so important.
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Pripovedanje je veoma važno.
00:41
Stories tell us what societies value,
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Priče nam saopštavaju društvene vrednosti,
00:44
they offer us lessons,
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nude nam pouke
00:46
and they share and preserve our history.
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i dele i čuvaju našu istoriju.
00:50
Stories are amazing.
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Priče su izuzetne.
00:52
But stories don't give everyone
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Međutim, priče ne pružaju svima
00:55
the same opportunity
to appear within them,
to appear within them,
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istu mogućnost da se pojave u njima,
00:59
particularly not stories
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naročito ne priče
01:02
compartmentalized
in the form of American movies.
in the form of American movies.
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žanrovski oblikovane
u vidu američkog filma.
u vidu američkog filma.
01:06
In film, interestingly enough,
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U filmu, što je naročito zanimljivo,
01:08
females are still erased and marginalized
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žene su i dalje izbrisane
i marginalizovane
i marginalizovane
01:12
in a lot of our stories.
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u mnogim našim pričama.
01:14
And I learned this for the first time
about 10 years ago
about 10 years ago
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A ovo sam saznala prvi put
pre oko deset godina
pre oko deset godina
01:17
when I did my first study
on gender role in G-rated films.
on gender role in G-rated films.
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kada sam uradila moju prvu studiju
o ulozi rodova u filmovima sa G oznakom.
o ulozi rodova u filmovima sa G oznakom.
01:21
Since then, we've conducted
more than 30 investigations.
more than 30 investigations.
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Od tada smo sproveli
preko 30 istraživanja.
preko 30 istraživanja.
01:24
My team is tired.
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Moja ekipa je umorna.
01:26
And I've committed my life
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I ja sam posvetila moj život
01:30
as researcher and activist
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kao istraživačica i aktivistkinja
01:32
to fighting the inclusion crisis
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da bih se borila
protiv krize inkluzivnosti
protiv krize inkluzivnosti
01:35
in Hollywood.
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u Holivudu.
01:37
So today, what I'd like to do
is tell you about that crisis.
is tell you about that crisis.
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Pa bih danas želela
da vam govorim o toj krizi.
da vam govorim o toj krizi.
01:40
I want to talk about
gender inequality in film.
gender inequality in film.
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Želim da govorim
o rodnoj nejednakosti na filmu.
o rodnoj nejednakosti na filmu.
01:43
I want to tell you how it is perpetuated,
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Želim da vam govorim o tome kako opstaje,
01:45
and then I'm going to tell you
how we're going to fix it.
how we're going to fix it.
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a potom ću da vam kažem
kako ćemo to da ispravimo.
kako ćemo to da ispravimo.
01:49
However, one caveat before I begin:
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Međutim, jedno upozorenje
pre nego što počnem:
pre nego što počnem:
01:53
my data are really depressing.
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moji podaci su zaista depresivni.
01:56
So I want to apologize in advance,
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Stoga, želim unapred da se izvinim
01:59
because I'm going to put you all
in a really bad mood.
in a really bad mood.
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jer ću vas sve veoma oneraspoložiti.
02:02
But I'm going to bring it up at the end,
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Ali ću na kraju da podignem loptu
02:05
and I'm going to present a silver lining
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i da predstavim svetlu stranu,
02:08
to fix this mess that we've been in
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kako bismo ispravili nered u kome smo
02:10
for a very, very long time.
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već dugo, dugo vremena.
02:13
So, let's start with the gravity
of the situation.
of the situation.
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Započnimo ozbiljnošću situacije.
02:17
Each year, my research team
examines the top 100 grossing films
examines the top 100 grossing films
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Svake godine moja istraživačka ekipa
pregleda 100 filmova s najvišom zaradom
pregleda 100 filmova s najvišom zaradom
02:21
in the United States.
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u Sjedinjenim Državama.
02:22
What we do is we look at every speaking
or named character on-screen.
or named character on-screen.
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Mi posmatramo svakog lika
koji govori ili je imenovan na ekranu.
koji govori ili je imenovan na ekranu.
02:26
Now, to count in one of my investigations,
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Sad, kako bi bio uvršćen
u moje istraživanje,
u moje istraživanje,
02:29
all a character has to do is say one word.
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sve što lik treba da uradi
je da kaže jednu reč.
je da kaže jednu reč.
02:34
This is a very low bar.
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Ovo je veoma nizak standard.
02:36
(Laughter)
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(Smeh)
02:38
Thus far, we've looked at 800 movies,
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Do sad smo pogledali 800 filmova,
02:40
from 2007 to 2015,
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od 2007 do 2015,
02:42
cataloguing every speaking character
on-screen for gender, race, ethnicity,
on-screen for gender, race, ethnicity,
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razvrstavajući svakog govornog lika
na ekranu prema rodu, rasi, narodnosti,
na ekranu prema rodu, rasi, narodnosti,
02:47
LGBT and characters with a disability.
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LGBT i likovi sa invaliditetom.
02:51
Let's take a look
at really some problematic trends.
at really some problematic trends.
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Pogledajmo neke
veoma problematične trendove.
veoma problematične trendove.
02:55
First, females are still
noticeably absent on-screen in film.
noticeably absent on-screen in film.
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Prvo: žene su i dalje
vidno odsutne na filmskom platnu.
vidno odsutne na filmskom platnu.
03:00
Across 800 movies
and 35,205 speaking characters,
and 35,205 speaking characters,
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Kroz 800 filmova
i 35.205 likova koji govore,
i 35.205 likova koji govore,
03:04
less than a third of all roles
go to girls and women.
go to girls and women.
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manje od trećine svih uloga
pripadaju devojkama i ženama.
pripadaju devojkama i ženama.
03:08
Less than a third!
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Manje od trećine!
03:09
There's been no change from 2007 to 2015,
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Nije bilo promene od 2007. do 2015,
03:13
and if you compare our results
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a ako uporedite naše rezultate
03:14
to a small sample of films
from 1946 to 1955,
from 1946 to 1955,
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sa malim uzorkom filmova od 1946. do 1955,
03:19
there's been no change
in over a half of a century.
in over a half of a century.
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nije bilo promene više od pola veka.
03:23
Over half of a century!
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Više od polovine veka!
03:25
But we're half of the population.
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Međutim, mi činimo polovinu populacije.
03:27
Now, if we look at this data
intersectionally,
intersectionally,
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Sad, ako posmatramo
ove podatke prema ukrštanju,
ove podatke prema ukrštanju,
03:30
which has been a focus of today,
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a to je bio današnji fokus,
03:32
the picture becomes even more problematic.
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slika postaje još problematičnija.
03:35
Across the top 100 films
of just last year,
of just last year,
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Kroz 100 najvećih filmova
samo iz prošle godine,
samo iz prošle godine,
03:38
48 films didn't feature one black
or African-American speaking character,
or African-American speaking character,
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48 nije sadržalo jednog crnog
ili afričko-američkog lika koji govori,
ili afričko-američkog lika koji govori,
03:43
not one.
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baš nijednog.
03:44
70 films were devoid of Asian
or Asian-American speaking characters
or Asian-American speaking characters
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70 filmova je bilo lišeno azijskog
ili azijsko-američkog lika koji govori,
ili azijsko-američkog lika koji govori,
03:48
that were girls or women.
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a da je to devojka ili žena.
03:50
None.
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Nijedna.
03:51
Eighty-four films didn't feature one
female character that had a disability.
female character that had a disability.
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84 filma nisu uključivala
ženskog lika sa invaliditetom.
ženskog lika sa invaliditetom.
03:56
And 93 were devoid of lesbian, bisexual
or transgender female speaking characters.
or transgender female speaking characters.
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A 93 su bila lišena lezbejki, biseksualaca
ili transrodnih ženskih likova koji govore.
ili transrodnih ženskih likova koji govore.
04:02
This is not underrepresentation.
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Ovde se ne radi o manjoj zastupljenosti.
04:06
This is erasure,
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Ovo je brisanje,
04:07
and I call this
the epidemic of invisibility.
the epidemic of invisibility.
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a ja to nazivam epidemijom nevidljivosti.
04:12
Now, when we move
from prevalence to protagonist,
from prevalence to protagonist,
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Sad, kad se pomerimo
sa onog što preovlađuje na glavne likove,
sa onog što preovlađuje na glavne likove,
04:16
the story is still problematic.
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priča je i dalje problematična.
04:19
Out of a hundred films last year,
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Od 100 filmova prošle godine,
04:20
only 32 featured a female lead
or colead driving the action.
or colead driving the action.
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svega 32 su sadržala ženu u glavnoj ulozi
ili sporednoj ulozi koja pokreće radnju.
ili sporednoj ulozi koja pokreće radnju.
04:25
Only three out of a hundred films
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Svega tri od stotinu filmova
04:27
featured an underrepresented
female driving the story,
female driving the story,
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su sadržala pripadnicu manjina
koja pokreće prču
koja pokreće prču
04:31
and only one diverse woman
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i samo jednu ženu
04:33
that was 45 years of age or older
at the time of theatrical release.
at the time of theatrical release.
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koja je imala 45 ili više godina
u vreme prikazivanja u bioskopu.
u vreme prikazivanja u bioskopu.
04:38
Now let's look at portrayal.
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Sad, pogledajmo portretisanja.
04:40
In addition to the numbers you just saw,
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Uz brojeve koje ste upravo videli,
04:42
females are far more likely
to be sexualized in film
to be sexualized in film
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žene su daleko češće
seksualizovane na filmu
seksualizovane na filmu
04:46
than their male counterparts.
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od svojih kolega muškaraca.
04:48
Matter of fact, they're about
three times as likely
three times as likely
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Zapravo, otprilike tri puta češće
04:50
to be shown in sexually
revealing clothing,
revealing clothing,
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ih prikazuju u izazovnoj oskudnoj odeći,
04:52
partially naked,
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delimično gole
04:54
and they're far more likely to be thin.
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i daleko češće su mršave.
04:56
Now, sometimes, in animation,
females are so thin
females are so thin
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Sad, ponekad u crtaćima,
žene su toliko mršave
žene su toliko mršave
05:00
that their waist size approximates
the circumference of their upper arm.
the circumference of their upper arm.
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da im obim struka otprilike
odgovara obimu nadlaktice.
odgovara obimu nadlaktice.
05:05
(Laughter)
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(Smeh)
05:06
We like to say that these gals
have no room for a womb
have no room for a womb
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Volimo da kažemo da ove deve
nemaju prostora za utrobu,
nemaju prostora za utrobu,
05:10
or any other internal organ.
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niti bilo koji unutrašnji organ.
05:12
(Laughter)
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(Smeh)
05:14
Now, all joking aside,
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Sad, šalu na stranu,
teorije nagoveštavaju,
istraživanja potvrđuju
istraživanja potvrđuju
05:16
theories suggest, research confirms,
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05:18
exposure to thin ideals
and objectifying content
and objectifying content
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izloženost mršavim idealima
i sadržaju koji objektifikuje
i sadržaju koji objektifikuje
05:20
can lead to body dissatisfaction,
internalization of the thin ideal
internalization of the thin ideal
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može da dovede do nezadovoljstva telom,
internalizacije ideala mršavosti
internalizacije ideala mršavosti
05:24
and self-objectification
among some female viewers.
among some female viewers.
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i doživljaja sebe kao objekta,
kod nekih gledateljki.
kod nekih gledateljki.
05:29
Obviously, what we see on-screen
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Očigledno, ono što gledamo na ekranu
05:31
and what we see in the world,
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i ono što vidimo u svetu
05:33
they do not match.
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se ne poklapa.
05:34
They do not match!
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Ne poklapa se!
05:36
Matter of fact,
if we lived in the screen world,
if we lived in the screen world,
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Zapravo, kad bismo živeli
na filmskom platnu,
na filmskom platnu,
05:38
we would have a population
crisis on our hands.
crisis on our hands.
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borili bismo se sa populacionom krizom.
05:42
So, as soon as I recognized
these patterns,
these patterns,
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Dakle, čim sam prepoznala ove obrasce,
05:44
I wanted to find out why,
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želela sam da znam zašto
05:46
and it turns out that there are
two drivers to inequality on-screen:
two drivers to inequality on-screen:
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i ispostavilo se da postoje
dva pokretača nejednakosti na filmu:
dva pokretača nejednakosti na filmu:
05:50
content creator gender
and misperceptions of the audience.
and misperceptions of the audience.
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rod tvoraca sadržaja
i pogrešan doživljaj publike.
i pogrešan doživljaj publike.
05:53
Let's unpack them really quick.
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Razložimo ih na brzinu.
Ako želite da promenite neki obrazac
o kom sam upravo govorila,
o kom sam upravo govorila,
05:54
If you want to change
any of the patterns I just talked about,
any of the patterns I just talked about,
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05:57
all you have to do
is hire female directors.
is hire female directors.
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sve što je potrebno
je da zaposlite rediteljke.
je da zaposlite rediteljke.
06:00
Turns out, the female directors
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Ispostavlja se da rediteljke
06:02
are associated with,
in terms of short films and indie films,
in terms of short films and indie films,
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povezuju sa, u smislu kratkih filmova
i nezavisnih filmova,
i nezavisnih filmova,
06:06
more girls and women on-screen,
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više devojaka i žena na ekranu,
06:08
more stories with women in the center,
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više priča u čijem su središtu žene,
06:11
more stories with women
40 years of age or older on-screen,
40 years of age or older on-screen,
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više priča na filmu sa ženama
koje imaju 40 i više godina,
koje imaju 40 i više godina,
06:16
which I think is good news for this crowd.
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mislim da je to dobra vest za ovu pubiku.
06:18
More underrepresented --
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Više manjina -
06:20
(Laughter)
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(Smeh)
06:22
Sorry.
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Žao mi je.
06:23
(Laughter)
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(Smeh)
06:25
Sorry but not sorry.
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Žalim, ali mi nije žao.
06:26
More underrepresented characters
in terms of race and ethnicity,
in terms of race and ethnicity,
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Više manjinskih likova
u smislu rase i narodnosti,
u smislu rase i narodnosti,
06:30
and most importantly,
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i što je najvažnije,
06:31
more women working behind the camera
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više žena koje rade iza kamere
06:33
in key production roles.
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na ključnim produkcijskim ulogama.
06:36
Easy answer to the problems
that we just talked about.
that we just talked about.
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Lak odgovor na probleme
o kojima smo upravo govorili.
o kojima smo upravo govorili.
06:39
Or is it?
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Da li je?
06:41
It's actually not.
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Zapravo nije.
06:42
800 films, 2007-2015,
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800 filmova, 2007-2015,
06:46
886 directors.
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886 reditelja.
06:47
Only 4.1 percent are women.
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Svega 4,1 procenat su žene.
06:51
Only three are African-American or black,
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Svega tri su afričko-amerikanke
ili crnkinje,
ili crnkinje,
06:54
and only one woman was Asian.
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a samo jedna je Azijka.
06:57
So why is it so difficult
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Pa, zašto je toliko teško
07:01
to have female directors
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da imamo rediteljke,
07:02
if they're part of the solution?
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ako su one deo rešenja?
07:05
Well, to answer this question,
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Pa, da bih odgovorila na ovo pitanje,
07:07
we conducted a study.
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sproveli smo istraživanje.
07:09
We interviewed dozens of industry insiders
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Intervjuisali smo desetine
insajdera iz industrije
insajdera iz industrije
07:11
and asked them about directors.
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i pitali smo ih o rediteljima.
07:13
Turns out, both male
and female executives,
and female executives,
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Ispostavilo se da i muškarci
i žene rukovodioci,
i žene rukovodioci,
07:17
when they think director,
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kada razmišljaju o reditelju,
07:19
they think male.
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zamišljaju muškarca.
07:21
They perceive the traits of leadership
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Doživljavaju osobine predvodništva
07:23
to be masculine in nature.
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kao po prirodi muške.
07:26
So when they're going to hire a director
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Pa, kad zapošljavaju reditelja
07:29
to command a crew, lead a ship,
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da rukovodi ekipom, vodi brod,
07:31
be a visionary or be General Patton,
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bude vizionar ili general Paton,
07:34
all the things that we've heard --
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sve o čemu smo slušali -
07:36
their thoughts and ideations pull male.
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njihove misli i zamisli izvlače muškarca.
07:39
The perception of director or a leader
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Viđenje reditelja ili vođe
07:42
is inconsistent
with the perception of a woman.
with the perception of a woman.
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se ne podudara sa viđenjem žene.
07:46
The roles are incongruous,
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Ove uloge se ne podudaraju,
07:48
which is consistent with a lot of research
in the psychological arena.
in the psychological arena.
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a to se poklapa sa mnogo istraživanja
iz oblasti psihologije.
iz oblasti psihologije.
07:52
Second factor contributing
to inequality on-screen
to inequality on-screen
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Drugi faktor koji doprinosi
nejednakosti na platnu
nejednakosti na platnu
07:55
is misperceptions of the audience.
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je pogrešno viđenje publike.
Ne moram to da govorim ovoj publici:
07:57
I don't need to tell this crowd:
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07:59
50 percent of the people
that go to the box office and buy tickets
that go to the box office and buy tickets
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50 procenata ljudi
koji odlaze na blagajne i kupuju ulaznice
koji odlaze na blagajne i kupuju ulaznice
08:02
are girls and women in this country.
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u ovoj zemlji su devojke i žene.
08:04
Right?
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Je li tako?
08:06
But we're not perceived to be a viable
or financially lucrative target audience.
or financially lucrative target audience.
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Ali nas ne doživljavaju kao održivu
ili finansijski unosnu ciljnu publiku.
ili finansijski unosnu ciljnu publiku.
08:11
Further, there's some misperceptions
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Štaviše, postoje neke zablude
08:13
about whether females can open a film.
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o tome da li žena može da otvori film.
08:16
Open a film means that if you
place a female at the center,
place a female at the center,
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Otvoriti film znači
da ako smestite ženu u središte,
da ako smestite ženu u središte,
08:19
it doesn't have the return on investment
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film neće povratiti uloženi novac
08:21
that if you place a male
at the center of a story does.
at the center of a story does.
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kao onda kada smestite muškarca
u središte priče.
u središte priče.
08:25
This misperception is actually costly.
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Ova zabluda je zapravo skupa.
08:29
Right?
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Je li tako?
08:30
Especially in the wake
of franchise successes
of franchise successes
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Naročito u svetlu uspeha franšiza,
08:32
like "The Hunger Games,"
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poput "Igara gladi",
08:34
"Pitch Perfect"
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"Savršenog koraka"
08:36
or that small little indie film,
"Star Wars: The Force Awakens."
"Star Wars: The Force Awakens."
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ili onog malog nezavisnog filma
"Ratovi zvezda: Buđenje sile".
"Ratovi zvezda: Buđenje sile".
08:41
Our own economic analyses show
that gender of the lead character
that gender of the lead character
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Naše sopstvene ekonomske analize
pokazuju da rod glavnog lika
pokazuju da rod glavnog lika
08:45
doesn't play a role in economic success
in the United States.
in the United States.
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ne igra ulogu u ekonomskom uspehu
u Sjedinjenim Državama.
u Sjedinjenim Državama.
08:48
But what does?
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Međutim, šta igra?
08:50
Production costs alone
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Sami troškovi produkcije
08:51
or in conjunction with how widely
a film is distributed in this country.
a film is distributed in this country.
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ili u vezi s tim koliko je široko
film distribuiran u ovoj državi.
film distribuiran u ovoj državi.
08:58
It's not the gender of the lead character.
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Nije u pitanju rod glavnog lika.
09:00
So at this point, we should
all be sufficiently depressed.
all be sufficiently depressed.
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Pa bi u ovom momentu svi trebalo
da budemo prilično depresivni.
da budemo prilično depresivni.
09:05
No change in 50 years,
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Bez promene u 50 godina,
09:06
few female directors
working behind the camera
working behind the camera
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nekolicina rediteljki
koje rade iza kamere,
koje rade iza kamere,
09:09
and the entertainment industry
does not trust us as an audience.
does not trust us as an audience.
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a industrija zabave
nam ne veruje kao publici.
nam ne veruje kao publici.
09:14
Well, I told you
there would be a silver lining,
there would be a silver lining,
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Pa, rekla sam vam da ima i svetla strana,
09:16
and there is.
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i ima je.
09:18
There are actually
simple and tangible solutions
simple and tangible solutions
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Zapravo postoje jednostavna
i opipljiva rešenja
i opipljiva rešenja
09:22
to fixing this problem
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da se ovaj problem popravi
09:23
that involve content creators,
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koja uključuju tvorce sadržaja,
09:25
executives and consumers
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direktore i potrošače,
09:27
like the individuals in this room.
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poput pojedinaca u ovoj prostoriji.
09:29
Let's talk about a few of them.
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Razgovarajmo o nekoliko rešenja.
09:31
The first is what I call "just add five."
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Prvo nazivam "samo dodajte pet".
Da li znate da ako bismo pogledali
100 najvećih filmova sledeće godine
100 najvećih filmova sledeće godine
09:34
Did you know if we looked
at the top 100 films next year
at the top 100 films next year
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09:37
and simply added five female
speaking characters on-screen
speaking characters on-screen
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i prosto dodali pet ženskih likova
koji govore na ekranu
koji govore na ekranu
09:40
to each of those films,
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u svaki od ovih filmova,
09:41
it would create a new norm.
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to bi stvorilo novu normu.
09:43
If we were to do this
for three contiguous years,
for three contiguous years,
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Ako bismo ovo uradili
tri uzastopne godine,
tri uzastopne godine,
09:46
we would be at gender parity
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dostigli bismo rodnu jednakost
09:48
for the first time
in over a half of a century.
in over a half of a century.
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prvi put u preko vek i po.
09:53
Now, this approach is advantageous
for a variety of reasons.
for a variety of reasons.
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Sad, ovaj pristup ima prednosti
iz raznih razloga.
iz raznih razloga.
09:56
One? It doesn't take away jobs
for male actors.
for male actors.
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Prvi? Ne uzima poslove muškim glumcima.
10:00
Heaven forbid.
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Ne daj bože.
10:02
(Laughter)
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(Smeh)
10:04
Two, it's actually cost-effective.
It doesn't cost that much.
It doesn't cost that much.
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Drugi, zapravo je isplativ.
Ne košta toliko mnogo.
Ne košta toliko mnogo.
10:08
Three, it builds a pipeline for talent.
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Treći, gradi se platforma za talente.
10:10
And four, it humanizes
the production process.
the production process.
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I četvrti, očovečuje proces produkcije.
10:13
Why? Because it makes sure
that there's women on set.
that there's women on set.
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Zašto? Jer se stara
da žene budu na mestu snimanja.
da žene budu na mestu snimanja.
10:17
Second solution is for A-list talent.
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Drugo rešenje je za talente sa spiska A.
10:20
A-listers, as we all know,
can make demands in their contracts,
can make demands in their contracts,
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Oni sa spiska A, kao što svi znamo,
mogu da imaju zahteve u ugovorima,
mogu da imaju zahteve u ugovorima,
10:24
particularly the ones that work
on the biggest Hollywood films.
on the biggest Hollywood films.
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naročito oni koji rade
na najvećim holivudskim filmovima.
na najvećim holivudskim filmovima.
10:28
What if those A-listers
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Šta kad bi ti sa spiska A
10:29
simply added an equity clause
or an inclusion rider
or an inclusion rider
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prosto dodali klauzulu o jednakosti
ili inkluziju kao dopunsku klauzulu
ili inkluziju kao dopunsku klauzulu
10:34
into their contract?
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u svoje ugovore?
10:36
Now, what does that mean?
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Sad, šta to znači?
10:38
Well, you probably don't know
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Pa, verovatno ne znate,
ali tipični dugometražni film
10:39
but the typical feature film
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10:41
has about 40 to 45
speaking characters in it.
speaking characters in it.
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sadrži oko 40 do 45 likova koji govore.
10:44
I would argue that only 8 to 10
of those characters
of those characters
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Rekla bih da je svega
osam do deset tih likova
osam do deset tih likova
10:47
are actually relevant to the story.
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bitno za priču.
10:51
Except maybe "Avengers." Right?
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Osim možda kod "Osvetnika". Je li tako?
10:53
A few more in "Avengers."
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Nekoliko više u "Osvetnicima".
10:55
The remaining 30 or so roles,
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Ostalih 30 i više uloga,
10:58
there's no reason why those minor roles
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ne postoji razloga zašto te manje uloge
11:00
can't match or reflect the demography
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se ne bi poklapale
ili odražavale demografiju
ili odražavale demografiju
11:03
of where the story is taking place.
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mesta na kom se radnja odvija.
11:07
An equity rider by an A-lister
in their contract
in their contract
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Dopunska klauzula o jednakosti
u ugovoru onih sa spiska A
u ugovoru onih sa spiska A
11:10
can stipulate that those roles
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može da zahteva da te uloge
11:13
reflect the world
in which we actually live.
in which we actually live.
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odražavaju svet u kom zapravo živimo.
11:16
Now, there's no reason why a network,
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Sad, ne postoji razlog zašto mreža,
11:19
a studio or a production company
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studio ili produkcijska firma
11:21
cannot adopt the same contractual language
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ne bi usvojili isti ugovorni jezik
11:24
in their negotiation processes.
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u svoje procese pregovaranja.
11:27
Third solution:
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Treće rešenje:
11:29
this would be for
the entertainment industry,
the entertainment industry,
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ono je za industriju zabave,
11:31
Hollywood in particular,
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naročito za Holivud,
11:33
to adopt the Rooney Rule
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da se usvoji Runijev zakon
11:35
when it comes to hiring practices
around directors.
around directors.
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kada se radi
o praksi zapošljavanja reditelja.
o praksi zapošljavanja reditelja.
11:39
Now, in the NFL,
the Rooney Rule stipulates
the Rooney Rule stipulates
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Sad, u NFL-u, Runijev zakon zahteva
11:42
that if a team wants to hire a coach
from outside the organization,
from outside the organization,
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da ako ekipa želi da unajmi trenera
koji je van organizacije,
koji je van organizacije,
11:46
what they have to do is interview
an underrepresented candidate.
an underrepresented candidate.
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moraju da intervjuišu
manjinskog kandidata.
manjinskog kandidata.
11:50
The exact same principle
can apply to Hollywood films.
can apply to Hollywood films.
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Isti princip je primenjiv
na holivudske filmove.
na holivudske filmove.
11:54
How?
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Kako?
Pa, u slučaju najvećih filmova,
11:55
Well, on these top films,
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11:56
executives and agents can make sure
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direktori i agenti mogu da se postaraju
12:00
that women and people of color
are not only on the consideration list,
are not only on the consideration list,
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da žene i obojeni ljudi
nisu samo na spisku za razmatranje,
nisu samo na spisku za razmatranje,
12:05
but they're actually
interviewed for the job.
interviewed for the job.
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već da ih zapravo intervjuišu za posao.
12:09
Now, one might say,
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Sad, neko bi rekao:
12:10
why is this important?
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zašto je ovo važno?
12:12
Because it exposes or introduces
executives to female directors
executives to female directors
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Zato što izlaže ili upoznaje
direktore sa ženskim rediteljima
direktore sa ženskim rediteljima
12:17
who otherwise fall prey
to exclusionary hiring practices.
to exclusionary hiring practices.
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koje su inače žrtve
isključivih praksi zapošljavanja.
isključivih praksi zapošljavanja.
12:22
The fourth solution
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Četvrto rešenje
12:23
is for consumers like me and you.
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se tiče potrošača, poput mene i vas.
12:27
If we want to see more films
by, for and about women,
by, for and about women,
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Ako želimo da gledamo više filmova
od strane, za i o ženama,
od strane, za i o ženama,
12:30
we have to support them.
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moramo da ih podržimo.
12:32
It may mean going
to the independent theater chain
to the independent theater chain
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To možda znači odlazak
u lanac nezavisnih bioskopa
u lanac nezavisnih bioskopa
12:35
instead of the multiplex.
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umesto u multipleks.
12:36
Or it might mean scrolling down
a little further online
a little further online
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Ili može da znači
malo duže pretraživanje na internetu
malo duže pretraživanje na internetu
12:40
to find a film by a female director.
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kako bi se našli filmovi
ženskih reditelja.
ženskih reditelja.
12:43
Or it may be writing a check
and funding a film,
and funding a film,
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Ili može da bude ispisivanje čeka
i finansiranje filma,
i finansiranje filma,
12:45
particularly by a female director
from an underrepresented background.
from an underrepresented background.
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naročito ako je u pitanju rediteljka
iz manjinske sredine.
iz manjinske sredine.
12:50
Right?
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Je li tako?
12:51
We need to write, call and email companies
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Moramo da pišemo, pozivamo
i šaljemo imejle firmama
i šaljemo imejle firmama
12:54
that are making and distributing films,
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koje prave i distribuiraju filmove
12:56
and we need to post
on our social media accounts
on our social media accounts
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i moramo da objavljujemo
na nalozima na društvenim mrežama
na nalozima na društvenim mrežama
12:59
when we want to see
inclusive representation,
inclusive representation,
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kada želimo da vidimo
inkluzivnu zastupljenost,
inkluzivnu zastupljenost,
13:02
women on-screen,
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žene na ekranu
13:03
and most importantly,
women behind the camera.
women behind the camera.
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i, najvažnije od svega, žene iza kamere.
13:07
We need to make our voices heard
and our dollars count.
and our dollars count.
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Moramo se postarati da se naši glasovi
čuju, a da naši dolari vrede.
čuju, a da naši dolari vrede.
13:13
Now, we actually have the ability
to change the world on this one.
to change the world on this one.
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Sad, zapravo imamo mogućnost
da ovim promenimo svet.
da ovim promenimo svet.
13:19
The US and its content,
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SAD i njen sadržaj,
13:22
films in particular,
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naročito filmovi,
13:23
have captured the imaginations
of audiences worldwide.
of audiences worldwide.
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zarobili su maštu publike širom sveta.
13:28
Worldwide.
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Širom sveta.
13:30
So that means that the film industry
has unprecedented access
has unprecedented access
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To znači da filmska industrija
ima pristup bez premca
ima pristup bez premca
13:35
to be able to distribute
stories about equality
stories about equality
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da bude u stanju
da širi priče o jednakosti
da širi priče o jednakosti
13:40
all around the world.
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širom sveta.
13:42
Imagine what would happen
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Zamislite šta bi se desilo
13:44
if the film industry aligned its values
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kad bi filmska industrija
izjednačila svoje vrednosti
izjednačila svoje vrednosti
13:48
with what it shows on-screen.
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sa onim što prikazuje na ekranu.
13:50
It could foster inclusion
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Mogli bi da gaje inkluziju
13:52
and acceptance for girls and women,
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i prihvatanje za devojke i žene,
13:55
people of color,
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obojene ljude,
13:57
the LGBT community,
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LGBT zajednicu,
13:59
individuals with disabilities,
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pojedince sa invaliditetom
14:00
and so many more around the world.
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i mnoge druge širom sveta.
14:05
The only thing that the film industry
has to do is unleash its secret weapon,
has to do is unleash its secret weapon,
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Jedino što filmska industrija
mora da uradi je da oslobodi tajno oružje,
mora da uradi je da oslobodi tajno oružje,
14:12
and that's storytelling.
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a to je pripovedanje.
14:15
Now, at the beginning of this talk,
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Sad, na početku ovog govora,
14:17
I said that films --
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rekla sam da filmovi -
14:20
that they can actually transport us,
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da nas zapravo mogu da transportuju,
14:22
but I would like to argue
that films, they can transform us.
that films, they can transform us.
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ali bih volela da tvrdim
da filmovi mogu da nas transformišu.
da filmovi mogu da nas transformišu.
14:28
None of us in this room
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Niko od nas u ovoj prostoriji
14:30
have grown up or experienced
a storytelling landscape
a storytelling landscape
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nije odrastao ili iskusio
pripovedni pejzaž
pripovedni pejzaž
14:34
with fully realized female characters,
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u kom su potpuno razvijeni ženski likovi,
14:38
none of us,
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niko od nas
14:40
because the numbers haven't changed.
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jer se cifre nisu promenile.
14:42
What would happen
if the next generation of audiences
if the next generation of audiences
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Šta bi se desilo
kad bi sledeća generacija publike
kad bi sledeća generacija publike
14:46
grew up with a whole
different screen reality?
different screen reality?
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odrasla sa potpuno različitom
stvarnošću na ekranu?
stvarnošću na ekranu?
14:51
What would happen?
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Šta bi se desilo?
14:52
Well I'm here to tell you today
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Pa, ovde sam da vam danas kažem
14:54
that it's not only possible
to change what we see on-screen
to change what we see on-screen
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da ne samo da je moguće
promeniti ono što vidimo na ekranu,
promeniti ono što vidimo na ekranu,
14:58
but I am impatient for it to get here.
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već sam nestrpljiva da se to desi.
15:03
So let's agree to take action today
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Zato složimo se
da već danas nešto preduzmemo
da već danas nešto preduzmemo
15:07
to eradicate the epidemic of invisibility.
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da iskorenimo epidemiju nevidljivosti.
15:11
And let's agree to take action today
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I složimo se da danas nešto preduzmemo
15:14
to agree that US audiences
and global viewers
and global viewers
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da se dogovorimo da publika u SAD-u
i globalni gledaoci
i globalni gledaoci
15:18
demand and deserve more.
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zahtevaju i zaslužuju više.
15:21
And let's agree today
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I složimo se danas
15:24
that the next generation
of viewers and audiences,
of viewers and audiences,
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da sledeća generacija gledalaca i publike
15:29
that they deserve to see the stories
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zaslužuje da vidi priče
15:32
we were never able to see.
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koje nikad nismo mogli da vidimo.
15:36
Thank you.
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Havala vam.
15:37
(Applause)
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(Aplauz)
ABOUT THE SPEAKER
Stacy Smith - Media researcherStacy Smith shows how Hollywood’s homogenous (and overwhelmingly male) culture systematically excludes women and minorities.
Why you should listen
Dr. Stacy L. Smith is the Founder and Director of the Media, Diversity, and Social Change Initiative at the Annenberg School for Communication & Journalism at the University of Southern California, where she is also an Associate Professor. Her work examines gender, race, LGBT status, disability and age on screen and gender and race/ethnicity behind the camera in cinematic content as well as barriers and opportunities facing women and people of color in the entertainment industry. She also conducts economic analyses related to diversity and the financial performance of films. Smith is a world leader, with speaking engagements ranging from the TED Women stage to the United Nations. Her research sets the global standard for data on employment diversity in entertainment, and she is a trusted source to the entertainment industry. Her work is cited widely by both corporate and educational audiences.
Smith has written more than 100 journal articles, book chapters, and reports on content patterns and effects of the media. Her research has been written about in the New York Times, Los Angeles Times, fivethirtyeight.com, The Atlantic, The Huffington Post, Newsweek, The Hollywood Reporter, Variety, Wired and USA Today, among others. She has a co-edited essay in Maria Shriver's book, A Woman's Nation Changes Everything (2009). Her most recent research reports include the Comprehensive Annenberg Report on Diversity (CARD), multiple landmark studies with Sundance Institute and Women in Film Los Angeles and a study of 800 top-grossing films conducted at USC Annenberg.
Stacy Smith | Speaker | TED.com