TEDSalon London Spring 2012
Beeban Kidron: The shared wonder of film
Biban Kidron (Beeban Kidron): Zajednička čuda filma
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Filmovi imaju moć da stvore zajedničko narativno iskustvo i da oblikuju uspomene i način gledanja na svet. Britanska režiserka Biban Kidron priziva kultne filmske scene, od ''Čuda u Milanu'' do ''Momci iz kraja'', i priča o tome kako njena grupa zvana Filmski klub prikazuje sjajne filmove deci.
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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Dokazano je da ljudi svih uzrasta i kultura,
00:21
create their identity in some kind of narrative form.
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svoj identitet stvaraju u nekom
vidu narativne forme.
vidu narativne forme.
00:25
From mother to daughter, preacher to congregant,
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Sa majke na kćerku,
od sveštenika verniku,
od sveštenika verniku,
00:28
teacher to pupil, storyteller to audience.
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od učitelja ka učeniku,
od pripovedača slušateljima.
od pripovedača slušateljima.
00:31
Whether in cave paintings
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Bilo da su u pitanju crteži u pećinama
00:32
or the latest uses of the Internet,
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ili najskorija upotreba interneta,
00:35
human beings have always told their histories and truths
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ljudi su oduvek svoje istorije i istine
00:39
through parable and fable.
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izlagali preko parabola i priča.
00:41
We are inveterate storytellers.
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Mi smo okoreli pripovedači.
00:45
But where, in our increasingly secular and fragmented world,
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Ali gde možemo, u našem sve više
podvojenom i podeljenom svetu,
podvojenom i podeljenom svetu,
00:49
do we offer communality of experience,
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ponuditi iskustvenu zajednicu,
00:53
unmediated by our own furious consumerism?
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bez posredovanja naše pobesnele
potrošačke snage?
potrošačke snage?
00:58
And what narrative, what history,
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Koju priču, koju istoriju,
01:01
what identity, what moral code
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koji identitet, koji moralni kodeks
01:04
are we imparting to our young?
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saopštavamo našim mladima?
01:07
Cinema is arguably
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Kinematografija je, diskutabilno,
01:10
the 20th century's most influential art form.
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najuticajnija forma umetnosti 20. veka.
01:13
Its artists told stories
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Umetnici pričaju priče
01:15
across national boundaries,
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van nacionalnih granica,
01:16
in as many languages, genres and philosophies
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na onoliko jezika, žanrova i filozofija
01:19
as one can imagine.
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koliko samo možemo zamisliti.
01:20
Indeed, it is hard to find a subject
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Zaista, teško je naći temu
01:23
that film has yet to tackle.
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koju film još nije obrađivao.
01:25
During the last decade
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Tokom poslednje decenije
01:26
we've seen a vast integration of global media,
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videli smo široku integraciju
globalnih medija,
globalnih medija,
01:29
now dominated by a culture of the Hollywood blockbuster.
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kojom sada dominira kultura
holivudskih blok-bastera.
holivudskih blok-bastera.
01:32
We are increasingly offered a diet
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Učestalo nam se nudi dijeta
01:35
in which sensation, not story, is king.
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u kojoj je poslastica senzacija,
a ne priča.
a ne priča.
01:38
What was common to us all 40 years ago --
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Ono što je bilo uobičajeno za nas
pre 40 godina -
pre 40 godina -
01:41
the telling of stories between generations --
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prenošenje priča preko generacija -
01:43
is now rarified.
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sada je retkost.
01:45
As a filmmaker, it worried me.
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Mene, kao režisera, to brine.
01:48
As a human being, it puts the fear of God in me.
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Kao čovek, osećam strah od boga.
01:52
What future could the young build
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Kakvu budućnost mladi mogu da sagrade
01:54
with so little grasp
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kada nemaju spoznaju o tome
01:55
of where they've come from
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odakle potiču
01:57
and so few narratives of what's possible?
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i sa tako malo pripovesti o tome
šta je sve moguće?
šta je sve moguće?
02:00
The irony is palpable;
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Ironija je opipljiva.
02:02
technical access has never been greater,
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tehnologija nikada nije bila
ovako veličanstvena,
ovako veličanstvena,
02:05
cultural access never weaker.
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kultura nikada slabija.
02:08
And so in 2006 we set up FILMCLUB,
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Oformili smo Filmski klub 2006. godine,
02:13
an organization that ran weekly film screenings in schools
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organizaciju koja je jednom nedeljno
prikazivala filmove u školama
prikazivala filmove u školama
02:17
followed by discussions.
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nakon koje bi sledile diskusije.
02:19
If we could raid the annals of 100 years of film,
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Ako bismo prikupili stogodišnje
filmske anale,
filmske anale,
02:23
maybe we could build a narrative
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možda bismo tako sagradili priču
02:25
that would deliver meaning
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koja bi nosila značenje
02:26
to the fragmented and restless world of the young.
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podeljenom i nemirnom svetu mladih.
02:29
Given the access to technology,
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S obzirom na dostupnost tehnologije,
02:31
even a school in a tiny rural hamlet
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čak i u malom, ruralnom seocetu
02:35
could project a DVD onto a white board.
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može se na beloj pozadini, uz projektor,
prikazati DVD snimak.
prikazati DVD snimak.
02:38
In the first nine months
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Tokom prvih devet meseci
02:40
we ran 25 clubs across the U.K.,
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vodili smo 25 klubova
širom Ujedinjenog Kraljevstva,
širom Ujedinjenog Kraljevstva,
02:43
with kids in age groups between five and 18
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gde su deca u grupama između 5 i 18 godina
02:46
watching a film uninterrupted for 90 minutes.
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gledala filmove neometano tokom 90 minuta.
02:49
The films were curated and contextualized.
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Projekcije su bile nadgledane i sadržajne.
02:52
But the choice was theirs,
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Izbor je bio njihov,
02:53
and our audience quickly grew
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publika je brzo rasla
02:55
to choose the richest and most varied diet that we could provide.
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i birala bogatu i najraznovrsniju dijetu
koju smo mogli da im omogućimo.
koju smo mogli da im omogućimo.
02:59
The outcome, immediate.
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Rezultat je bio odmah očigledan.
03:02
It was an education of the most profound and transformative kind.
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To je bila sveprožimajuća edukacija
i transformisala je.
i transformisala je.
03:08
In groups as large as 150 and as small as three,
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I u velikim grupama od 150 članova,
kao i u malim od 3 člana,
kao i u malim od 3 člana,
03:11
these young people discovered new places,
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mladi ljudi otkrivali su nova mesta,
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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Kada se probni program završio,
03:18
we had the names of a thousand schools
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dobili smo spisak hiljada škola
03:21
that wished to join.
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koje su želele da se uključe.
03:24
The film that changed my life
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Film koji je promenio moj život bio je
03:26
is a 1951 film by Vittorio De Sica, "Miracle in Milan."
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film iz 1951. godine Vitorija de Sika,
''Čudo u Milanu''.
''Čudo u Milanu''.
03:31
It's a remarkable comment
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Film prikazuje
03:33
on slums, poverty and aspiration.
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straćare, siromaštvo i težnje.
03:36
I had seen the film on the occasion of my father's 50th birthday.
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Ovaj film pogledala sam tokom proslave
50. rođendana moga oca.
50. rođendana moga oca.
03:40
Technology then meant we had to hire a viewing cinema,
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Tada smo morali da iznajmimo bioskop,
03:44
find and pay for the print and the projectionist.
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da nađemo i iznajmimo platno i projektora.
03:47
But for my father,
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Ali za moga oca,
03:49
the emotional and artistic importance of De Sica's vision was so great
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značaj De Sikine vizije, emotivne i umetničke,
bio je tako veliki
bio je tako veliki
03:55
that he chose to celebrate his half-century
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da je izabrao da proslavi svoju polovinu veka
03:57
with his three teenage children and 30 of their friends,
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sa svoje troje dece tinejdžera
i sa njihovih 30 prijatelja,
i sa njihovih 30 prijatelja,
04:01
"In order," he said,
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rekao je: ''Zato da bih
04:03
"to pass the baton of concern and hope
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predao štafetu brige i nade
04:06
on to the next generation."
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sledećoj generaciji''.
04:09
In the last shot of "Miracle in Milan,"
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U poslednjoj sceni ''Čuda u Milanu'',
04:11
slum-dwellers float skyward on flying brooms.
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stanovnici straćara lebde ka nebu
na letećim metlama.
na letećim metlama.
04:15
Sixty years after the film was made
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60 godina nakon što je film snimljen
04:18
and 30 years after I first saw it,
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i 30 godina nakon
što sam ga prvi put pogledala,
što sam ga prvi put pogledala,
04:20
I see young faces tilt up in awe,
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vidim lica mladih kako zadivljeno dižu pogled,
04:23
their incredulity matching mine.
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u istoj neverici kao što je moja bila.
04:25
And the speed with which they associate it
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Oni brzo povezuju film
04:27
with "Slumdog Millionaire" or the favelas in Rio
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sa ''Milionerom iz blata''
ili sa favelama u Rio de Žaneiru
ili sa favelama u Rio de Žaneiru
04:31
speaks to the enduring nature.
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što govori mnogo o izdržljivosti.
04:34
In a FILMCLUB season about democracy and government,
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Tokom sezone Filmskog kluba
o demokratiji i upravljanju,
o demokratiji i upravljanju,
04:37
we screened "Mr. Smith Goes to Washington."
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prikazali smo
''Gospodin Smit ide u Vašington''.
''Gospodin Smit ide u Vašington''.
04:39
Made in 1939, the film is older than most of our members' grandparents.
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Snimljen je 1939. godine, stariji je
od većine deka i baka naših članova kluba.
od većine deka i baka naših članova kluba.
04:45
Frank Capra's classic values independence and propriety.
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Klasik Frenka Kapre uzdiže vrednosti
kao što su nezavisnost i svojina.
kao što su nezavisnost i svojina.
04:49
It shows how to do right,
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Pokazuje kako postupiti ispravno,
04:51
how to be heroically awkward.
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kako biti herojski neobičan.
04:53
It is also an expression of faith
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Film izražava i veru u
04:56
in the political machine as a force of honor.
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političku mašinu koju pokreće čast.
04:59
Shortly after "Mr. Smith" became a FILMCLUB classic,
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Ubrzo nakon što je ''Gospodin Smit''
postao klasik Filmskog kluba,
postao klasik Filmskog kluba,
05:03
there was a week of all-night filibustering in the House of Lords.
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u Domu lordova vršene su
celonedeljne opstrukcije.
celonedeljne opstrukcije.
05:07
And it was with great delight
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Sa mnogo radosti shvatili smo
05:08
that we found young people up and down the country
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da mladi ljudi širom zemlje
05:11
explaining with authority
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objašnjavaju autoritativno
05:13
what filibustering was
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šta je opstrukcija
05:15
and why the Lords might defy their bedtime on a point of principle.
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i zašto bi Lordovi mogli da se bune
protiv njihovog vremena odlaska u krevet.
protiv njihovog vremena odlaska u krevet.
05:20
After all, Jimmy Stewart filibustered for two entire reels.
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Ipak je Džimi Stjuart vršio opstrukciju
tokom dve cele filmske trake.
tokom dve cele filmske trake.
05:25
In choosing "Hotel Rwanda,"
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''Hotel Ruanda'' izabran je
05:28
they explored genocide of the most brutal kind.
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zbog prikazivanja najbrutalnije
moguće vrste genocida.
moguće vrste genocida.
05:31
It provoked tears as well as incisive questions
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Izazvao je i suze, kao i britka pitanja
05:35
about unarmed peace-keeping forces
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o nenaoružanim mirovnim snagama
05:36
and the double-dealing of a Western society
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i dvoličnosti zapadnjačkog društva
05:39
that picks its moral fights with commodities in mind.
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koje svoje moralne bitke bira na osnovu
prihoda koje može izvući.
prihoda koje može izvući.
05:43
And when "Schindler's List" demanded that they never forget,
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''Šindlerova lista'' zahteva
da se nikad ne zaboravi,
da se nikad ne zaboravi,
05:47
one child, full of the pain of consciousness, remarked,
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a jedno dete, bolno spoznajući izjavilo je:
05:51
"We already forgot,
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''Već smo zaboravili,
05:52
otherwise how did 'Hotel Rwanda' happen?"
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kako bi se inače ''Hotel Ruanda'' dogodio?''
05:56
As they watch more films their lives got palpably richer.
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Što više filmova odgledaju
njihovi životi postaju opipljivo bogatiji.
njihovi životi postaju opipljivo bogatiji.
06:00
"Pickpocket" started a debate about criminality disenfranchisement.
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''Džeparoš'' je pokrenuo debatu
o oduzimanju prava glasa.
o oduzimanju prava glasa.
06:05
"To Sir, with Love" ignited its teen audience.
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''Siru, s ljubavlju'' pokrenuo je
tinejdžersku publiku.
tinejdžersku publiku.
06:09
They celebrated a change in attitude
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Slavili su promenu u držanju
06:11
towards non-white Britons,
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prema ne-belim Britancima,
06:13
but railed against our restless school system
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ali su se pobunili protiv školskog sistema
06:16
that does not value collective identity,
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koji ne ceni kolektivni identitet,
06:19
unlike that offered by Sidney Poitier's careful tutelage.
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drugačiji od onog koji Sindi Poatije nudi.
06:26
By now, these thoughtful, opinionated, curious young people
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Do sada, ovi promišljeni, radoznali,
mladi ljudi sa stavovima
mladi ljudi sa stavovima
06:30
thought nothing of tackling films of all forms --
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nisu ništa znali
o raznovrsnosti filmskih formi -
o raznovrsnosti filmskih formi -
06:33
black and white, subtitled,
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crno-beli, sa prevodima,
06:34
documentary, non-narrative, fantasy --
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dokumentarni, nenarativni, fantastični -
06:37
and thought nothing of writing detailed reviews
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nisu ništa znali o pisanju detaljnih prikaza
06:39
that competed to favor one film over another
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koji favorizuju jedan film pre nego drugi
06:43
in passionate and increasingly sophisticated prose.
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pasioniranom i sofisticiranom prozom.
06:47
Six thousand reviews each school week
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6000 prikaza svake školske nedelje
06:50
vying for the honor of being review of the week.
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bori se za čast da bude najbolji nedeljni prikaz.
06:54
From 25 clubs, we became hundreds, then thousands,
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Od 25 klubova, proširili smo se na stotine,
zatim na hiljade,
zatim na hiljade,
06:58
until we were nearly a quarter of a million kids
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sve dok nismo obuhvatili 250 000 dece
07:01
in 7,000 clubs right across the country.
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u 7 000 klubova širom zemlje.
07:05
And although the numbers were, and continue to be, extraordinary,
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Iako brojevi jesu i nastavljaju
da budu izvanredni,
da budu izvanredni,
07:08
what became more extraordinary
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ono što je još fascinantnije
07:10
was how the experience of critical and curious questioning
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jeste kako iskustvo kritičkog ispitivanja
i radoznalost
i radoznalost
07:14
translated into life.
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može da se prenese na život.
07:16
Some of our kids started talking with their parents,
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Neka od naše dece počela su
da razgovaraju sa roditeljima,
da razgovaraju sa roditeljima,
07:19
others with their teachers,
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neka sa svojim nastavnicima,
07:21
or with their friends.
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neka sa prijateljima.
07:22
And those without friends
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Oni koji nisu imali prijatelje
07:23
started making them.
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počeli su tako da ih stiču.
07:26
The films provided communality across all manner of divide.
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Filmovi su obrazovali zajednicu koja
prevazilazi sve razlike.
prevazilazi sve razlike.
07:31
And the stories they held provided a shared experience.
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Priče koje sadrže filmovi
obezbedili su zajednička iskustva.
obezbedili su zajednička iskustva.
07:34
"Persepolis" brought a daughter closer to her Iranian mother,
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''Persepolis'' zbližava kćerku
i njenu majku Iranku,
i njenu majku Iranku,
07:38
and "Jaws" became the way in which one young boy
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''Ajkula'' prikazuje način na koji dečak
07:42
was able to articulate the fear he'd experienced
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postaje sposoban da artikuliše strah
koji je proživeo
koji je proživeo
07:46
in flight from violence
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u bekstvu od nasilja
07:47
that killed first his father then his mother,
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koje je prvo ubilo oca,
a zatim i njegovu majku,
a zatim i njegovu majku,
07:50
the latter thrown overboard on a boat journey.
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koja je pala sa broda tokom krstarenja.
07:55
Who was right, who wrong?
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Ko je bio u pravu, ko ne?
07:57
What would they do under the same conditions?
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Šta bi uradili u istim okolnostima?
07:59
Was the tale told well?
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Da li je priča lepo ispričana?
08:01
Was there a hidden message?
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Da li je postojala skrivena poruka?
08:02
How has the world changed? How could it be different?
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Kako se svet promenio?
Može li biti drugačiji?
Može li biti drugačiji?
08:05
A tsunami of questions flew out of the mouths of children
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Deca su postavljala ogroman broj pitanja
08:10
who the world didn't think were interested.
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za koja je svet mislio
da su nezainteresovana.
da su nezainteresovana.
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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Dok su pisali i debatovali,
08:17
rather than seeing the films as artifacts,
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umesto da vide filmove kao artefakte,
08:20
they began to see themselves.
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počeli su sebe da spoznaju.
08:25
I have an aunt who is a wonderful storyteller.
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Imam tetku koja je divan pripovedač.
08:28
In a moment she can invoke images
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U jednom trenutku
ona može da dočara slike
ona može da dočara slike
08:31
of running barefoot on Table Mountain and playing cops and robbers.
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bosog trčanja po planini Tejbl
i igranja ''policije i lopova''.
i igranja ''policije i lopova''.
08:34
Quite recently she told me
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Skoro mi je rekla
08:36
that in 1948, two of her sisters and my father
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da su 1948. godine
dve njene sestre i moj otac
dve njene sestre i moj otac
08:39
traveled on a boat to Israel without my grandparents.
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putovali brodom do Izraela
bez mojih bake i deke.
bez mojih bake i deke.
08:42
When the sailors mutinied at sea in a demand for humane conditions,
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Kada su se na brodu mornari pobunili
i zahtevali humanije uslove,
i zahtevali humanije uslove,
08:47
it was these teenagers that fed the crew.
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tinejdžeri su onda 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 umro.
kada mi je otac umro.
08:52
He never mentioned that journey.
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Nikada nije pomenuo taj put.
08:55
My mother's mother left Europe in a hurry
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Baka mi je napustila Evropu u žurbi
08:59
without her husband, but with her three-year-old daughter
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bez svog muža, ali sa svojom
trogodišnjom kćerkom,
trogodišnjom kćerkom,
09:02
and diamonds sewn into the hem of her skirt.
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sa dijamantima ušivenim
u porub jedne od suknji.
u porub jedne od suknji.
09:06
After two years in hiding,
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Nakon dve godine skrivanja,
09:07
my grandfather appeared in London.
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deda se pojavio u Londonu.
09:10
He was never right again.
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Nikada se nije oporavio.
09:12
And his story was hushed as he assimilated.
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A njegova priča bila je
umrtvljena njegovim prilagođavanjem.
umrtvljena njegovim prilagođavanjem.
09:17
My story started in England
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Moja priča počinje u Engleskoj
09:21
with a clean slate and the silence of immigrant parents.
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bez ''repova'' i uz ćutnju
mojih roditelja imigranata.
mojih roditelja imigranata.
09:25
I had "Anne Frank," "The Great Escape,"
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Imala sam ''Anu Frank'',
''Veliko bekstvo'',
''Veliko bekstvo'',
09:27
"Shoah," "Triumph of the Will."
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''Šoa'', ''Trijumf volje''.
09:30
It was Leni Riefenstahl
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Leni Rifenštal je bila ta
09:32
in her elegant Nazi propaganda
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sa svojom elegantnom,
nacističkom propagandom
nacističkom propagandom
09:35
who gave context to what the family had to endure.
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koja je dala kontekst onoga
što je moja porodica morala da istrpi.
što je moja porodica morala da istrpi.
09:39
These films held what was too hurtful to say out loud,
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Ovi filmovi sadržali su ono
što je bilo suviše bolno za priču.
što je bilo suviše bolno za priču.
09:44
and they became more useful to me
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i postali su za mene korisniji
09:47
than the whispers of survivors
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nego šapati preživelih
09:49
and the occasional glimpse of a tattoo
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ili povremeni prizori tetovaža
09:52
on a maiden aunt's wrist.
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na zglobu moje tetke usedelice.
09:55
Purists may feel that fiction dissipates
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Puristi možda misle da će fikcija proćerdati
09:58
the quest of real human understanding,
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potragu za realnošću
ljudskog razumevanja,
ljudskog razumevanja,
10:01
that film is too crude
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da je film isuviše banalan
10:02
to tell a complex and detailed history,
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da bi ispričao kompleksnu i detaljnu istoriju
10:05
or that filmmakers always serve drama over truth.
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ili da režiseri uvek prezentuju dramu,
ne istinu.
ne istinu.
10:09
But within the reels lie purpose and meaning.
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Ali među filmskim trakama
leže namera i značenje.
leže namera i značenje.
10:12
As one 12-year-old said after watching "Wizard of Oz,"
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Kao što je jedna 12-godišnjakinja rekla,
gledajući ''Čarobnjaka iz Oza'':
gledajući ''Čarobnjaka iz Oza'':
10:16
"Every person should watch this,
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''Svako treba da pogleda ovo,
10:18
because unless you do
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jer ako to ne učiniš
10:20
you may not know that you too have a heart."
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možda nećeš znati da i ti imaš srce''.
10:24
We honor reading, why not honor watching with the same passion?
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Cenimo čitanje, zašto ne cenimo
gledanje sa istom strašću?
gledanje sa istom strašću?
10:29
Consider "Citizen Kane" as valuable as Jane Austen.
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Smatrajmo ''Građanina Kejna''
jednako vrednim kao Džejn Ostin.
jednako vrednim kao Džejn Ostin.
10:32
Agree that "Boyz n the Hood," like Tennyson,
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Složimo se da ''Momci iz kraja'',
kao Tenison,
kao Tenison,
10:35
offers an emotional landscape and a heightened understanding
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nude emocionalni uvid
i uzvišeno razumevanje
i uzvišeno razumevanje
10:39
that work together.
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koji se prepliću.
10:41
Each a piece of memorable art,
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Svako delo je upečatljiva umetnost,
10:43
each a brick in the wall of who we are.
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svako je cigla u zidu onoga što jesmo.
10:46
And it's okay if we remember Tom Hanks
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U redu je da pamtimo Toma Henksa
10:49
better than astronaut Jim Lovell
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bolje nego astronauta Džima Lovela
10:51
or have Ben Kingsley's face superimposed onto that of Gandhi's.
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ili lice Bena Kingslija dok glumi Gandija.
10:55
And though not real, Eve Harrington, Howard Beale, Mildred Pierce
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Iako nisu stvarni, Eva Harington,
Hauard Bil, Mildred Pirs -
Hauard Bil, Mildred Pirs -
10:59
are an opportunity to discover
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oni su mogućnost otkrivanja
11:02
what it is to be human,
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kako je biti čovek,
11:04
and no less helpful to understanding our life and times
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i ništa manje nisu važni
za shvatanje našeg života i doba
za shvatanje našeg života i doba
11:08
as Shakespeare is in illuminating the world of Elizabethan England.
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kao što je Šekspir bio otkrovenje za svet
elizabetanske Engleske.
elizabetanske Engleske.
11:14
We guessed that film,
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Znali smo da će film,
11:15
whose stories are a meeting place
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čije priče su okrilje pod kojim se sastaju
11:17
of drama, music, literature and human experience,
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drama, muzika, literatura
i ljudsko iskustvo,
i ljudsko iskustvo,
11:20
would engage and inspire the young people participating in FILMCLUB.
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inspirisati mlade ljude koji učestvuju
u Filmskom klubu.
u Filmskom klubu.
11:24
What we could not have foreseen
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Ono što nismo mogli da predvidimo
11:26
was the measurable improvements
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jesu važna unapređenja
11:27
in behavior, confidence and academic achievement.
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u ponašanju, samopouzdanju
i akademskim postignućima.
i akademskim postignućima.
11:31
Once-reluctant students now race to school, talk to their teachers,
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Jednom suzdržani učenici sada jure u školu,
razgovaraju sa nastavnicima,
razgovaraju sa nastavnicima,
11:35
fight, not on the playground,
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bore se, ne na igralištu,
11:37
but to choose next week's film --
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nego oko izbora filma za sledeću nedelju -
11:39
young people who have found self-definition, ambition
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mladi ljudi koji su našli
definiciju sebe, ambiciju,
definiciju sebe, ambiciju,
11:43
and an appetite for education and social engagement
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apetit za obrazovanjem
i društvenim uključenjem
i društvenim uključenjem
11:47
from the stories they have witnessed.
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iz priča kojima su pristustvovali.
11:50
Our members defy the binary description
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Naši članovi se bore protiv binarnog opisa
11:53
of how we so often describe our young.
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koji je najčešći opis naših mladih.
11:56
They are neither feral nor myopically self-absorbed.
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Oni nisu divlji niti kratkovido
orijentisani ka sebi.
orijentisani ka sebi.
12:01
They are, like other young people,
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Oni, kao i mnogi mladi ljudi,
12:03
negotiating a world with infinite choice,
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pregovaraju sa svetom u kome
imaju nebrojeno mnogo opcija,
imaju nebrojeno mnogo opcija,
12:06
but little culture of how to find meaningful experience.
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ali imaju malo kulture o tome kako
naći značajno iskustvo.
naći značajno iskustvo.
12:11
We appeared surprised at the behaviors
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Iznenađeni smo ponašanjem
12:14
of those who define themselves
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onih koji sebe definišu
12:16
by the size of the tick on their shoes,
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po marki cipela koje nose,
12:18
yet acquisition has been the narrative we have offered.
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a opet takve su vrednosti koje se nude.
12:22
If we want different values
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Ako želimo da im ponudimo druge vrednosti,
12:24
we have to tell a different story,
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moramo da ispričamo drugu priču,
12:27
a story that understands that an individual narrative
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priču gde se razume da individualni narativ
12:31
is an essential component of a person's identity,
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jeste esencijalna komponenta
identiteta jedne osobe,
identiteta jedne osobe,
12:35
that a collective narrative
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da kolektivni narativ
12:37
is an essential component of a cultural identity,
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jeste esencijalna komponenta
kulturnog identiteta,
kulturnog identiteta,
12:41
and without it it is impossible to imagine yourself
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bez kojih je nemoguće da zamislimo
12:45
as part of a group.
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sebe kao deo grupe.
12:46
Because when these people get home
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Zato što kada ovi mladi ljudi odu kući
12:49
after a screening of "Rear Window"
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nakon prikazivanja ''Skrivenog prozora''
12:52
and raise their gaze to the building next door,
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i pogledaju u zgradu preko puta,
12:54
they have the tools to wonder who, apart from them,
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oni počinju da se pitanju ko, pored njih,
12:58
is out there
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postoji tamo
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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(Aplauz)
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