TEDSalon London Spring 2012
Beeban Kidron: The shared wonder of film
Beeban Kidron: Zajedničko čudo filma
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FIlmovi imaju moć stvoriti zajedničko iskustvo kroz priču i tako oblikovati uspomene i poglede na svijet. Britanska filmska direktorica Beeban Kidron priziva ikonske filmske scene - od "Čudo u Milanu" do "Boyz n the Hood" - kako bi pokazala kako njena grupa FILMCLUB dijeli izvrsne fimove s djecom.
Baroness Beeban Kidron - Film director
Beeban Kidron directed Bridget Jones: The Edge of Reason and Oranges Are Not the Only Fruit. She also cofounded FILMCLUB, a charity for students devoted to the art of storytelling through film. Full bio
Beeban Kidron directed Bridget Jones: The Edge of Reason and Oranges Are Not the Only Fruit. She also cofounded FILMCLUB, a charity for students devoted to the art of storytelling through film. Full bio
Double-click the English transcript below to play the video.
00:16
Evidence suggests that humans in all ages and from all cultures
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Dokazi pokazuju da ljudi svih starosti i iz svih kultura
00:21
create their identity in some kind of narrative form.
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stvaraju svoj identitet kroz neku vrstu pripovijedanja.
00:25
From mother to daughter, preacher to congregant,
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Od majke do kćeri, propovjednika do vjernika,
00:28
teacher to pupil, storyteller to audience.
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učitelja do učenika, pripovjedača do publike.
00:31
Whether in cave paintings
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Bilo spiljskim crtežima
00:32
or the latest uses of the Internet,
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ili najmodernijim mogućnostima Interneta,
00:35
human beings have always told their histories and truths
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ljudi su uvijek prenosili svoju povijest i istinu
00:39
through parable and fable.
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kroz poučne priče i bajke.
00:41
We are inveterate storytellers.
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Mi smo nezasitini pripovjedači.
00:45
But where, in our increasingly secular and fragmented world,
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No gdje u našem sve više i više sekularnom i fragmentiranom svijetu
00:49
do we offer communality of experience,
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dozvoljavamo zajedničku izmjenu iskustva
00:53
unmediated by our own furious consumerism?
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u neposrednom dodiru s našim bijesnim konzumerizmom?
00:58
And what narrative, what history,
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I koju priču, koju povijest,
01:01
what identity, what moral code
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koji identitet i koji moralni kod
01:04
are we imparting to our young?
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predajemo svojoj mladeži?
01:07
Cinema is arguably
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Vrlo je mogue da je kino
01:10
the 20th century's most influential art form.
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najutjecajniji oblik umjetnosti dvadesetog stoljeća.
01:13
Its artists told stories
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Filmski redatelji su uspjeli prenijeti pripovijesti
01:15
across national boundaries,
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preko državnih granica
01:16
in as many languages, genres and philosophies
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koristeći toliko jezika, žanrova i filozofskih učenja
01:19
as one can imagine.
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koliko možemo samo zamisliti.
01:20
Indeed, it is hard to find a subject
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Doista je teško naći temu
01:23
that film has yet to tackle.
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koja je jos neiskorištena u filmu.
01:25
During the last decade
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U proteklom desetljeću
01:26
we've seen a vast integration of global media,
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svjedočili smo potpunoj integraciji globalnih medija
01:29
now dominated by a culture of the Hollywood blockbuster.
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kojima danas dominira kultura hollywoodskih blockbustera.
01:32
We are increasingly offered a diet
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Sve više i više nam se nude filmovi
01:35
in which sensation, not story, is king.
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čija je primarna svrha spektakl, a ne sami zaplet filma.
01:38
What was common to us all 40 years ago --
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Ono što je prije 40 godina bio dio naše svakodnevice -
01:41
the telling of stories between generations --
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prenošenje pripovijesti s generacije na generaciju -
01:43
is now rarified.
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sada je rijetkost.
01:45
As a filmmaker, it worried me.
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Kao filmsku redateljicu to me je jako zabrinulo.
01:48
As a human being, it puts the fear of God in me.
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Kao ljudsko bice to me cini bogobojaznom.
01:52
What future could the young build
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Kakvu će budućnost nasa mladež moći izgraditi
01:54
with so little grasp
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imajući tako malo povezanosti
01:55
of where they've come from
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sa svojim porijeklom
01:57
and so few narratives of what's possible?
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i tako malo priča o tome sto je moguće?
02:00
The irony is palpable;
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Ironija je vidljiva;
02:02
technical access has never been greater,
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pristup omogućen tehnologijom nikad nije bio lakši,
02:05
cultural access never weaker.
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dok pristup kulturi nikad nije bio slabiji.
02:08
And so in 2006 we set up FILMCLUB,
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I zato smo 2006. godine osnovali FILMCLUB,
02:13
an organization that ran weekly film screenings in schools
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organizaciju koja omogućava tjedna prikazivanja filmova u školama
02:17
followed by discussions.
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praćena raspravom.
02:19
If we could raid the annals of 100 years of film,
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Kada bismo proučili stogodišnje anale filma,
02:23
maybe we could build a narrative
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mozda bismo mogli stvoriti priču
02:25
that would deliver meaning
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koja bi prenijela značenje
02:26
to the fragmented and restless world of the young.
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fragmentiranom i nemirnom svijetu mladih.
02:29
Given the access to technology,
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Uzevši u obzir pristup tehnologiji,
02:31
even a school in a tiny rural hamlet
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čak bi i škole u malim zaseocima
02:35
could project a DVD onto a white board.
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imale mogućnost projicirati DVD na platno.
02:38
In the first nine months
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Tijekom prvih devet mjeseci
02:40
we ran 25 clubs across the U.K.,
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održali smo 25 klupskih sastanaka u Ujedinjenom Kraljevstvu
02:43
with kids in age groups between five and 18
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u sklopu kojih su djeca od 5 do 18 godina
02:46
watching a film uninterrupted for 90 minutes.
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gledala film 90 minuta bez prekida.
02:49
The films were curated and contextualized.
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Filmovi su bili objašnjeni i stavljeni u širi kontekst.
02:52
But the choice was theirs,
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Ali izbor je bio njihov
02:53
and our audience quickly grew
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i nasa publika je ubrzo počela
02:55
to choose the richest and most varied diet that we could provide.
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birati najraskošniji i najraznolikiji izbor koji smo im mogli ponuditi.
02:59
The outcome, immediate.
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Rezultat je bio trenutni.
03:02
It was an education of the most profound and transformative kind.
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Bilo je to obrazovanje vrlo potpune i transformativne prirode.
03:08
In groups as large as 150 and as small as three,
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U grupama cija je veličina varirala od čak 150 do 3,
03:11
these young people discovered new places,
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ovi su mladi ljudi otkrili nova mjesta,
03:14
new thoughts, new perspectives.
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nove misli, nove perspektive.
03:16
By the time the pilot had finished,
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Do završetka probne verzije projekta
03:18
we had the names of a thousand schools
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imali smo imena tisuću škola
03:21
that wished to join.
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koje su se željele uključiti.
03:24
The film that changed my life
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Film koji je promijenio moj život
03:26
is a 1951 film by Vittorio De Sica, "Miracle in Milan."
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je film Vittoria De Sice: "Čudo u Milanu" snimljen 1951.
03:31
It's a remarkable comment
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Film izvanredno opisuje
03:33
on slums, poverty and aspiration.
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slamove, siromaštvo i ljudske težnje.
03:36
I had seen the film on the occasion of my father's 50th birthday.
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Pogledala sam ovaj film na očev pedeseti rođendan.
03:40
Technology then meant we had to hire a viewing cinema,
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Tadašnja tehnologija je zahtijevala da unajmimo kino gdje ga možemo pogledati,
03:44
find and pay for the print and the projectionist.
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pronađemo i platimo filmsku vrpcu i projekcionista.
03:47
But for my father,
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No za moga oca,
03:49
the emotional and artistic importance of De Sica's vision was so great
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emocionalna i umjetnička važnost De Sicine vizije je bila toliko velika
03:55
that he chose to celebrate his half-century
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da je odlučio proslaviti svoj 50. rođendan
03:57
with his three teenage children and 30 of their friends,
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sa svoje troje tinejdžera i njihovih 30 prijatelja.
04:01
"In order," he said,
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"Kako bih," rekao je,
04:03
"to pass the baton of concern and hope
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"predao palicu brižnosti i nade
04:06
on to the next generation."
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sljedećoj generaciji."
04:09
In the last shot of "Miracle in Milan,"
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U zadnjoj sceni "Čuda u Milanu"
04:11
slum-dwellers float skyward on flying brooms.
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stanovnici slamova otplove k nebu na letećim metlama.
04:15
Sixty years after the film was made
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60 godina nakon što je film napravljen
04:18
and 30 years after I first saw it,
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i 30 godina nakon što sam ga prvi put vidjela,
04:20
I see young faces tilt up in awe,
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još uvijek vidim mlada lica kako se uzdižu od zanesenosti,
04:23
their incredulity matching mine.
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njihova nevjerica ista kao i moja.
04:25
And the speed with which they associate it
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I brzina kojom oni povezuju taj film
04:27
with "Slumdog Millionaire" or the favelas in Rio
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s filmom "Milijunaš s ulice" ili s favelama u Riu
04:31
speaks to the enduring nature.
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signalizira trajnost.
04:34
In a FILMCLUB season about democracy and government,
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U sezoni FILMCLUB-a o demokraciji i vladi,
04:37
we screened "Mr. Smith Goes to Washington."
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prikazali smo "Gospodin Smith ide u Washington".
04:39
Made in 1939, the film is older than most of our members' grandparents.
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Snimljen 1939., ovaj film je stariji od djedova i baka većine naših članova.
04:45
Frank Capra's classic values independence and propriety.
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U ovom klasiku Franka Capre cijene se neovisnost i pristojnost.
04:49
It shows how to do right,
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Film pokazuje kako se ponašati na pravi način,
04:51
how to be heroically awkward.
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kako biti herojski nespretan.
04:53
It is also an expression of faith
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No on je također i izraz vjere
04:56
in the political machine as a force of honor.
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da je politički stroj časna sila.
04:59
Shortly after "Mr. Smith" became a FILMCLUB classic,
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Ubrzo nakon sto je "Gospodin Smith" postao klasik FILMCLUB-a,
05:03
there was a week of all-night filibustering in the House of Lords.
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u Domu Lordova (Britanski parlament) održavao se tjedan obilježen cjelonoćnim govorima radi odugovlačenja glasovanja,
05:07
And it was with great delight
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a mi smo s velikim zadovoljstvom
05:08
that we found young people up and down the country
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našli mlade ljude diljem zemlje
05:11
explaining with authority
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kako objašnjavaju autoritativno
05:13
what filibustering was
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sto je parlamentarni proces
05:15
and why the Lords might defy their bedtime on a point of principle.
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i zasto Lordovi odgađaju odlazak na spavanje zbog svojih načela.
05:20
After all, Jimmy Stewart filibustered for two entire reels.
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Pa ipak je Jimmy Stewart to isto radio 20-tak minuta u filmu.
05:25
In choosing "Hotel Rwanda,"
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Kada su pak odabrali "Hotel Rwanda",
05:28
they explored genocide of the most brutal kind.
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upoznali su se s genocidom najbrutalnije vrste.
05:31
It provoked tears as well as incisive questions
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Film je potaknuo suze, ali i oštroumna pitanja
05:35
about unarmed peace-keeping forces
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o nenaoružanim udrženjima za očuvanje mira
05:36
and the double-dealing of a Western society
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i o dvoličnosti Zapadnog društva
05:39
that picks its moral fights with commodities in mind.
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koje izabire svoje moralne bitke s pogodnostima na umu.
05:43
And when "Schindler's List" demanded that they never forget,
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I kada je "Schindlerova Lista" od njih zatražila da nikada ne zaborave sto se dogodilo,
05:47
one child, full of the pain of consciousness, remarked,
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jedno je dijete, puno boli uzrokovane sviješću, primijetilo:
05:51
"We already forgot,
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"Već smo zaboravili,
05:52
otherwise how did 'Hotel Rwanda' happen?"
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jer kako bi se inače "Hotel Rwanda" mogao dogoditi?"
05:56
As they watch more films their lives got palpably richer.
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Kako su gledali sve više filmova, njihovi životi su postajali osjetno bogatiji.
06:00
"Pickpocket" started a debate about criminality disenfranchisement.
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Film "Džepar" je pokrenuo raspravu o oduzimanju biračkog prava zbog počinjenja kaznenog djela.
06:05
"To Sir, with Love" ignited its teen audience.
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"Gospodinu s ljubavlju" iznimno je zainteresirao teen publiku.
06:09
They celebrated a change in attitude
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S veseljem su prihvatili promjenu u stavu
06:11
towards non-white Britons,
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prema nebijelim Britancima,
06:13
but railed against our restless school system
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no snažno su se protivili našem nemirnom obrazovnom sustavu
06:16
that does not value collective identity,
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koji ne cijeni kolektivni identitet,
06:19
unlike that offered by Sidney Poitier's careful tutelage.
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za razliku od onog ponuđenog pod pažljivim tutorstvom Sidneya Poitiera.
06:26
By now, these thoughtful, opinionated, curious young people
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Već sada, ovi obazrivi, slobodoumni i znatiželjni mladi ljudi
06:30
thought nothing of tackling films of all forms --
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s lakoćom su se mogli baviti filmovima svih oblika -
06:33
black and white, subtitled,
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crno-bijeli, titlovani,
06:34
documentary, non-narrative, fantasy --
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dokumentarni, nenarativni, fantasy filmovi -
06:37
and thought nothing of writing detailed reviews
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te s lakoćom pisati detaljne osvrte
06:39
that competed to favor one film over another
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u kojima su zastupali bolji od dva filma
06:43
in passionate and increasingly sophisticated prose.
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u strastvenoj i sve više i više sofisticiranoj prozi.
06:47
Six thousand reviews each school week
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Šest tisuća članaka svaki školski tjedan
06:50
vying for the honor of being review of the week.
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se natjecalo za čast da budu proglašeni člankom tjedna.
06:54
From 25 clubs, we became hundreds, then thousands,
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Iz 25 klubova, postali smo stotine, pa tisuće,
06:58
until we were nearly a quarter of a million kids
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dok nismo obuhvaćali skoro četvrt milijuna djece
07:01
in 7,000 clubs right across the country.
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u 7.000 klubova diljem zemlje.
07:05
And although the numbers were, and continue to be, extraordinary,
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I iako su brojke bile, i nastavljaju biti, izuzetne,
07:08
what became more extraordinary
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ono što je postalo jos izuzetnije
07:10
was how the experience of critical and curious questioning
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je kako se iskustvo kritičkog i znatiželjnog ispitivanja
07:14
translated into life.
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prenijelo u život.
07:16
Some of our kids started talking with their parents,
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Neka od naše djece počela su pričati sa svojim roditeljima,
07:19
others with their teachers,
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druga s učiteljima,
07:21
or with their friends.
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ili sa svojim prijateljima.
07:22
And those without friends
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A oni bez prijatelja
07:23
started making them.
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su ih počeli nalaziti.
07:26
The films provided communality across all manner of divide.
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Filmovi su pruzali zajedništvo unatoč svakakvim različitostima.
07:31
And the stories they held provided a shared experience.
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I priče iz filmova pružale su zajedničko iskustvo.
07:34
"Persepolis" brought a daughter closer to her Iranian mother,
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"Persepolis" je zbližio kći i njenu majku, porijeklom iz Irana,
07:38
and "Jaws" became the way in which one young boy
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a "Ralje" je postao način kroz koji je jedan mali dječak
07:42
was able to articulate the fear he'd experienced
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izrazio strah koji je iskusio
07:46
in flight from violence
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bježeći od nasilja
07:47
that killed first his father then his mother,
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od kojih mu je prvo poginuo otac, a zatim majka,
07:50
the latter thrown overboard on a boat journey.
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koja je pala preko palube na putovanju brodom.
07:55
Who was right, who wrong?
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Tko je bio u pravu, tko u krivu?
07:57
What would they do under the same conditions?
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Što bi oni sami napravili u toj situaciji?
07:59
Was the tale told well?
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Je li priča dobro ispričana?
08:01
Was there a hidden message?
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Je li postojala skrivena poruka u filmu?
08:02
How has the world changed? How could it be different?
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Kako se svijet promijenio? Kako bi mogao biti drugačiji?
08:05
A tsunami of questions flew out of the mouths of children
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Cijelo more pitanja izletjelo je iz usta djece
08:10
who the world didn't think were interested.
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koje je svijet smatrao nezainteresiranima.
08:12
And they themselves had not known they cared.
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I oni sami nisu znali da im je stalo.
08:15
And as they wrote and debated,
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No kako su pisali i razgovarali,
08:17
rather than seeing the films as artifacts,
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umjesto da su samo gledali filmove kao predmete,
08:20
they began to see themselves.
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počeli su vidjeti sebe.
08:25
I have an aunt who is a wonderful storyteller.
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Imam tetu koja je divna pripovjedačica.
08:28
In a moment she can invoke images
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U jednom trenutku ona moze dočarati prizore
08:31
of running barefoot on Table Mountain and playing cops and robbers.
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trčanja bosim nogama po planini Table i igranja policajaca i pljačkaša.
08:34
Quite recently she told me
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Baš nedavno mi je rekla
08:36
that in 1948, two of her sisters and my father
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da je 1948. sa svojim dvjema sestrama i mojim ocem
08:39
traveled on a boat to Israel without my grandparents.
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otputovala brodom u Izrael bez mojih bake i djeda.
08:42
When the sailors mutinied at sea in a demand for humane conditions,
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Kada su se na pučini mornari pobunili zahtijevajući humane uvjete života,
08:47
it was these teenagers that fed the crew.
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spomenuti tinejdžeri su bili ti koji su hranili posadu.
08:50
I was past 40 when my father died.
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Imala sam preko 40 godina kada mi je otac preminuo.
08:52
He never mentioned that journey.
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Nikad nije spomenuo to putovanje.
08:55
My mother's mother left Europe in a hurry
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Majka moje majke napustila je Europu u žurbi
08:59
without her husband, but with her three-year-old daughter
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bez svoga muža, ali sa svojom trogodišnjom kćeri
09:02
and diamonds sewn into the hem of her skirt.
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i dijamantima ušivenim u obrub svoje suknje.
09:06
After two years in hiding,
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Nakon dvije godinje skrivanja,
09:07
my grandfather appeared in London.
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moj djed se pojavio u Londonu.
09:10
He was never right again.
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Više nikada nije bio u pravu.
09:12
And his story was hushed as he assimilated.
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I njegova priča je bila utišana tijekom njegove prilagodbe.
09:17
My story started in England
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Moja priča je započela u Engleskoj,
09:21
with a clean slate and the silence of immigrant parents.
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započela je iznova s tišinom roditelja imigranata.
09:25
I had "Anne Frank," "The Great Escape,"
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Imala sam "Anne Frank," "Veliki bijeg",
09:27
"Shoah," "Triumph of the Will."
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"Shoah," "Trijumf volje".
09:30
It was Leni Riefenstahl
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Leni Riefenstahl je bila ta koja je
09:32
in her elegant Nazi propaganda
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kroz svoju elegantnu nacističku propagandu
09:35
who gave context to what the family had to endure.
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dala kontekst onome s čime se obitelj morala nositi.
09:39
These films held what was too hurtful to say out loud,
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Ovi filmovi su sadržavali u sebi ono što je bilo previše bolno da bi se izreklo na glas,
09:44
and they became more useful to me
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i postali su mi više korisni
09:47
than the whispers of survivors
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od šaputanja preživjelih
09:49
and the occasional glimpse of a tattoo
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i povremenog pogleda na tetovažu
09:52
on a maiden aunt's wrist.
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na zapešću neudate tete.
09:55
Purists may feel that fiction dissipates
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Puristi bi mohli pomisliti da fikcija uništava
09:58
the quest of real human understanding,
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potragu za pravim ljudskim razumijevanjem,
10:01
that film is too crude
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da je film previše grub
10:02
to tell a complex and detailed history,
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da bi mogao ispričati kompleksnu i detaljnu povijest
10:05
or that filmmakers always serve drama over truth.
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ili da redatelji uvijek serviraju dramu prije istine.
10:09
But within the reels lie purpose and meaning.
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Ali u filmskim trakama leže svrha i značenje.
10:12
As one 12-year-old said after watching "Wizard of Oz,"
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Kao što je jedan 12-godisnjak rekao nakon gledanja "Čarobnjaka iz Oza",
10:16
"Every person should watch this,
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"Svaka osoba bi trebala pogledati ovo,
10:18
because unless you do
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jer ako to ne napravite
10:20
you may not know that you too have a heart."
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možda nećete znati da i vi također imate srce."
10:24
We honor reading, why not honor watching with the same passion?
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Cijenimo čitanje knjiga, zašto ne bismo cijenili gledanje filmova s istom strašću?
10:29
Consider "Citizen Kane" as valuable as Jane Austen.
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Smatrajte film "Građanin Kane" jednako vrijedim kao Jane Austen.
10:32
Agree that "Boyz n the Hood," like Tennyson,
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Složite se da "Boyz n the Hood." kao I Tennyson,
10:35
offers an emotional landscape and a heightened understanding
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nudi pregršt emocija i uzvišeno razmijevanje
10:39
that work together.
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koji su u međusobnom skladu.
10:41
Each a piece of memorable art,
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Svaki je komad nezaboravne umjetnosti,
10:43
each a brick in the wall of who we are.
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svaki je cigla u zidu onoga što mi jesmo.
10:46
And it's okay if we remember Tom Hanks
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I u redu je ako se sjećamo Toma Hanksa
10:49
better than astronaut Jim Lovell
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bolje nego astronauta Jima Lovella
10:51
or have Ben Kingsley's face superimposed onto that of Gandhi's.
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ili imamo lice Bena Kingsleya na umu kada mislimo na Ghandija.
10:55
And though not real, Eve Harrington, Howard Beale, Mildred Pierce
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I iako nisu stvarni, Eve Harrington, Howard Beale, Mildred Pierce
10:59
are an opportunity to discover
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su prilika da otkrijemo
11:02
what it is to be human,
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sto znači biti čovjekom
11:04
and no less helpful to understanding our life and times
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i isto tako nam pomažu da razumijemo naš život i vremena
11:08
as Shakespeare is in illuminating the world of Elizabethan England.
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kao što nam Shakespeare pomaže prikazati svijet elizabetanske Engleske.
11:14
We guessed that film,
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Pogodili smo da će film,
11:15
whose stories are a meeting place
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čije su priče i zapleti mjesto gdje se sastaju
11:17
of drama, music, literature and human experience,
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drama, glazba, književnost i ljudsko iskustvo,
11:20
would engage and inspire the young people participating in FILMCLUB.
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zainteresirati i inspirirati mlade ljude koji sudjeluju u FILMCLUB-u.
11:24
What we could not have foreseen
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Ono što nismo mogli predvidjeti
11:26
was the measurable improvements
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bio je vidljivi napredak
11:27
in behavior, confidence and academic achievement.
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u ponašanju, samopouzdanju i akademskom postignuću.
11:31
Once-reluctant students now race to school, talk to their teachers,
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Nekad neodlucni učenici sada trče u školu, razgovaraju s profesorima,
11:35
fight, not on the playground,
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svađaju se, ne na igralistu,
11:37
but to choose next week's film --
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nego kada se bira film za sljedeći tjedan -
11:39
young people who have found self-definition, ambition
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mladi ljudi koji su pronašli definiciju sebe, ambiciju
11:43
and an appetite for education and social engagement
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te apetit za obrazovanjem i društvenim angažmanom
11:47
from the stories they have witnessed.
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kroz filmske priče kojima su svjedočili.
11:50
Our members defy the binary description
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Naši članovi prkose dvostrukom opisu
11:53
of how we so often describe our young.
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kojime tako često opisujemo današnju mladež.
11:56
They are neither feral nor myopically self-absorbed.
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Oni nisu ni divlji, ni slijepo egoocentrični.
12:01
They are, like other young people,
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Oni, kao i drugi mladi ljudi,
12:03
negotiating a world with infinite choice,
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pregovaraju sa svijetom u kojemu je mogućnost izbora beskonačna,
12:06
but little culture of how to find meaningful experience.
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no malo je kulture koja ih upućuje kako da pronađu značajna iskustva.
12:11
We appeared surprised at the behaviors
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Činili smo se iznenađeni zbog ponašanja
12:14
of those who define themselves
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onih koji sebe definiraju
12:16
by the size of the tick on their shoes,
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po veličini kvačice na svojim cipelama,
12:18
yet acquisition has been the narrative we have offered.
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ipak priča koju smo im ponudili bila je o stečevini.
12:22
If we want different values
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Ako želimo drugačije vrijednosti,
12:24
we have to tell a different story,
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moramo ispričati drugačiju pripovijest,
12:27
a story that understands that an individual narrative
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pripovijest u kojoj se razumije da je priča svakog čovjeka
12:31
is an essential component of a person's identity,
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važna komponenta identiteta te osobe,
12:35
that a collective narrative
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te da je kolektivna priča
12:37
is an essential component of a cultural identity,
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važan dio kulturnog identiteta
12:41
and without it it is impossible to imagine yourself
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i da je bez nje nemoguće zamisliti se
12:45
as part of a group.
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kao dio neke grupe.
12:46
Because when these people get home
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Zato što kada se ovi ljudi vrate kući
12:49
after a screening of "Rear Window"
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nakon prikazivanja filma "Prozor u dvorište"
12:52
and raise their gaze to the building next door,
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i podignu pogled prema susjednoj zgradi,
12:54
they have the tools to wonder who, apart from them,
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imaju alat koji im omogućuje da se zapitaju tko, osim njih samih,
12:58
is out there
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je tamo vani
13:00
and what is their story.
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i koja je njihova priča.
13:02
Thank you.
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Hvala vam.
13:04
(Applause)
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(Pljesak)
ABOUT THE SPEAKER
Baroness Beeban Kidron - Film directorBeeban Kidron directed Bridget Jones: The Edge of Reason and Oranges Are Not the Only Fruit. She also cofounded FILMCLUB, a charity for students devoted to the art of storytelling through film.
Why you should listen
Beeban Kidron is a British filmmaker who successfully navigates between pop culture and society’s darkest underworlds. Kidron is best known for directing Bridget Jones: The Edge of Reason (2004) and the Bafta-winning miniseries Oranges Are Not the Only Fruit (1989), adapted from Jeannette Winterson’s novel of the same name. She is also the director of To Wong Foo Thanks for Everything, Julie Newmar (1995) and Antonia and Jane (1991), as well as two documentaries on prostitution: Hookers, Hustlers, Pimps and their Johns (1993) and Sex, Death and the Gods (2011), a film about “devadasi,” or Indian “sacred prostitutes.”
In 2006 Kidron, with journalist and film critic Lindsay Mackie, founded FILMCLUB, an educational charity aimed at transforming the lives of young people through film. Through FILMCLUB, schools can screen films at no cost, and afterwards students discuss and review the films. Each week the charity reaches 220,000 children, in over 7,000 clubs.
Baroness Beeban Kidron | Speaker | TED.com