Beeban Kidron: The shared wonder of film

50,059 views ・ 2012-06-13

TED


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00:00
Translator: Timothy Covell Reviewer: Morton Bast
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Prevoditelj: Ingrid Tomljanovic Recezent: Danijela Rako
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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
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create their identity in some kind of narrative form.
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stvaraju svoj identitet kroz neku vrstu pripovijedanja.
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From mother to daughter, preacher to congregant,
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Od majke do kćeri, propovjednika do vjernika,
00:27
teacher to pupil, storyteller to audience.
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učitelja do učenika, pripovjedača do publike.
00:30
Whether in cave paintings
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Bilo spiljskim crtežima
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or the latest uses of the Internet,
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ili najmodernijim mogućnostima Interneta,
00:34
human beings have always told their histories and truths
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ljudi su uvijek prenosili svoju povijest i istinu
00:38
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.
00:44
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
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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?
00:57
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
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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
01:09
the 20th century's most influential art form.
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najutjecajniji oblik umjetnosti dvadesetog stoljeća.
01:12
Its artists told stories
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Filmski redatelji su uspjeli prenijeti pripovijesti
01:14
across national boundaries,
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preko državnih granica
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in as many languages, genres and philosophies
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koristeći toliko jezika, žanrova i filozofskih učenja
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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
01:22
that film has yet to tackle.
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koja je jos neiskorištena u filmu.
01:24
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
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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
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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 -
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the telling of stories between generations --
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prenošenje pripovijesti s generacije na generaciju -
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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.
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As a human being, it puts the fear of God in me.
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Kao ljudsko bice to me cini bogobojaznom.
01:51
What future could the young build
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Kakvu će budućnost nasa mladež moći izgraditi
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with so little grasp
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imajući tako malo povezanosti
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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;
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technical access has never been greater,
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pristup omogućen tehnologijom nikad nije bio lakši,
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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,
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an organization that ran weekly film screenings in schools
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organizaciju koja omogućava tjedna prikazivanja filmova u školama
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followed by discussions.
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praćena raspravom.
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If we could raid the annals of 100 years of film,
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Kada bismo proučili stogodišnje anale filma,
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maybe we could build a narrative
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mozda bismo mogli stvoriti priču
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that would deliver meaning
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koja bi prenijela značenje
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to the fragmented and restless world of the young.
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fragmentiranom i nemirnom svijetu mladih.
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Given the access to technology,
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Uzevši u obzir pristup tehnologiji,
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even a school in a tiny rural hamlet
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čak bi i škole u malim zaseocima
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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
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we ran 25 clubs across the U.K.,
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održali smo 25 klupskih sastanaka u Ujedinjenom Kraljevstvu
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with kids in age groups between five and 18
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u sklopu kojih su djeca od 5 do 18 godina
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watching a film uninterrupted for 90 minutes.
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gledala film 90 minuta bez prekida.
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The films were curated and contextualized.
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Filmovi su bili objašnjeni i stavljeni u širi kontekst.
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But the choice was theirs,
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Ali izbor je bio njihov
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and our audience quickly grew
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i nasa publika je ubrzo počela
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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.
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The outcome, immediate.
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Rezultat je bio trenutni.
03:01
It was an education of the most profound and transformative kind.
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Bilo je to obrazovanje vrlo potpune i transformativne prirode.
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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,
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these young people discovered new places,
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ovi su mladi ljudi otkrili nova mjesta,
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new thoughts, new perspectives.
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nove misli, nove perspektive.
03:15
By the time the pilot had finished,
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Do završetka probne verzije projekta
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we had the names of a thousand schools
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imali smo imena tisuću škola
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that wished to join.
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koje su se željele uključiti.
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The film that changed my life
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Film koji je promijenio moj život
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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.
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It's a remarkable comment
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Film izvanredno opisuje
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on slums, poverty and aspiration.
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slamove, siromaštvo i ljudske težnje.
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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.
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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,
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find and pay for the print and the projectionist.
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pronađemo i platimo filmsku vrpcu i projekcionista.
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But for my father,
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No za moga oca,
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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
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that he chose to celebrate his half-century
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da je odlučio proslaviti svoj 50. rođendan
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with his three teenage children and 30 of their friends,
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sa svoje troje tinejdžera i njihovih 30 prijatelja.
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"In order," he said,
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"Kako bih," rekao je,
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"to pass the baton of concern and hope
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"predao palicu brižnosti i nade
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on to the next generation."
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sljedećoj generaciji."
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In the last shot of "Miracle in Milan,"
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U zadnjoj sceni "Čuda u Milanu"
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slum-dwellers float skyward on flying brooms.
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stanovnici slamova otplove k nebu na letećim metlama.
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Sixty years after the film was made
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60 godina nakon što je film napravljen
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and 30 years after I first saw it,
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i 30 godina nakon što sam ga prvi put vidjela,
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I see young faces tilt up in awe,
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još uvijek vidim mlada lica kako se uzdižu od zanesenosti,
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their incredulity matching mine.
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njihova nevjerica ista kao i moja.
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And the speed with which they associate it
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I brzina kojom oni povezuju taj film
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with "Slumdog Millionaire" or the favelas in Rio
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s filmom "Milijunaš s ulice" ili s favelama u Riu
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speaks to the enduring nature.
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signalizira trajnost.
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In a FILMCLUB season about democracy and government,
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U sezoni FILMCLUB-a o demokraciji i vladi,
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we screened "Mr. Smith Goes to Washington."
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prikazali smo "Gospodin Smith ide u Washington".
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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.
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Frank Capra's classic values independence and propriety.
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U ovom klasiku Franka Capre cijene se neovisnost i pristojnost.
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It shows how to do right,
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Film pokazuje kako se ponašati na pravi način,
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how to be heroically awkward.
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kako biti herojski nespretan.
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It is also an expression of faith
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No on je također i izraz vjere
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in the political machine as a force of honor.
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da je politički stroj časna sila.
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Shortly after "Mr. Smith" became a FILMCLUB classic,
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Ubrzo nakon sto je "Gospodin Smith" postao klasik FILMCLUB-a,
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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,
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And it was with great delight
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a mi smo s velikim zadovoljstvom
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that we found young people up and down the country
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našli mlade ljude diljem zemlje
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explaining with authority
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kako objašnjavaju autoritativno
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what filibustering was
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sto je parlamentarni proces
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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.
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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.
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In choosing "Hotel Rwanda,"
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Kada su pak odabrali "Hotel Rwanda",
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they explored genocide of the most brutal kind.
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upoznali su se s genocidom najbrutalnije vrste.
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It provoked tears as well as incisive questions
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Film je potaknuo suze, ali i oštroumna pitanja
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about unarmed peace-keeping forces
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o nenaoružanim udrženjima za očuvanje mira
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and the double-dealing of a Western society
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i o dvoličnosti Zapadnog društva
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that picks its moral fights with commodities in mind.
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koje izabire svoje moralne bitke s pogodnostima na umu.
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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,
05:46
one child, full of the pain of consciousness, remarked,
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jedno je dijete, puno boli uzrokovane sviješću, primijetilo:
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"We already forgot,
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"Već smo zaboravili,
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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.
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"To Sir, with Love" ignited its teen audience.
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"Gospodinu s ljubavlju" iznimno je zainteresirao teen publiku.
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They celebrated a change in attitude
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S veseljem su prihvatili promjenu u stavu
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towards non-white Britons,
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prema nebijelim Britancima,
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but railed against our restless school system
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no snažno su se protivili našem nemirnom obrazovnom sustavu
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that does not value collective identity,
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koji ne cijeni kolektivni identitet,
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unlike that offered by Sidney Poitier's careful tutelage.
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za razliku od onog ponuđenog pod pažljivim tutorstvom Sidneya Poitiera.
06:25
By now, these thoughtful, opinionated, curious young people
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Već sada, ovi obazrivi, slobodoumni i znatiželjni mladi ljudi
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thought nothing of tackling films of all forms --
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s lakoćom su se mogli baviti filmovima svih oblika -
06:32
black and white, subtitled,
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crno-bijeli, titlovani,
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documentary, non-narrative, fantasy --
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dokumentarni, nenarativni, fantasy filmovi -
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and thought nothing of writing detailed reviews
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te s lakoćom pisati detaljne osvrte
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that competed to favor one film over another
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u kojima su zastupali bolji od dva filma
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in passionate and increasingly sophisticated prose.
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u strastvenoj i sve više i više sofisticiranoj prozi.
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Six thousand reviews each school week
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Šest tisuća članaka svaki školski tjedan
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vying for the honor of being review of the week.
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se natjecalo za čast da budu proglašeni člankom tjedna.
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From 25 clubs, we became hundreds, then thousands,
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Iz 25 klubova, postali smo stotine, pa tisuće,
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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.
07:04
And although the numbers were, and continue to be, extraordinary,
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I iako su brojke bile, i nastavljaju biti, izuzetne,
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what became more extraordinary
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ono što je postalo jos izuzetnije
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was how the experience of critical and curious questioning
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je kako se iskustvo kritičkog i znatiželjnog ispitivanja
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translated into life.
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prenijelo u život.
07:15
Some of our kids started talking with their parents,
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Neka od naše djece počela su pričati sa svojim roditeljima,
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others with their teachers,
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druga s učiteljima,
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or with their friends.
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ili sa svojim prijateljima.
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And those without friends
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A oni bez prijatelja
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started making them.
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su ih počeli nalaziti.
07:25
The films provided communality across all manner of divide.
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Filmovi su pruzali zajedništvo unatoč svakakvim različitostima.
07:30
And the stories they held provided a shared experience.
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I priče iz filmova pružale su zajedničko iskustvo.
07:33
"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
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in flight from violence
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bježeći od nasilja
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that killed first his father then his mother,
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od kojih mu je prvo poginuo otac, a zatim majka,
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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?
08:00
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
08:09
who the world didn't think were interested.
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koje je svijet smatrao nezainteresiranima.
08:11
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,
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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.
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In a moment she can invoke images
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U jednom trenutku ona moze dočarati prizore
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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.
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Quite recently she told me
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Baš nedavno mi je rekla
08:35
that in 1948, two of her sisters and my father
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da je 1948. sa svojim dvjema sestrama i mojim ocem
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traveled on a boat to Israel without my grandparents.
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otputovala brodom u Izrael bez mojih bake i djeda.
08:41
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,
08:46
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.
08:54
My mother's mother left Europe in a hurry
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Majka moje majke napustila je Europu u žurbi
08:58
without her husband, but with her three-year-old daughter
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bez svoga muža, ali sa svojom trogodišnjom kćeri
09:01
and diamonds sewn into the hem of her skirt.
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i dijamantima ušivenim u obrub svoje suknje.
09:05
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.
09:09
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.
09:16
My story started in England
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Moja priča je započela u Engleskoj,
09:20
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".
09:29
It was Leni Riefenstahl
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Leni Riefenstahl je bila ta koja je
09:31
in her elegant Nazi propaganda
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kroz svoju elegantnu nacističku propagandu
09:34
who gave context to what the family had to endure.
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dala kontekst onome s čime se obitelj morala nositi.
09:38
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
09:46
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.
09:54
Purists may feel that fiction dissipates
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Puristi bi mohli pomisliti da fikcija uništava
09:57
the quest of real human understanding,
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potragu za pravim ljudskim razumijevanjem,
10:00
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
10:04
or that filmmakers always serve drama over truth.
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ili da redatelji uvijek serviraju dramu prije istine.
10:08
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",
10:15
"Every person should watch this,
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"Svaka osoba bi trebala pogledati ovo,
10:17
because unless you do
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jer ako to ne napravite
10:19
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?
10:28
Consider "Citizen Kane" as valuable as Jane Austen.
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Smatrajte film "Građanin Kane" jednako vrijedim kao Jane Austen.
10:31
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.
10:40
Each a piece of memorable art,
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Svaki je komad nezaboravne umjetnosti,
10:42
each a brick in the wall of who we are.
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svaki je cigla u zidu onoga što mi jesmo.
10:45
And it's okay if we remember Tom Hanks
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I u redu je ako se sjećamo Toma Hanksa
10:48
better than astronaut Jim Lovell
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bolje nego astronauta Jima Lovella
10:50
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
10:58
are an opportunity to discover
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su prilika da otkrijemo
11:01
what it is to be human,
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sto znači biti čovjekom
11:03
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.
11:13
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,
11:19
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
11:25
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.
11:30
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,
11:36
but to choose next week's film --
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nego kada se bira film za sljedeći tjedan -
11:38
young people who have found self-definition, ambition
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mladi ljudi koji su pronašli definiciju sebe, ambiciju
11:42
and an appetite for education and social engagement
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te apetit za obrazovanjem i društvenim angažmanom
11:46
from the stories they have witnessed.
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kroz filmske priče kojima su svjedočili.
11:49
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.
11:55
They are neither feral nor myopically self-absorbed.
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Oni nisu ni divlji, ni slijepo egoocentrični.
12:00
They are, like other young people,
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Oni, kao i drugi mladi ljudi,
12:02
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.
12:10
We appeared surprised at the behaviors
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Činili smo se iznenađeni zbog ponašanja
12:13
of those who define themselves
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onih koji sebe definiraju
12:15
by the size of the tick on their shoes,
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po veličini kvačice na svojim cipelama,
12:17
yet acquisition has been the narrative we have offered.
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ipak priča koju smo im ponudili bila je o stečevini.
12:21
If we want different values
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Ako želimo drugačije vrijednosti,
12:23
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,
12:34
that a collective narrative
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te da je kolektivna priča
12:36
is an essential component of a cultural identity,
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važan dio kulturnog identiteta
12:40
and without it it is impossible to imagine yourself
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i da je bez nje nemoguće zamisliti se
12:44
as part of a group.
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kao dio neke grupe.
12:45
Because when these people get home
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Zato što kada se ovi ljudi vrate kući
12:48
after a screening of "Rear Window"
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nakon prikazivanja filma "Prozor u dvorište"
12:51
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,
12:57
is out there
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je tamo vani
12:59
and what is their story.
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i koja je njihova priča.
13:01
Thank you.
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Hvala vam.
13:03
(Applause)
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(Pljesak)
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