Capturing authentic narratives - Michele Weldon

109,842 views ใƒป 2012-08-27

TED-Ed


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืชืจื’ื•ื: Ido Dekkers ืขืจื™ื›ื”: Nir Bibi
00:17
Every day we are bombarded on all platforms of media
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ื›ืœ ื™ื•ื ืื ื—ื ื• ืžื•ืคืฆืฆื™ื ื‘ื›ืœ ืคืœื˜ืคื•ืจืžื•ืช ื”ืžื“ื™ื”
00:21
with personal stories that span the continuum
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ืขื ืกื™ืคื•ืจื™ื ืื™ืฉื™ื™ื ืฉื ืคืจืฉื™ื ืขืœ ื”ืจืฆืฃ
00:24
from the embarrassing and the trivial
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ืžื”ืžื‘ื™ืš ื•ื”ื˜ืจื™ื•ื•ื™ืืœื™
00:26
to the dire and the critical.
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ื•ืขื“ ืœืขืฆื•ื‘ ื•ื”ืงืจื™ื˜ื™.
00:28
The foodie posting photos of every plate of lasagna he orders,
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ื—ื•ื‘ื‘ ื”ืžื–ื•ืŸ ืžืขืœื” ืชืžื•ื ื•ืช ืฉืœ ื›ืœ ืฆืœื—ืช ืœื–ื ื™ื” ืฉื”ื•ื ืžื–ืžื™ืŸ,
00:32
the Iranian blogger describing the shooting death
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ื”ื‘ืœื•ื’ืจ ื”ืื™ืจื ื™ ืžืชืืจ ืืช ื”ื™ืจื™ ืœืžื•ื•ืช
00:34
of Nedฤ ฤ€ghฤ-Soltฤn.
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ืฉืœ ื ื“ื” ืื’ื”-ืกื•ืœื˜ืŸ.
00:37
Authentic narrative is the glue that connects people,
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ื ืจื˜ื™ื‘ ืื•ื˜ื ื˜ื™ ื”ื•ื ื”ื“ื‘ืง ืฉืžื—ื‘ืจ ืืช ื”ืื ืฉื™ื,
00:40
providing a compelling reason to keep reading.
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ืžืกืคืง ืกื™ื‘ื” ืžื•ืฉื›ืช ืœื”ืžืฉื™ืš ืœืงืจื•ื.
00:43
It makes the personal universal,
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ื–ื” ื”ื•ืคืš ืืช ื”ืื™ืฉื™ ืœื›ืœืœื™,
00:45
transcends the individual,
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ืžืชืขืœื” ืžืขืœ ื”ื™ื—ื™ื“,
00:47
and makes a story timeless and humanistic.
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ื•ื”ื•ืคืš ืืช ื”ืกื™ืคื•ืจ ืœื ื˜ื•ืœ ื–ืžืŸ ื•ื”ื•ืžื ื™.
00:51
How, as a journalist, do you ask the questions
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ืื™ืš, ื›ืขื™ืชื•ื ืื™ื, ืืชื ืฉื•ืืœื™ื ืืช ื”ืฉืืœื•ืช
00:53
that yield this type of narrative?
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ืฉืžื ื™ื‘ื•ืช ืืช ื”ื ืจื˜ื™ื‘ ืžื”ืกื•ื’ ื”ื–ื”?
00:56
You have to know what to ask of whom.
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ืืชื ื—ื™ื™ื‘ื™ื ืœื“ืขืช ืžื” ืœืฉืื•ืœ ืืช ืžื™.
00:59
First you need to understand that every piece of journalism
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ืจืืฉื™ืช ืืชื ืฆืจื™ื›ื™ื ืœื”ื‘ื™ืŸ ืฉื›ืœ ืคื™ืกืช ืขื™ืชื•ื ื•ืช
01:02
requires a trifecta of sourcing.
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ื“ื•ืจืฉืช ืฉืœื™ืฉื™ื™ืช ืžืงื•ืจื•ืช.
01:04
If you picture the reporting process as depicted by a triangle,
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ืื ืืชื ืžื“ืžื™ื™ื ื™ื ืืช ืชื”ืœื™ืš ื”ื“ื™ื•ื•ื— ื›ืžืฉื•ืœืฉ,
01:08
one side will be official sources,
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ืฆื“ ืื—ื“ ื™ื”ื™ื” ืžืงื•ืจื•ืช ื”ืจืฉืžื™ื™ื,
01:10
another side will be overview sources,
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ืฆื“ ื ื•ืกืฃ ื™ื”ื™ื” ืžืงื•ืจื•ืช ื”ื—ื™ืฆื•ื ื™ื™ื,
01:13
and a third side will be unofficial sources.
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ื•ื”ืฆื“ ื”ืฉืœื™ืฉื™ ื™ื”ื™ื” ืžืงื•ืจื•ืช ืœื ืจืฉืžื™ื™ื.
01:16
All three components are necessary in every well-reported piece.
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ื›ืœ ืฉืœื•ืฉืช ื”ืžืงื•ืจื•ืช ื ื—ื•ืฆื™ื ื‘ื›ืœ ืกื™ืคื•ืจ ืฉืžื“ื•ื•ื— ื”ื™ื˜ื‘.
01:20
The first side has official sources.
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ืœืฆื“ ื”ืจืืฉื•ืŸ ื™ืฉ ืžืงื•ืจื•ืช ืจืฉืžื™ื™ื.
01:23
Those are the people with titles and expertise,
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ืืœื” ื”ืื ืฉื™ื ืขื ืชืืจื™ื ื•ืžื•ืžื—ื™ื•ืช,
01:26
who own the company; are spokespeople for the movement.
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ืฉื‘ื‘ืขืœื•ืชื ื”ื—ื‘ืจื”; ื”ื ื”ื“ื•ื‘ืจื™ื ืขื‘ื•ืจ ื”ืชื ื•ืขื”.
01:29
They tell you the numbers, and the answers
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ื”ื ืื•ืžืจื™ื ืœื›ื ืืช ื”ืžืกืคืจื™ื, ื•ื”ืชืฉื•ื‘ื•ืช
01:32
to how much, how many, where, when, and who.
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ืœื›ืžื”, ืื™ืคื”, ืžืชื™ ื•ืžื™.
01:35
A second side of the triangle includes overview sources:
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ืฆื“ ืฉื ื™ ืœืžืฉื•ืœืฉ ื›ื•ืœืœ ืžืงื•ืจื•ืช ืฉืกื•ืงืจื™ื:
01:38
academics, consultants, authors,
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ืืงื“ืžืื™ื, ื™ื•ืขืฆื™ื, ืกื•ืคืจื™ื,
01:41
who are not directly connected as stakeholders,
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ืฉืื™ื ื ืงืฉื•ืจื™ื ื™ืฉื™ืจื•ืช ื›ื‘ืขืœื™ ืขื ื™ื™ืŸ,
01:43
but have knowledge of the big picture.
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ืื‘ืœ ื™ืฉ ืœื”ื ื™ื“ืข ืขืœ ื”ืชืžื•ื ื” ื”ื’ื“ื•ืœื”.
01:46
Yet it is the third side of the trifecta - unofficial sources -
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ืื‘ืœ ื–ื” ื”ืฆื“ ื”ืฉืœื™ืฉื™ ืฉืœ ื”ืžืฉื•ืœืฉ - ืžืงื•ืจื•ืช ืœื ืจืฉืžื™ื™ื -
01:49
who hold the power of the individual's insight.
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ืฉืžื—ื–ื™ืง ื‘ื›ื•ื— ื ืงื•ื“ืช ื”ืžื‘ื˜ ื”ืขืฆืžืื™ืช ืฉืœ ื”ืคืจื˜.
01:52
This is where you can find the why,
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ืฉื ืชืžืฆืื• ืืช ื”ืœืžื”,
01:55
Giving consequence on the event, trend, phase, or idea
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ืชืงื‘ืœื• ืกื™ื‘ื•ืช ืœืžืื•ืจืข, ื˜ืจื ื“, ืฉืœื‘, ืื• ืจืขื™ื•ืŸ
01:58
and what it means on a soul level to someone affected by it.
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ื•ืžื” ืฉื–ื” ืื•ืžืจ ื‘ืจืžืช ืื“ื ื‘ื•ื“ื“ ืฉืžื•ืฉืคืข ืžื–ื”.
02:01
So how do you mine for the gems,
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ืื– ืื™ืš ืืชื ื›ื•ืจื™ื ืืช ืื‘ื ื™ ื”ื—ืŸ ื”ืืœื•,
02:04
identifying what is compelling from what is chatter?
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ืžื‘ื—ื™ื ื™ื ื‘ื™ืŸ ืจืœื‘ื ื˜ื™ ืœื‘ื™ืŸ ืคื˜ืคื˜ืช?
02:07
You ask surprising questions.
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ืืชื ืฉื•ืืœื™ื ืฉืืœื•ืช ืžืคืชื™ืขื•ืช.
02:09
To achieve the complicated, fragile human connection,
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ื›ื“ื™ ืœื”ืฉื™ื’ ืืช ื”ื—ื™ื‘ื•ืจ ื”ืžืกื•ื‘ืš, ื”ืื ื•ืฉื™ ื”ืฉื‘ื™ืจ,
02:12
you regard the stories of every subject as sacred.
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ืืชื ืžืชื™ื™ื—ืกื™ื ืœืกื™ืคื•ืจื™ื ืฉืœ ื›ืœ ืื“ื ื›ืžืงื•ื“ืฉื™ื.
02:15
Realize that an anecdote is oxygen
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ืžื‘ื™ื ื™ื ืฉืื ืงื“ื•ื˜ื” ื”ื™ื ื—ืžืฆืŸ
02:18
that breathes life into a grey story of exposition,
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ืฉื ื•ืฉืฃ ื—ื™ื™ื ื‘ืกื™ืคื•ืจ ืืคืจืคืจ ืฉืœ ื’ื™ืœื•ื™,
02:20
facts and data.
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ืขื•ื‘ื“ื•ืช ื•ืžื™ื“ืข.
02:22
What the surgeon did at home the morning he operated on a woman's brain tumor.
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ืžื” ืฉื”ืžื ืชื— ืขืฉื” ื‘ื‘ื™ืชื• ื‘ื‘ื•ืงืจ ืฉื‘ื• ื ื™ืชื— ืื™ืฉื” ืขื ื’ื™ื“ื•ืœ ื‘ืžื•ื—ื”.
02:26
How it feels to dream and train for the Olympics for a lifetime.
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ืื™ืš ื–ื” ืžืจื’ื™ืฉ ืœื—ืœื•ื ื•ืœื”ืชืืžืŸ ืœืื•ืœื™ืžืคื™ืื“ื” ื‘ืžืฉืš ื—ื™ื™ื ืฉืœืžื™ื.
02:30
There are times when it is important to convey information quickly,
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ื™ืฉ ืคืขืžื™ื ืฉื–ื” ื—ืฉื•ื‘ ืœื”ืขื‘ื™ืจ ืžื™ื“ืข ื‘ืžื”ื™ืจื•ืช,
02:34
to present bulleted facts and updates.
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ืœื”ืฆื™ื’ ืขื•ื‘ื“ื•ืช ื ืงื•ื“ืชื™ื•ืช ื•ืขื“ื›ื•ื ื™ื.
02:37
When a situation is urgent, when action is required now,
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ื›ืฉืžืฆื‘ ื”ื•ื ื“ื—ื•ืฃ, ื›ืฉืคืขื•ืœื” ื ื“ืจืฉืช ืขื›ืฉื™ื•,
02:40
when you need to know where the tornado will hit,
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ื›ืฉืืชื ืฆืจื™ื›ื™ื ืœื“ืขืช ืื™ืคื” ื”ื˜ื•ืจื ื“ื• ื™ืคื’ืข,
02:43
how fast the fire is spreading, and if it will reach your home today.
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ื›ืžื” ืžื”ืจ ื”ืืฉ ืชืชืคืฉื˜, ื•ื”ืื ืชื’ื™ืข ืœื‘ื™ืชื›ื ื”ื™ื•ื.
02:47
But the narrative personal stories
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ืื‘ืœ ื”ื ืจื˜ื™ื‘ ืฉืœ ื”ืกื™ืคื•ืจื™ื ื”ืื™ืฉื™ื™ื
02:49
that contribute to the buffet of journalism
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ืฉืชื•ืจืžื™ื ืœืžื–ื ื•ืŸ ื”ืขื™ืชื•ื ื•ืช
02:51
are pieces that have the luxury of a slow dance of information.
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ื”ื ืคื™ืกื•ืช ืฉื™ืฉ ืœื”ื ืืช ื”ืœื•ืงืกื•ืก ืฉืœ ืจื™ืงื•ื“ ืื™ื˜ื™ ืฉืœ ืžื™ื“ืข.
02:55
It is this artful solicitation of story
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ื–ื” ื”ืฉื™ื“ื•ืœ ื”ืื•ืžื ื•ืชื™ ืฉืœ ืกื™ืคื•ืจ
02:57
that will make the journalism memorable
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ืฉื™ืขืฉื” ืืช ื”ืขื™ืชื•ื ื•ืช ืœื–ื›ื™ืจื”
03:00
and will deliver the narrative bond that will connect us to each other.
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ื•ื™ืกืคืง ืืช ื”ืงื™ืฉื•ืจ ื”ื ืจื˜ื™ื‘ื™ ืฉื™ืงืฉืจ ืื•ืชื ื• ื–ื” ืœื–ื”.
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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