A mother and son united by love and art | Deborah Willis and Hank Willis Thomas

42,361 views ・ 2018-01-15

TED


μ•„λž˜ μ˜λ¬Έμžλ§‰μ„ λ”λΈ”ν΄λ¦­ν•˜μ‹œλ©΄ μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€.

λ²ˆμ—­: Joy Kim κ²€ν† : Jihyeon J. Kim
00:12
Hank Willis Thomas: I'm Deb's son.
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μ €λŠ” 뎁의 μ•„λ“€μ΄κ³ μš”.
00:14
(Laughter)
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(μ›ƒμŒ)
00:16
Deborah Willis: And I'm Hank's mom.
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μ €λŠ” 행크 μ—„λ§ˆμž…λ‹ˆλ‹€.
00:18
HWT: We've said that so many times,
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μ΄λ ‡κ²Œ λ§Žμ€ μ‹œκ°„ ν•¨κ»˜ λ§ν–ˆκ³ μš”.
00:20
we've made a piece about it.
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ν•¨κ»˜ μž‘μ—…μ„ ν–ˆμ§€μš”.
00:22
It's called "Sometimes I See Myself In You,"
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"가끔씩 λ‹Ήμ‹ μ—κ²Œμ„œ λ‚˜λ₯Ό λ³Έλ‹€" 라고 ν•˜μ£ .
00:25
and it speaks to the symbiotic relationship
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그리고 μ†Œμœ„ 곡생관계라고 λ§ν•˜κ³€ ν•˜μ£ .
00:27
that we've developed over the years through our life and work.
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우리의 μ‚Άκ³Ό 일을 톡해 μˆ˜λ…„ 간을 ν•¨κ»˜ λ°œμ „ν•΄ μ™”μœΌλ‹ˆ λ§μž…λ‹ˆλ‹€.
00:30
And really, it's because everywhere we go,
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그리고 μ •λ§λ‘œ, μ–΄λ””λ“  ν•¨κ»˜ 갔기에
00:33
together or apart,
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ν•¨κ»˜ ν•˜λ“  λ–¨μ–΄μ Έ μžˆλ“ 
00:35
we carry these monikers.
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μš°λ¦¬λŠ” 이런 별λͺ…을 κ°–κ³  λ‹€λ…€μš”.
00:37
I've been following in my mother's footsteps
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μ €λŠ” μ–΄λ¨Έλ‹ˆμ˜ 발자취λ₯Ό 따라 κ°”μ£ .
00:39
since before I was even born
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μ œκ°€ νƒœμ–΄λ‚˜κΈ° 이전뢀터 λ§μ΄μ—μš”.
00:40
and haven't figured out how to stop.
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μ•„λ‹ˆ μ–΄μ©Œλ©΄ λ©ˆμΆ”λŠ” 방법을 찾지 λͺ»ν•΄μ„œμΌμ§€ λͺ¨λ¦…λ‹ˆλ‹€.
00:43
And as I get older, it does get harder.
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λ‚˜μ΄κ°€ λ“€λ©΄μ„œ, 더 νž˜λ“€μ–΄ μ§€λ„€μš”.
00:46
No seriously, it gets harder.
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μž₯λ‚œ μ•„λ‹ˆκ²Œ, 점점 νž˜λ“€μ–΄μ§‘λ‹ˆλ‹€.
00:48
(Laughter)
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(μ›ƒμŒ)
00:50
My mother's taught me many things, though,
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λŒ€μ‹  μ €μ˜ μ–΄λ¨Έλ‹ˆλŠ” λ§Žμ€ κ±Έ μ €μ—κ²Œ μ•Œλ €μ£Όμ…¨λŠ”λ°
00:52
most of all that love overrules.
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μ‚¬λž‘μ΄ 전뢀인 κ²ƒλ“€μ΄μš”.
00:55
She's taught me that love
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μ—„λ§ˆλŠ” 제게 μ‚¬λž‘μ΄λž€
00:57
is an action,
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행동이지
01:00
not a feeling.
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감정이 μ•„λ‹ˆλΌκ³  κ°€λ₯΄μ³μ£Όμ…¨μ–΄μš”.
01:01
Love is a way of being, it's a way of doing,
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μ‚¬λž‘μ΄λž€ 쑴재의 λ°©λ²•μ΄μž, ν–‰λ™μ˜ 방법이며
01:05
it's a way of listening and it's a way of seeing.
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λ“€μ–΄μ£ΌλŠ” 방법 λ³΄λŠ” λ°©λ²•μ΄λΌκ³ μš”.
01:09
DW: And also, the idea about love,
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그리고 μ‚¬λž‘μ— κ΄€ν•œ 생각은
01:11
photographers,
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μ‚¬μ§„μž‘κ°€λ‘œμ„œ
01:14
they're looking for love when they make photographs.
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사진을 찍을 λ•Œ μ‚¬λž‘μ„ μ°ΎμŠ΅λ‹ˆλ‹€.
01:17
They're looking and looking and finding love.
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그듀은 λ“€μ—¬λ‹€ 보고 또 λ“€μ—¬λ‹€ λ³΄λ©΄μ„œ 그리고 μ‚¬λž‘μ„ μ°Ύμ£ .
01:19
Growing up in North Philadelphia,
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필라델피아 뢁μͺ½μ—μ„œ μžλΌλ‚˜
01:21
I was surrounded by people in my family and friends
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μ €λŠ” κ°€μ‘±κ³Ό μΉœκ΅¬λ“€μ— λ‘˜λŸ¬μ‹Έμ—¬ μžˆμ—ˆμ£ .
01:25
who made photographs
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μ €λ₯Ό μ‚¬μ§„μž‘κ°€λ‘œ λ§Œλ“  λΆ„λ“€μ΄μš”.
01:26
and used the family camera as a way of telling a story about life,
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그리고 κ°€μ‘± 사진기λ₯Ό μ‚¬μš©ν•΄ 삢에 λŒ€ν•œ 이야기λ₯Ό λ§ν•˜λŠ” λ°©λ²•μœΌλ‘œμ¨
01:30
about life of joy,
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μ‚Άμ˜ 기쁨에 λŒ€ν•΄
01:32
about what it meant to become a family in North Philadelphia.
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뢁방 ν•„λΌλΈν”Όμ•„μ—μ„œ 가쑱이 되기 μœ„ν•΄ 그게 무엇을 μ˜λ―Έν•˜λŠ”μ§€μ— λŒ€ν•΄ λ§μž…λ‹ˆλ‹€.
01:37
So I spent most of my life searching for pictures
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μ „ λŒ€λΆ€λΆ„μ˜ μ‹œκ°„μ„ 사진을 μ°ΎλŠ”λ° λ³΄λƒˆμ–΄μš”.
01:40
that reflect on ideas about black love, black joy
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그건 μ €μ˜ 생각을 λ°˜μ˜ν–ˆμ£ , ν‘μΈμ˜ μ‚¬λž‘, ν‘μΈμ˜ 기쁨과
01:43
and about family life.
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κ°€μ‘±μ˜ 삢에 λŒ€ν•΄μ„œμš”.
01:45
So it's really important to think about the action of love overrules as a verb.
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μ‚¬λž‘μ΄ μ „λΆ€λΌλŠ” λ™μ‚¬λ‘œμ„œμ˜ 행동에 λŒ€ν•΄ μƒκ°ν•˜λŠ” 게 정말 μ€‘μš”ν•©λ‹ˆλ‹€.
01:52
HWT: Sometimes I wonder if the love of looking is genetic,
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λ•Œλ‘œ λ°”λΌλ΄„μ˜ μ‚¬λž‘μ΄ μœ μ „μΈμ§€ κΆκΈˆν–ˆμŠ΅λ‹ˆλ‹€.
01:56
because, like my mother,
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μ™œλƒν•˜λ©΄ 제 μ–΄λ¨Έλ‹ˆμ²˜λŸΌ
01:58
I've loved photographs since before I can even remember.
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기얡도 ν•˜κΈ° μ „λΆ€ν„° 사진을 μ‚¬λž‘ν–ˆμœΌλ‹ˆκΉŒμš”.
02:02
I think sometimes that -- after my mother and her mother --
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제 생각에 μ „ λ•Œλ•Œλ‘œ 제 μ–΄λ¨Έλ‹ˆμ˜ μ–΄λ¨Έλ‹ˆλ₯Ό 따라
02:06
that photography and photographs were my first love.
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μ‚¬μ§„μˆ κ³Ό 사진이 μ €μ˜ μ²«μ‚¬λž‘μ΄λ‹ˆκΉŒμš”.
02:09
No offense to my father,
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μ•„λ²„μ§€μ—κ²Œ μ•…μ˜λŠ” μ—†μ–΄μš”.
02:11
but that's what you get for calling me a "ham"
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ν•˜μ§€λ§Œ 그럼 μ €λ₯Ό 'ν–„'이라고 λΆ€λ₯΄κ²Œ λ˜μ‹œκ² μ§€λ§Œμš”.
02:14
wherever you go.
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μ–΄λ””λ₯Ό κ°€μ‹œλ“ μ§€μš”.
02:15
I remember whenever I'd go to my grandmother's house,
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μ–Έμ œλ“  제 ν• λ¨Έλ‹ˆλŒμ— κ°€λ©΄
02:18
she would hide all the photo albums
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ν• λ¨Έλ‹ˆκ»˜μ„œ λͺ¨λ“  사진 앨범듀을 숨겼던 것이 κΈ°μ–΅λ‚˜μš”.
02:19
because she was afraid of me asking,
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μ œκ°€ λ¬Όμ–΄λ³΄λŠ”κ²Œ λ‘λ €μš°μ…¨κΈ° λ•Œλ¬Έμ΄μ£ .
02:22
"Well, who is that in that picture?"
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"음, 사진 속 이 μ‚¬λžŒμ€ λˆ„κ΅¬μ£ ?"
02:23
and "Who are they to you and who are they to me,
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그리고 "ν• λ¨Έλ‹ˆμ—κ²Œ 이듀은 λˆ„κ΅¬μ£ ?" "μ €ν•œν…Œ 이듀은 λˆ„κ΅¬μ£ ?",
02:26
and how old were you when that picture was taken?
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또 "이 사진을 찍을 λ•Œ λͺ‡μ‚΄μ΄μ…¨μ£ ?"
"μ „ λͺ‡μ‚΄μ΄μ—ˆμ–΄μš”?"
02:28
How old was I when that picture was taken?
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"그럼 이듀은 ν‘λ°±μœΌλ‘œ λ˜μ–΄ 있죠?"
02:30
And why were they in black and white?
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"μ œκ°€ νƒœμ–΄λ‚˜κΈ° μ „μ—” 세상이 ν‘λ°±μ΄μ—ˆλ‚˜μš”?"
02:32
Was the world in black and white before I was born?"
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02:34
DW: Well, that's interesting,
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뎁: 음, κ·Έκ±° μ°Έ μž¬λ°Œλ„€.
02:36
just to think about the world in black and white.
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세상이 흑백이라고 μƒκ°ν•˜λŠ” 게
02:38
I grew up in a beauty shop in North Philadelphia,
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뢁방 ν•„λΌλΈν”Όμ•„μ—μ„œ μ „ λ―Έμš©μ‹€μ—μ„œ 자랐고
02:41
my mom's beauty shop, looking at "Ebony Magazine,"
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저희 μ—„λ§ˆμ˜ λ―Έμš©μ‹€μ΄μ˜€μ£  "μ—λ³΄λ‹ˆ μž‘μ§€"μ—μ„œ λ³Έ
02:43
found images that told stories that were often not in the daily news,
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이야기λ₯Ό λ“€λ €μ£ΌλŠ” 이미지λ₯Ό μ°Ύμ•˜λŠ”λ° 그건 맀일신문에 자주 λ‚˜μ˜€μ§€ μ•Šμ•˜μ–΄μš”.
02:48
but in the family album.
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그치만 κ°€μ‘± μ•¨λ²”μ—μ„œ 찾을 수 μžˆμ—ˆμ£ .
02:50
I wanted the family album to be energetic for me,
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λ‚˜λ₯Ό ν™œκΈ°μ°¨κ²Œ ν•˜κΈ° μœ„ν•΄μ„œ κ°€μ‘± 앨범을 μ›ν–ˆκ³ 
02:53
a way of telling stories,
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이야기듀을 λ§ν•˜λŠ” ν•œ λ°©λ²•μœΌλ‘œ 말이죠.
02:54
and one day I happened upon a book in the Philadelphia Public Library
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그리고 ν•˜λ£¨λŠ” 필라델피아 곡곡 λ„μ„œκ΄€μ—μ„œ μ±…ν•œ κΆŒμ„ λ°œκ²¬ν–ˆμ–΄μš”.
02:58
called "The Sweet Flypaper of Life" by Roy DeCarava and Langston Hughes.
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둜이 디카라바와 λž­μŠ€ν„΄ 휴슀의 "The Sweet Flypaper of life" λΌλŠ”
03:03
I think what attracted me as a seven-year-old,
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7살인 제게 맀λ ₯μ μ΄μ˜€λ˜ 건
03:05
the title, flypaper and sweet,
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Flypapeκ³Ό Sweet μ΄λΌλŠ” 제λͺ©μ΄μ˜€λ‹€κ³  μƒκ°ν•΄μš”.
03:08
but to think about that as a seven-year-old,
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ν•˜μ§€λ§Œ 7μ‚΄μ§œλ¦¬κ°€ 그런 κ±Έ μƒκ°ν•˜κΈ°μ—
03:10
I looked at the beautiful images that Roy DeCarava made
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둜이 디카라바가 λ§Œλ“  μ•„λ¦„λ‹€μš΄ 이미지λ₯Ό λ΄€κ³ 
03:13
and then looked at ways that I could tell a story about life.
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μ œκ°€ 삢에 λŒ€ν•œ μ–˜κΈ°λ₯Ό ν•  수 μžˆλŠ” 방법듀을 μ‚΄νŽ΄λ΄€μ–΄μš”.
03:17
And looking for me is the act that basically changed my life.
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그리고 λ‚˜λ₯Ό μ°ΎλŠ” 것은 기본적으둜 제 삢을 λ°”κΎΌ ν–‰λ™μ΄λΌλŠ” κ±°μ£ .
03:21
HWT: My friend Chris Johnson told me that every photographer,
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제 친ꡬ ν¬λ¦¬μ†Œ μ‘΄μŠ€κ°€ μ €ν•œν…Œ λ§ν–ˆμ–΄μš” λͺ¨λ“  사진가
03:25
every artist, is essentially trying to answer one question,
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λͺ¨λ“  μ˜ˆμˆ κ°€λŠ” 근본적으둜 ν•˜λ‚˜μ˜ μ§ˆλ¬Έμ— λ‹΅ν•˜κΈ° μœ„ν•΄ λ…Έλ ₯ 쀑이라고
03:29
and I think your question might have been,
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그리고 제 생각엔 μ—¬λŸ¬λΆ„μ˜ μ§ˆλ¬Έμ΄μ—ˆμ„μ§€λ„ λͺ¨λ¦…λ‹ˆλ‹€.
03:32
"Why doesn't the rest of the world see how beautiful we are,
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"μ™œ μ„Έκ³„μ˜ λ‹€λ₯Έμ§€μ—­λ“€μ€ μš°λ¦¬κ°€ μ–Όλ§ˆλ‚˜ μ•„λ¦„λ‹€μš΄μ§€ λ³΄μ§€μ•Šκ³ 
03:35
and what can I do to help them see our community the way I do?"
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λ‚΄κ°€ν•˜λŠ” λ°©μ‹λŒ€λ‘œ 우리의 μ§€μ—­μ‚¬νšŒλ₯Ό 보도둝 λ•κ²Œ ν•˜κΈ° μœ„ν•΄ 무엇을 ν•  수 μžˆμ„κΉŒ?"
03:39
DW: While studying in art school --
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μ˜ˆμˆ λŒ€ν•™μ—μ„œ μ œκ°€ κ³΅λΆ€ν•˜λŠ” λ™μ•ˆ
03:41
it's probably true --
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그건 μ•„λ§ˆ 사싀일 κ±°μ˜ˆμš”.
03:42
I had a male professor who told me that I was taking up a good man's space.
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μ œκ°€ λ‚¨μžμ˜ 곡간을 μ°¨μ§€ν•˜κ³  μžˆλ‹€κ³  ν•œ κ΅μˆ˜κ°€ μžˆμ—ˆμ–΄μš”.
03:47
He tried to stifle my dream of becoming a photographer.
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κ·ΈλŠ” 사직 μž‘κ°€κ°€ λ˜λ €λŠ” 제 κΏˆμ„ μ–΅λˆ„λ₯΄λ €κ³  λ…Έλ ₯ν–ˆμ–΄μš”.
03:50
He attempted to shame me in a class full of male photographers.
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κ·ΈλŠ” 남성 μ‚¬μ§„μž‘κ°€λ“€λ‘œ 가득 μ°¬ μˆ˜μ—…μ—μ„œ λ‚˜λ₯Ό 수치슀럽게 ν•˜λ €κ³  λ…Έλ ₯ν–ˆμ£ .
03:54
He told me I was out of place and out of order as a woman,
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κ·ΈλŠ” μ œμžλ¦¬κ°€ μ—†λ‹€κ³  ν–ˆκ³  μ—¬μžλ‘œμ„œ λ¬Έλž€ν•˜λ‹€κ³  λ§ν–ˆμ–΄μš”.
03:58
and he went on to say that all you could and would do
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그리고 κ·ΈλŠ” λ‚¨μžκ°€ 이 μˆ˜μ—…μ—μ„œ λ„ˆμ˜ 자리λ₯Ό 차지할 λ•Œ
04:01
was to have a baby when a good man could have had your seat in this class.
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λ„€κ°€ ν•  수 μžˆλŠ” 건 μ•„κΈ°λ₯Ό κ°–λŠ” 거라고 κ³„μ†ν•΄μ„œ λ§ν–ˆμ£ .
04:05
I was shocked into silence into that experience.
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μ €λŠ” κ·Έ κ²½ν—˜κ³Ό 침묡 μ†μ—μ„œ 좩격을 λ°›μ•˜μ–΄μš”.
04:09
But I had my camera, and I was determined to prove to him
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ν•˜μ§€λ§Œ μ „ 카메라고 μžˆμ—ˆκ³ , μ „ κ·Έμ—κ²Œ 증λͺ…ν•˜κΈ°λ‘œ κ²°μ‹¬ν–ˆμ–΄μš”.
04:12
that I was worthy for a seat in that class.
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λ‚΄κ°€ κ·Έ μˆ˜μ—…μ˜ μžλ¦¬μ— ν•©λ‹Ήν•˜λ‹€λŠ” κ±Έμš”.
04:14
But in retrospect, I asked myself: "Why did I need to prove it to him?"
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ν•˜μ§€λ§Œ 돌이켜보면, κΈκ΅Όν–ˆμ–΄μš”, "μ™œ λ‚΄κ°€ κ·Έκ±Έ κ·Έμ—κ²Œ 증λͺ…ν•΄μ•Ό ν–ˆμ§€?"말이죠.
04:18
You know, I had my camera, and I knew I needed to prove to myself
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μ•Œμž–μ•„μš”, 제겐 카메라고 μžˆμ—ˆκ³  μžμ‹ μ—κ²Œ 증λͺ…ν•  ν•„μš”κ°€ μžˆλ‹€λŠ” κ±Έ μ•Œμ•˜μ£ .
04:21
that I would make a difference in photography.
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μ‚¬μ§„μ—μ„œ 차이λ₯Ό λ§Œλ“€ κ²ƒμž„μ„μš”.
04:23
I love photography, and no one is going to stop me from making images.
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λ‚œ 사진을 μ‚¬λž‘ν•˜κ³ , λˆ„κ΅¬λ„ μ œκ°€ 이미지λ₯Ό λ§Œλ“œλŠ” 것 λ©ˆμΆ”κ²Œ ν•  수 μ—†μ–΄μš”.
04:27
HWT: But that's when I came in.
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ν•˜μ§€λ§Œ 그게 μ œκ°€ 생겼을 λ•Œμ˜€μ£ .
04:29
DW: Yeah, that year I graduated, I got pregnant.
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λ§žμ•„μš”, κ·Έ 해에 μ €λŠ” 쑸업을 ν–ˆκ³ , μž„μ‹ μ„ ν–ˆμ£ .
04:32
Yep, he was right.
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μ˜™, 그말이 λ§žμ•„μš”.
04:34
And I had you,
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λ‚œ 널 κ°€μ‘Œμ§€.
04:35
and I shook off that sexist language that he used against me
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κ·Έ κ΅μˆ˜κ°€ μ €μ—κ²Œ λ§ν–ˆλ˜ 성차별어λ₯Ό 떨쳐버리고
04:40
and picked up my camera and made photographs daily,
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카메라λ₯Ό μ§‘μ–΄λ“€μ—ˆκ³  맀일 사진을 μ°μ—ˆμ£ .
04:43
and made photographs of my pregnant belly as I prepared for graduate school.
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λŒ€ν•™μ› μ€€λΉ„λ₯Ό ν•˜λ©΄μ„œ μ €μ˜ μž„μ‹ ν•œ λ°°λ₯Ό μ°μ—ˆμ–΄μš”.
04:48
But I thought about also that black photographers were missing
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그리만 μ „ 또 μƒκ°ν–ˆμ–΄μš”, 흑인 μ‚¬μ§„μž‘κ°€λ“€μ€ 사라지고 μžˆλ‹€κ³ 
04:52
from the history books of photography,
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μ‚¬μ§„μ˜ 역사 μ±…λ“€λ‘œλΆ€ν„° 말이죠.
04:55
and I was looking for ways to tell a story.
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그리고 ν•œ 이야기λ₯Ό μ „ν•  방법듀을 μ°Ύκ³  μžˆμ—ˆμ–΄μš”.
04:58
And I ran across Gordon Parks' book "A Choice of Weapons,"
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그리곀 μš°μ—°νžˆ κ³ λ“  λ°•μ˜ μ±… "무기의 선택"을 λ°œκ²¬ν–ˆμ£ .
05:03
which was his autobiography.
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그의 μžμ„œμ „μ΄μ˜€μ–΄μš”.
05:04
I began photographing and making images,
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μ „ 사진 μ°λŠ”κ²ƒκ³Ό 이미지λ₯Ό λ§Œλ“œλŠ” 것을 μ‹œμž‘ν–ˆκ³ 
05:07
and I tucked away that contact sheet that I made of my pregnant belly,
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λ‚˜μ˜ μž„μ‹ ν•œ λ°°κ°€ 찍은 인화지λ₯Ό λˆˆμ— λ„μ§€μ•Šκ²Œ λ‘μ—ˆμ–΄μš”.
05:11
and then you inspired me to create a new piece,
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κ·ΈλŸ¬κ³ μ„  κ·Έκ°€ μƒˆλ‘œμš΄ 것을 λ§Œλ“€ 수 있게 μ €μ—κ²Œ μ˜κ°μ„ μ£Όμ—ˆμ–΄μš”,
05:14
a piece that said, "A woman taking a place from a good man,"
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"ν•œ μ—¬μžκ°€ ν•œ λ‚¨μžλ‘œλΆ€ν„° 자리λ₯Ό μ°¨μ§€ν•œλ‹€"라고 ν•˜λŠ” 것
05:18
"You took the space from a good man,"
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"λ„Œ ν•œ λ‚¨μžλ‘œλΆ€ν„° κ·Έ 자릴 μ°¨μΉ˜ν•œλ‹€"
05:20
and then I used that language and reversed it and said,
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그리곀 κ·Έ 말듀은 μ‚¬μš©ν–ˆκ³  κ·Έκ±Έ λ°˜λŒ€λ‘œ λ°”κΏ”μ„œ λ§ν–ˆμ£ .
05:24
"I made a space for a good man, you."
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"λ‚΄κ°€ ν•œ λ‚¨μžλ₯Ό μœ„ν•œ 자릴 λ§Œλ“€μ—ˆμ–΄, λ°”λ‘œ λ„ˆμ§€"
05:26
(Applause)
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(λ°•μˆ˜)
05:28
HWT: Thanks, ma.
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κ³ λ§ˆμ›Œμš”, μ—„λ§ˆ
05:33
Like mother, like son.
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μ—„λ§ˆμ²˜λŸΌ, μ•„λ“€μ²˜λŸΌ
05:35
I grew up in a house full of photographs.
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μ „ μ‚¬μ§„λ“€λ‘œ κ°€λ“ν•œ μ§‘μ—μ„œ μžλ Έμ–΄μš”.
05:38
They were everywhere, and my mother would turn the kitchen into a darkroom.
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사진듀은 μ–΄λŠ κ³³μ—λ‚˜ μžˆμ—ˆκ³  저희 μ—„λ§ˆλŠ” λΆ€μ—Œμ„ μ•”μ‹€λ‘œ 바꿨을 κ±°μ˜ˆμš”.
05:42
And there weren't just pictures that she took
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κ·Έλƒ₯ κ·Έλ…€κ°€ 찍은 사진듀은 μ—†μ—ˆκ³ 
05:45
and pictures of family members.
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κ°€μ‘±λ“€ 사진듀도 말이죠.
05:46
But there were pictures on the wall of and by people that we didn't know,
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ν•˜μ§€λ§Œ λ²½μ—” μš°λ¦¬κ°€ λͺ¨λ₯΄λŠ” μ‚¬λžŒλ“€μ˜ 사진듀이 벽에 μžˆμ—ˆμ–΄μš”
05:51
men and women that we didn't know.
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μš°λ¦¬κ°€ λͺ¨λ₯΄λŠ” λ‚¨μžλ“€κ³Ό μ—¬μžλ“€μ΄μš”.
05:53
Thanks, ma.
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κ³ λ§ˆμ›Œμš”, μ—„λ§ˆ.
05:54
(Laughter)
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(μ›ƒμŒ)
05:55
I have my own timing.
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제 μ‹œκ°„μ΄ μžˆλ‹¨ λ§μ΄μ—μš”.
05:56
(Laughter)
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(μ›ƒμŒ)
05:58
Did you see her poke me?
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μ € 찌λ₯΄λŠ”κ±° λ΄€μ–΄μš”?
05:59
(Laughter)
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(μ›ƒμŒ)
06:01
Puppet strings.
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κΌ­λ‘κ°μ‹œμ²˜λŸΌ
06:06
I grew up in a house full of photographs.
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μ „ μ‚¬μ§„μœΌλ‘œ κ°€λ“ν•œ μ§‘μ—μ„œ μžλžμ–΄μš”.
06:08
(Applause)
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(λ°•μˆ˜)
06:11
But they weren't just pictures of men and women that we knew,
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μš°λ¦¬κ°€ μ•„λŠ” λ‚¨λ…€μ˜ 사진은 μ—†μ—ˆμ–΄μš”.
06:14
but pictures of people that I didn't know,
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그치만 μš°λ¦¬κ°€ λͺ¨λ₯΄λŠ” μ‚¬λžŒλ“€μ˜ 사진은 μžˆμ—ˆμ£ .
06:17
Pretty much, it was pretty clear from what I learned in school,
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거의 μ œκ°€ ν•™κ΅μ—μ„œ 배운 것과 κ½€ λΆ„λͺ…ν–ˆμ–΄μš”.
06:20
that the rest of the world didn't either.
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λ‚˜λ¨Έμ§€ 세상은 그렇지 μ•Šλ‹€λŠ” κ±Έ
06:23
And it took me a long time to figure out what she was up to,
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κ·Έλ…€κ°€ 무엇을 ν–ˆλŠ”μ§€ μ•„λŠ”λ° 였랜 μ‹œκ°„μ΄ κ±Έλ Έμ–΄μš”.
06:26
but after a while, I figured it out.
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ν•˜μ§€λ§Œ μ–Όλ§ˆ μžˆλ‹€κ°€, μ „ μ•Œμ•˜μ£ .
06:30
When I was nine years old, she published this book,
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μ œκ°€ 9살일 λ•Œ, κ·Έλ…€κ°€ 이 책을 μΆœκ°„ ν–ˆλ‹€λŠ” κ±Έμš”.
06:32
"Black Photographers, 1840-1940: A Bio-Bibliography."
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"흑인 μ‚¬μ§„μž‘κ°€λ“€, 1840-1940: μ „κΈ°-μ°Έκ³ λ¬Έν—Œ"
06:36
And it's astounding to me to consider
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그리고 그건 μ œκ°€ μƒκ°ν•˜κΈ°μ— λ―ΏκΈ° μ–΄λ €μ› μ–΄μš”.
06:39
that in 1840, African Americans were making photographs.
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1840년에 아프리계 미ꡭ인듀이 사진을 찍고 μžˆμ—ˆλ‹€λŠ” κ²Œμš”.
06:43
What does it mean for us to think
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그것이 μš°λ¦¬μ—κ²Œ 무엇을 μ˜λ―Έν• κΉŒμš”?
06:44
that at a time that was two, three decades before the end of slavery,
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λ…Έμ˜ˆμ œκ°€ λλ‚œκΈ° μ „, 2-30λ…„μ˜ μ‹œκ°„μ—
06:49
that people were learning how to read,
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κ·Έ μ‚¬λžŒλ“€μ€ μ–΄λ–»κ²Œ μ½λŠ”μ§€λ₯Ό 배우고 μžˆμ—ˆκ³ 
06:52
they had to learn how to do math,
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그듀은 μˆ˜ν•™μ„ μ–΄λ–»κ²Œ ν•˜λŠ”μ§€ λ°°μ›Œμ•Ό ν–ˆκ³ 
06:54
they had to be on the cutting edge of science and technology,
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κ³Όν•™κ³Ό 기술의 μ΅œμ²¨λ‹¨μ— μ„œ μžˆμ–΄μ•Ό ν–ˆμ–΄μš”
06:57
to do math, physics and chemistry just to make a single photograph.
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μˆ˜ν•™, 물리학 그리고 화학을 ν•΄μ•Όν–ˆμ£ . 단지 사진 ν•œμž₯을 μ°κΈ°μœ„ν•΄μ„œ λ§μ΄μ—μš”.
07:02
And what compelled them to do that if not love?
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그리고 κ·Έ 일을 ν•˜λ„λ‘ κ°•μš”ν•œ 게 μ‚¬λž‘μ΄ μ•„λ‹ˆλ©΄ λ­κ² μ–΄μš”?
07:05
Well, that book led her to her next book, "Black Photographers, 1940-1988,"
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음, 그책은 μ €ν¬μ—„λ§ˆκ°€ λ‹€μŒμ±…μ„ μ“°κ²Œλ” ν–ˆμ–΄μš”. "흑인 μ‚¬μ§„μž‘κ°€λ“€, 1940-1988"
07:10
and that book led to another book, and another book, and another book,
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그리고 κ·Έ λ‹€μŒ 책은 또 λ‹€λ₯Έ 책을, 그리고 또 λ‹€λ₯Έ 책은 또 λ‹€λ₯Έ 책을
07:15
and another book, and another book,
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또 λ‹€λ₯Έ μ±…, 그리고 또 λ‹€λ₯Έ μ±…
07:17
and another book, and another book,
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또 λ‹€λ₯Έ μ±…, 그리고 또 λ‹€λ₯Έ μ±…
07:19
and another book, and another book, and another book, and another book,
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또 λ‹€λ₯Έ μ±…, 그리고 또 λ‹€λ₯Έ μ±… 또 λ‹€λ₯Έ μ±…, 그리고 또 λ‹€λ₯Έ μ±…
07:22
and another book, and another book, and another book, and another book,
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또 λ‹€λ₯Έ μ±…, 그리고 또 λ‹€λ₯Έ μ±… 또 λ‹€λ₯Έ μ±…, 그리고 또 λ‹€λ₯Έ μ±…
07:25
and another book, and another book, and another.
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또 λ‹€λ₯Έ μ±…, 그리고 또 λ‹€λ₯Έ μ±…, 그리고 또 λ‹€λ₯Έ μ±…
07:28
(Applause)
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(λ°•μˆ˜)
07:29
And throughout my life,
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제 평생 λ™μ•ˆ
07:31
she's edited and published dozens of books
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κ·Έλ…€λŠ” μˆ˜μ‹­ ꢌ의 책을 νŽΈμ§‘ν•˜κ³  μΆœκ°„ν–ˆμ–΄μš”.
07:34
and curated numerous exhibitions on every continent,
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λͺ¨λ“  λŒ€λ₯™μ—μ„œ μˆ˜λ§Žμ€ μ „μ‹œνšŒλ₯Ό κ΄€μž₯ν–ˆμ–΄μš”.
07:39
not all about black photographers but all inspired by the curiosity
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흑인 μ‚¬μ§„μž‘μžλ“€μ— κ΄€ν•œ κ²ƒλ§Œμ΄ μ•„λ‹ˆλΌ λͺ¨λ“  ν˜ΈκΈ°μ‹¬μ—μ„œ μ˜κ°μ„ λ°›μ•˜μ–΄μš”.
07:42
of a little black girl from North Philadelphia.
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뢁방 ν•„λΌλΈν”Όμ•„μ˜ μž‘μ€ 흑인 μ—¬μžμ•„μ΄μ˜ ν˜ΈκΈ°μ‹¬μ—μ„œ 말이죠.
07:45
DW: What I found is that black photographers had stories to tell,
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μ œκ°€ 찾은 것은 ν‘μΈμž‘κ°€λ“€μ€ μ–˜κΈ°ν•  이야기가 μžˆμ—ˆκ³ 
07:48
and we needed to listen.
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μš°λ¦¬λŠ” 듀을 ν•„μš”κ°€ μžˆμ—ˆμ–΄μš”.
07:51
And then I found and I discovered
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그리곀 μ „
07:52
black photographers like Augustus Washington,
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1840λ…„λŒ€ 초반과 50λ…„λŒ€μ— λ§₯κΈΈ κ°€μ‘±μ˜ μ•„λ¦„λ‹€μš΄ μ€νŒμ‚¬μ§„μ„ 찍은
07:55
who made these beautiful daguerreotypes
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μ–΄κ±°μŠ€ν„°μŠ€ μ›Œμ‹±ν„΄κ³Ό 같은
07:57
of the McGill family in the early 1840s and '50s.
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흑인 μ‚¬μ§„μž‘κ°€λ“€μ„ μ°Ύμ•˜κ³  λ°œκ²Όν–ˆμ–΄μš”.
08:02
Their stories tended to be different, black photographers,
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흑인 μ‚¬μ§„μž‘κ°€λ“€, κ·Έλ“€μ˜ μ΄μ•ΌκΈ°λŠ” λ‹¬λžμ–΄μš”.
08:04
and they had a different narrative about black life during slavery,
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그듀은 λ…Έμ˜ˆμ œλ„μ€‘μ— ν‘μΈμ˜ 삢에 λŒ€ν•œ λ‹€λ₯Έ 이야기λ₯Ό κ°€μ‘Œμ–΄μš”.
08:08
but it was also about family life, beauty and telling stories about community.
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그건 κ°€μ‘±λ“€μ˜ μ‚Ά, 아름닀움, μ§€μ—­μ‚¬νšŒμ—λŒ€ν•΄ μ–˜κΈ°ν•˜λŠ” 것이죠.
08:13
I didn't know how to link the stories,
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μ „ κ·Έ 이야기듀을 μ–΄λ–»κ²Œ μ—°κ²°μ‹œμΌœμ•Ό 할지 λͺ°λžμ–΄μš”.
08:16
but I knew that teachers needed to know this story.
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ν•˜μ§€λ§Œ μ „ μ„ μƒλ‹˜λ“€μ΄ 이 이야기λ₯Ό μ•Œ ν•„μš”κ°€ μžˆλ‹€λŠ” κ±Έ μ•Œμ•˜μ£ .
08:19
HWT: So I think I was my mother's first student.
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κ·Έλž˜μ„œ μ „ 저희 μ—„λ§ˆμ˜ 첫 번째 ν•™μƒμ΄μ—ˆμ–΄μš”.
08:24
Unwillingly and unwittingly -- puppet strings --
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λ§ˆμ§€ λͺ»ν•˜κ³  λ‚˜λ„ λͺ¨λ₯΄κ²Œ, κΌ­λ‘κ°μ‹œμ²˜λŸΌ
08:27
I decided to pick up a camera,
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μ „ 카메라λ₯Ό 집어 λ“€μ—ˆκ³ 
08:30
and thought that I should make my own pictures
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μ €λ§Œμ˜ 사진을 찍어야 κ² λ‹€κ³  μƒκ°ν–ˆμ–΄μš”.
08:32
about the then and now and the now and then.
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κ·Έλ•Œ 그리고 μ§€κΈˆ 그리고 μ§€κΈˆ 그리고 κ·Έλ•Œμ— λŒ€ν•΄
08:35
I thought about how I could use photography
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μ „ 사진을 μ–΄λ–»κ²Œ μ‚¬μš©ν•  수 μžˆμ„κΉŒ μƒκ°ν–ˆμ–΄μš”.
08:38
to talk about how what's going on outside of the frame of the camera
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μš°λ¦¬κ°€ μ•ˆμ„ λ“€μ—¬λ‹€λ³΄λŠ” 것에 영ν–₯을 λ―ΈμΉ˜λŠ” 카메라 ν”„λ ˆμž„ λ°–μ—μ„œ
08:41
can affect what we see inside.
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μ–΄λ–»κ²Œ, 무슨 일이 μΌμ–΄λ‚˜λŠ”μ§€μ— λŒ€ν•΄ μ–˜κΈ°ν•˜κΈ° μœ„ν•΄μ„œ 말이죠.
08:44
The truth is always in the hands of the actual image maker
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진싀은 항상 μ‹€μ œ 이미지 λ©”μ΄μ»€μ˜ 손에 μžˆμ–΄μš”.
08:47
and it's up to us to really consider what's being cut out.
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그리고 뭐가 정말 적합할지 μƒκ°ν•˜λŠ” 건 μš°λ¦¬ν•˜κΈ°μ— λ‹¬λ Έμ–΄μš”.
08:50
I thought I could use her research as a jumping-off point
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μ „ κ·Έλ…€κ°€ κ·Έλ…€μ˜ 연ꡬλ₯Ό μ‚¬μš©ν• μˆ˜ μžˆλ‹€κ³  μƒκ°ν–ˆμ–΄μš”.
08:53
of things that I was seeing in society
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μ‚¬νšŒμ—μ„œ λ³΄μ•˜λ˜ κ²ƒλ“€μ˜ μΆœλ°œμ μœΌλ‘œμ„œ λ§μ΄μ—μš”.
08:55
and I wanted to start to think about how I could use historical images
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그리고 역사적 이미지듀을 μ–΄λ–»κ²Œ μ‚¬μš©ν•  수 μžˆμ„μ§€ μƒκ°ν•΄λ΄€μ–΄μš”.
08:58
to talk about the past being present
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과거에 λŒ€ν•΄ μ΄μ΄κ°Έν•˜κΈ° μœ„ν•΄μ„œ
09:01
and think about ways that we can speak
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인ꢌ과 ν‰λ“±κΆŒμ„ μœ„ν•œ λ°˜λ³΅λ˜λŠ” νˆ¬μŸμ„ μœ„ν•΄
09:03
to the perennial struggle for human rights and equal rights
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μš°λ¦¬κ°€ 말할 수 μžˆλŠ” 방법듀은 μƒκ°ν•΄μš”.
09:07
through my appropriation of photographs
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λ‚΄ 사진을 톡해
09:11
in the form of sculpture, video,
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쑰각, λΉ„λ””μ˜€
09:14
installation and paintings.
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μ„€μΉ˜μ™€ 그림의 ν˜•νƒœλ‘œ
09:15
But through it all, one piece has affected me the most.
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ν•˜μ§€λ§Œ 이 λͺ¨λ“  κ±Έ, ν•œ 가지가 κ°€μž₯ μ €μ—κ²Œ 영ν–₯을 λ―ΈμΉ©λ‹ˆλ‹€.
09:20
It continues to nourish me.
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그것이 μ €λ₯Ό κ³„μ†ν•΄μ„œ ν‚€μš°μ£ .
09:21
It's based off of this photograph by Ernest Withers,
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μ–΄λ‹ˆμŠ€νŠΈ μœ„λ„ˆμŠ€μ˜ μ‚¬μ§„μœΌλ‘œ κΈ°λ°˜μ„ ν•©λ‹ˆλ‹€.
09:24
who took this picture in 1968
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1968년에 이 사진을 찍은 μ‚¬λžŒμ΄μ£ .
09:26
at the Memphis Sanitation Workers March
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남녀가 μ§‘λ‹¨μ μœΌλ‘œ μ„œμžˆλŠ” λ©€ν”Όμ‹œ μ£Ό ν™˜κ²½λ―Έν™”μ›μ˜ ν–‰μ§„μ—μ„œ
09:29
of men and women standing collectively to affirm their humanity.
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κ·Έλ“€μ˜ 인간성을 λ‹¨μ–Έν•˜κΈ°μœ„ν•΄
09:33
They were holding signs that said "I am a man,"
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그듀은 "I am a man" μ΄λΌλŠ” νŽ«λ§μ„ λ“€κ³  μžˆμ–΄μ£ .
09:36
and I found that astounding, because the phrase I grew up with
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μ „ 그것이 λ†€λΌμ› λ˜ 것이 μ œκ°€ μžλž„λ•Œ λ¬Έκ΅¬λŠ”
09:39
wasn't "I am a man," it was "I am the man,"
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"I am a man"이 μ•„λ‹Œ "I am the man" μ΄μ˜€κΈ° λ•Œλ¬Έμ΄μ£ .
09:42
and I was amazed at how it went from this collective statement during segregation
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λ‚˜λŠ” 차별이 μ‹¬ν•˜λ˜ μ‹œλŒ€μ— 이 일이 μ–΄λ–»κ²Œ λ°”κΏ¨λŠ”μ§€ λ†€λžμ–΄μš”.
09:46
to this seemingly selfish statement after integration.
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톡합 ν›„ 겉보기에 이 이기적인 ν‘œν˜„μ΄
09:50
And I wanted to ponder that,
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그리고 μ „ 그것을 곰곰히 생각해보고 μ‹Άμ—ˆμ–΄μš”.
09:52
so I decided to remix that text in as many ways as I could think of,
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κ·Έλž˜μ„œ μ œκ°€ 생각할 수 μžˆλŠ” λ§Žμ€ λ°©λ²•λ“€λ‘œ 글을 λ¦¬λ―ΉμŠ€ν•˜κΈ°λ‘œ κ²°μ •ν–ˆμ£ .
09:55
and I like to think of the top line as a timeline of American history,
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그리고 μ „ λ―Έκ΅­ 역사 μ—°ν‘œλ‘œ 맨 μœ—μ€„μ„ λ– μ˜¬λ¦¬κ³ 
10:00
and the last line as a poem,
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λ§ˆμ§€λ§‰ 쀄은 μ‹œλ‘œ λ– μ˜¬λ¦¬λŠ” κ±Έ μ’‹μ•„ν•΄μš”.
10:03
and it says,
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그리고 그건
10:04
"I am the man. Who's the man. You the man. What a man.
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"I am the man. Who's the man. You the man. What a man.
10:07
I am man. I am many. I am, am I.
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I am man. I am many. I am, am I.
10:10
I am, I am. I am, Amen.
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I am, I am. I am, Amen.
10:12
DW: Wow, so fascinating.
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μ™€μš°! 정말 ν™˜μƒμ μ΄λ„€μš”.
10:14
(Applause)
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(λ°•μˆ˜)
10:16
But what we learn from this experience
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ν•˜μ§€λ§Œ κ²½ν—˜μœΌλ‘œλΆ€ν„° μš°λ¦¬κ°€ 배운 것은
10:18
is the most powerful two words in the English language is, "I am."
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μ˜μ–΄μ—μ„œ κ°€μž₯ κ°•λ ₯ν•œ 두 단어인 "λ‚˜λŠ”" μž…λ‹ˆλ‹€.
10:21
And we each have the capacity to love.
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그리고 μš°λ¦¬λŠ” 각각 μ‚¬λž‘ν•  수 μžˆλŠ” λŠ₯λ ₯을 가지고 μžˆμŠ΅λ‹ˆλ‹€.
10:24
Thank you.
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κ°μ‚¬ν•©λ‹ˆλ‹€.
10:25
(Applause)
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(λ°•μˆ˜)
이 μ›Ήμ‚¬μ΄νŠΈ 정보

이 μ‚¬μ΄νŠΈλŠ” μ˜μ–΄ ν•™μŠ΅μ— μœ μš©ν•œ YouTube λ™μ˜μƒμ„ μ†Œκ°œν•©λ‹ˆλ‹€. μ „ 세계 졜고의 μ„ μƒλ‹˜λ“€μ΄ κ°€λ₯΄μΉ˜λŠ” μ˜μ–΄ μˆ˜μ—…μ„ 보게 될 κ²ƒμž…λ‹ˆλ‹€. 각 λ™μ˜μƒ νŽ˜μ΄μ§€μ— ν‘œμ‹œλ˜λŠ” μ˜μ–΄ μžλ§‰μ„ 더블 ν΄λ¦­ν•˜λ©΄ κ·Έκ³³μ—μ„œ λ™μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€. λΉ„λ””μ˜€ μž¬μƒμ— 맞좰 μžλ§‰μ΄ μŠ€ν¬λ‘€λ©λ‹ˆλ‹€. μ˜κ²¬μ΄λ‚˜ μš”μ²­μ΄ μžˆλŠ” 경우 이 문의 양식을 μ‚¬μš©ν•˜μ—¬ λ¬Έμ˜ν•˜μ‹­μ‹œμ˜€.

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