The data behind Hollywood's sexism | Stacy Smith

121,113 views ใƒป 2017-03-21

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: Sophie KIM ๊ฒ€ํ† : Ju Hye Lim
00:12
Today, I want to tell you about a pressing social issue.
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์˜ค๋Š˜ ์—ฌ๋Ÿฌ๋ถ„๊ป˜ ๊ธด๊ธ‰ํ•œ ์‚ฌํšŒ ๋ฌธ์ œ ํ•œ ๊ฐ€์ง€๋ฅผ ๋ง์”€๋“œ๋ฆฌ๊ณ ์ž ํ•ฉ๋‹ˆ๋‹ค.
00:16
Now, it's not nuclear arms,
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ํ•ต๋ฌด๊ธฐ ๋ฌธ์ œ, ์•„๋‹™๋‹ˆ๋‹ค.
00:18
it's not immigration,
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์ด๋ฏผ ๋ฌธ์ œ, ์•„๋‹™๋‹ˆ๋‹ค.
00:20
and it's not malaria.
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๋ง๋ผ๋ฆฌ์•„ ๋ฌธ์ œ๋„ ์•„๋‹™๋‹ˆ๋‹ค.
00:22
I'm here to talk about movies.
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์˜ํ™”์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•˜๊ธฐ ์œ„ํ•ด ์ด ์ž๋ฆฌ์— ๋‚˜์™”์Šต๋‹ˆ๋‹ค.
00:25
Now, in all seriousness, movies are actually really important.
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์˜ํ™”๋Š” ์‹ค์ œ๋กœ ๋งค์šฐ ์ค‘์š”ํ•ฉ๋‹ˆ๋‹ค. ์ง„์‹ฌ์œผ๋กœ ๊ทธ๋ ‡์Šต๋‹ˆ๋‹ค.
00:30
In film, we can be wildly entertained,
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์˜ํ™”๋ฅผ ๋ณด๋ฉฐ ์šฐ๋ฆฌ๋Š” ๋ชน์‹œ ์ฆ๊ฑฐ์›Œํ•  ์ˆ˜ ์žˆ๊ณ 
00:34
and we can also be transported through storytelling.
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์Šคํ† ๋ฆฌํ…”๋ง์œผ๋กœ ๋‹ค๋ฅธ ๊ณณ์— ์กด์žฌํ•  ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
00:39
Storytelling is so important.
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์Šคํ† ๋ฆฌํ…”๋ง์€ ๋งค์šฐ ์ค‘์š”ํ•ฉ๋‹ˆ๋‹ค.
00:41
Stories tell us what societies value,
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์ด์•ผ๊ธฐ๋Š” ์‚ฌํšŒ๊ฐ€ ๊ฐ€์น˜์žˆ๊ฒŒ ์—ฌ๊ธฐ๋Š” ๊ฒƒ์ด ๋ฌด์—‡์ธ์ง€ ์•Œ๋ ค์ฃผ๊ณ 
00:44
they offer us lessons,
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๊ตํ›ˆ๋„ ์ฃผ๊ณ 
00:46
and they share and preserve our history.
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์šฐ๋ฆฌ์˜ ์—ญ์‚ฌ๋ฅผ ๊ณต์œ ํ•˜๊ณ  ๋ณด์กดํ•ด์ค๋‹ˆ๋‹ค.
00:49
Stories are amazing.
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์ด์•ผ๊ธฐ๋Š” ๋Œ€๋‹จํ•ฉ๋‹ˆ๋‹ค.
00:52
But stories don't give everyone
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ํ•˜์ง€๋งŒ ์ด์•ผ๊ธฐ๋Š”
00:55
the same opportunity to appear within them,
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๋ชจ๋‘์—๊ฒŒ ๊ณตํ‰ํ•˜๊ฒŒ ๊ทธ ์•ˆ์— ๋“ฑ์žฅํ•  ๊ธฐํšŒ๋ฅผ ์ฃผ์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
00:59
particularly not stories
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ํŠนํžˆ ๋ฏธ๊ตญ ์˜ํ™”๋กœ ๋ถ„๋ฅ˜๋˜๋Š”
01:02
compartmentalized in the form of American movies.
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์ด์•ผ๊ธฐ๋“ค์ด ๊ทธ๋ ‡์Šต๋‹ˆ๋‹ค.
01:06
In film, interestingly enough,
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์žฌ๋ฏธ์žˆ๊ฒŒ๋„ ์˜ํ™”์˜ ๊ฒฝ์šฐ
01:08
females are still erased and marginalized
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๋งŽ์€ ์ด์•ผ๊ธฐ๋“ค ์†์—์„œ ์—ฌ์„ฑ๋“ค์€
01:12
in a lot of our stories.
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์•„์ง๋„ ์ง€์›Œ์ง€๊ณ  ์†Œ์™ธ๋‹นํ•ฉ๋‹ˆ๋‹ค.
01:14
And I learned this for the first time about 10 years ago
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์ €๋Š” ์ด๊ฒƒ์„ 10์—ฌ๋…„ ์ „์— ์ฒ˜์Œ ์•Œ๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
01:17
when I did my first study on gender role in G-rated films.
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์ „์ฒด๊ด€๋žŒ๊ฐ€ ์˜ํ™” ์†์˜ ์„ฑ ์—ญํ• ์— ๊ด€ํ•œ ์ฒซ ์—ฐ๊ตฌ๋ฅผ ํ–ˆ์„ ๋•Œ์˜€์–ด์š”.
01:21
Since then, we've conducted more than 30 investigations.
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์ดํ›„๋กœ 30๊ฐœ ์ด์ƒ์˜ ์—ฐ๊ตฌ๋ฅผ ์‹ค์‹œํ–ˆ์ฃ .
01:24
My team is tired.
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์ €ํฌ ํŒ€์€ ์ง€์ณค์Šต๋‹ˆ๋‹ค.
01:26
And I've committed my life
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๊ทธ๋Ÿฌ๊ณ  ์ €๋Š” ์ œ ์ธ์ƒ์„
01:29
as researcher and activist
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ํ• ๋ฆฌ์šฐ๋“œ์—์„œ์˜ ์†Œ์™ธ ์‚ฌํƒœ์— ๋งž์„œ ์‹ธ์šฐ๋Š”
01:32
to fighting the inclusion crisis
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์—ฐ๊ตฌ๊ฐ€์ด์ž ํ™œ๋™๊ฐ€๋กœ ํ—Œ์‹ ํ•ด ์™”์Šต๋‹ˆ๋‹ค.
01:35
in Hollywood.
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01:37
So today, what I'd like to do is tell you about that crisis.
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๊ทธ๋ž˜์„œ ์˜ค๋Š˜ ์ œ๊ฐ€ ์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ ๊ทธ ์‚ฌํƒœ๋ฅผ ๋ง์”€๋“œ๋ฆฌ๋ ค ํ•ฉ๋‹ˆ๋‹ค.
01:40
I want to talk about gender inequality in film.
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์˜ํ™”์—์„œ์˜ ์„ฑ์ฐจ๋ณ„์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•˜๊ฒ ์Šต๋‹ˆ๋‹ค.
01:43
I want to tell you how it is perpetuated,
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๊ทธ๊ฒƒ์ด ์–ด๋–ป๊ฒŒ ์˜๊ตฌํ™”๋˜๋Š”์ง€
01:45
and then I'm going to tell you how we're going to fix it.
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์šฐ๋ฆฌ๊ฐ€ ์–ด๋–ป๊ฒŒ ๊ณ ์น  ๊ฒƒ์ธ์ง€๋ฅผ ๋ง์”€๋“œ๋ฆด๊ฒŒ์š”.
01:49
However, one caveat before I begin:
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์‹œ์ž‘ํ•˜๊ธฐ ์ „์— ํ•œ ๊ฐ€์ง€ ๊ฒฝ๊ณ ํ•˜์ž๋ฉด
01:53
my data are really depressing.
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์ค€๋น„ํ•œ ์ž๋ฃŒ๊ฐ€ ์ •๋ง ์šฐ์šธํ•˜๋‹ค๋Š” ๊ฒ๋‹ˆ๋‹ค.
01:56
So I want to apologize in advance,
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๊ทธ๋ž˜์„œ ๋ฏธ๋ฆฌ ์‚ฌ๊ณผ๋ฅผ ๋“œ๋ฆฝ๋‹ˆ๋‹ค.
01:58
because I'm going to put you all in a really bad mood.
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์—ฌ๋Ÿฌ๋ถ„ ๋ชจ๋‘๋ฅผ ์ •๋ง ์šฐ์šธํ•˜๊ฒŒ ํ• ํ…Œ๋‹ˆ๊นŒ์š”.
02:02
But I'm going to bring it up at the end,
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๊ทธ๋ ‡์ง€๋งŒ ๋งˆ์ง€๋ง‰์—๋Š” ๊ธฐ๋ถ„์ด ๋‚˜์•„์ง€๊ฒŒ ํ•ด๋“œ๋ฆด๊ฒŒ์š”.
02:05
and I'm going to present a silver lining
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์šฐ๋ฆฌ๊ฐ€ ์•„์ฃผ ์•„์ฃผ ์˜ค๋žซ๋™์•ˆ ์ฒ˜ํ•ด์žˆ๋˜
02:08
to fix this mess that we've been in
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์ด ์‚ฌํƒœ๋ฅผ ๋ฐ”๋กœ์žก์„ ์ˆ˜ ์žˆ๋Š”
02:10
for a very, very long time.
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ํ•œ ๊ฐ€๋‹ฅ ํฌ๋ง์„ ๋ณด์—ฌ๋“œ๋ฆด ๊ฑฐ์˜ˆ์š”.
02:13
So, let's start with the gravity of the situation.
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๋จผ์ € ์ƒํ™ฉ์˜ ์‹ฌ๊ฐ์„ฑ์„ ์‚ดํŽด๋ด…์‹œ๋‹ค.
02:17
Each year, my research team examines the top 100 grossing films
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ํ•ด๋งˆ๋‹ค ์ €ํฌ ์—ฐ๊ตฌํŒ€์€ ๋ฏธ๊ตญ์—์„œ ์ตœ๊ณ  ์ˆ˜์ต์„ ๊ฑฐ๋‘” ์˜ํ™” 100ํŽธ์„
02:20
in the United States.
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๊ฒ€ํ† ํ•ฉ๋‹ˆ๋‹ค.
02:22
What we do is we look at every speaking or named character on-screen.
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์ €ํฌ๋Š” ์˜ํ™”์—์„œ ๋Œ€์‚ฌ๋‚˜ ์ด๋ฆ„์ด ์žˆ๋Š” ๋ชจ๋“  ๋“ฑ์žฅ์ธ๋ฌผ์„ ์‚ดํŽด๋ด…๋‹ˆ๋‹ค.
02:26
Now, to count in one of my investigations,
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๋‹จ์–ด ํ•˜๋‚˜๋งŒ ๋งํ•ด๋„
02:29
all a character has to do is say one word.
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์—ฐ๊ตฌ์— ํฌํ•จ๋  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
02:33
This is a very low bar.
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๊ธฐ์ค€์ด ๋งค์šฐ ๋‚ฎ์ฃ .
02:36
(Laughter)
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(์›ƒ์Œ)
02:38
Thus far, we've looked at 800 movies,
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์ด์ œ๊นŒ์ง€ 800ํŽธ์„ ์‚ดํŽด๋ดค์Šต๋‹ˆ๋‹ค.
02:40
from 2007 to 2015,
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2007๋…„๋ถ€ํ„ฐ 2015๋…„๊นŒ์ง€์š”.
02:42
cataloguing every speaking character on-screen for gender, race, ethnicity,
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์˜ํ™”์—์„œ ๋Œ€์‚ฌ๊ฐ€ ์žˆ๋Š” ๋ชจ๋“  ์ธ๋ฌผ์„ ์„ฑ, ์ธ์ข…, ๋ฏผ์กฑ,
02:47
LGBT and characters with a disability.
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์„ฑ์†Œ์ˆ˜์ž, ์žฅ์• ๊ฐ€ ์žˆ๋Š” ์ธ๋ฌผ๋กœ ๋ถ„๋ฅ˜ํ–ˆ์Šต๋‹ˆ๋‹ค.
02:51
Let's take a look at really some problematic trends.
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์ •๋ง ๋ฌธ์ œ๊ฐ€ ๋˜๋Š” ๋ช‡๋ช‡ ๋™ํ–ฅ์„ ์‚ดํŽด๋ณด๊ฒ ์Šต๋‹ˆ๋‹ค.
02:55
First, females are still noticeably absent on-screen in film.
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์šฐ์„ , ์•„์ง๋„ ์˜ํ™” ์†์—์„œ ์—ฌ์„ฑ์€ ๋ˆˆ์— ๋„๊ฒŒ ๋น ์ ธ์žˆ์Šต๋‹ˆ๋‹ค.
03:00
Across 800 movies and 35,205 speaking characters,
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800์—ฌํŽธ์˜ ์˜ํ™”์™€ 35,205๋ช…์˜ ๋Œ€์‚ฌ๋ฅผ ํ–ˆ๋˜ ์ธ๋ฌผ์„ ์‚ดํŽด๋ณด๋ฉด
03:04
less than a third of all roles go to girls and women.
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์ด ๋ฐฐ์—ญ์˜ 3๋ถ„์˜ 1 ๋ฏธ๋งŒ์ด ์†Œ๋…€์ด๊ฑฐ๋‚˜ ์—ฌ์„ฑ์ด์—ˆ์Šต๋‹ˆ๋‹ค.
03:08
Less than a third!
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3๋ถ„์˜ 1๋„ ์•ˆ๋ผ์š”!
03:09
There's been no change from 2007 to 2015,
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2007๋…„๋ถ€ํ„ฐ 2015๋…„๊นŒ์ง€ ์•„๋ฌด๋Ÿฐ ๋ณ€ํ™”๊ฐ€ ์—†์—ˆ์Šต๋‹ˆ๋‹ค.
03:13
and if you compare our results
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์—ฌ๋Ÿฌ๋ถ„์ด ์ €ํฌ ๊ฒฐ๊ณผ๋ฅผ
03:14
to a small sample of films from 1946 to 1955,
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1946๋…„๋ถ€ํ„ฐ 1955๋…„์— ๋‚˜์˜จ ์˜ํ™” ํ‘œ๋ณธ๊ณผ ๋น„๊ตํ•ด ๋ณด๋ฉด
03:19
there's been no change in over a half of a century.
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๋ฐ˜์„ธ๊ธฐ ๋„˜๊ฒŒ ์•„๋ฌด๋Ÿฐ ๋ณ€ํ™”๊ฐ€ ์—†์—ˆ์Šต๋‹ˆ๋‹ค.
03:23
Over half of a century!
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50๋…„ ๋„˜๊ฒŒ์š”!
03:24
But we're half of the population.
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ํ•˜์ง€๋งŒ ์šฐ๋ฆฐ ์ธ๊ตฌ์˜ ์ ˆ๋ฐ˜์„ ์ฐจ์ง€ํ•ฉ๋‹ˆ๋‹ค.
03:27
Now, if we look at this data intersectionally,
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์ด ๋ฐ์ดํ„ฐ๋ฅผ ๊ต์ฐจํ•ด์„œ ์‚ดํŽด๋ด…์‹œ๋‹ค.
03:30
which has been a focus of today,
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์˜ค๋Š˜๋‚  ์ฃผ๋ชฉ๋ฐ›๊ฒŒ ๋œ ๋ฐ์ดํ„ฐ์ธ๋ฐ์š”,
03:32
the picture becomes even more problematic.
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๋ฌธ์ œ๊ฐ€ ๋” ์‹ฌํ•ด์ง€๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
03:35
Across the top 100 films of just last year,
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์ž‘๋…„๋งŒ ๋ณด๋”๋ผ๋„ ์ƒ์œ„ 100ํŽธ์˜ ์˜ํ™” ์ค‘์—
03:38
48 films didn't feature one black or African-American speaking character,
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48ํŽธ์˜ ์˜ํ™”์—์„œ๋Š” ๋Œ€์‚ฌ๋ฅผ ํ•˜๋Š” ํ‘์ธ์ด๋‚˜ ์•„ํ”„๋ฆฌ์นด๊ณ„ ๋ฏธ๊ตญ์ธ์ด
03:43
not one.
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ํ•œ ๋ช…๋„ ์•ˆ ๋“ฑ์žฅํ•ด์š”.
03:44
70 films were devoid of Asian or Asian-American speaking characters
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70ํŽธ์˜ ์˜ํ™”์—์„œ๋Š” ์•„์‹œ์•„์ธ์ด๋‚˜ ์•„์‹œ์•„๊ณ„ ๋ฏธ๊ตญ์ธ์ธ
03:48
that were girls or women.
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์†Œ๋…€๋‚˜ ์—ฌ์„ฑ์ด ์•ˆ ๋‚˜์™€์š”.
03:50
None.
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ํ•œ ๋ช…๋„์š”.
03:51
Eighty-four films didn't feature one female character that had a disability.
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84ํŽธ์˜ ์˜ํ™”์—์„œ๋Š” ์žฅ์• ๊ฐ€ ์žˆ๋Š” ์—ฌ์„ฑ ๋“ฑ์žฅ์ธ๋ฌผ์ด ํ•œ ๋ช…๋„ ์—†์—ˆ๊ณ 
03:56
And 93 were devoid of lesbian, bisexual or transgender female speaking characters.
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93ํŽธ์€ ๋Œ€์‚ฌ๋ฅผ ํ•˜๋Š” ๋ ˆ์ฆˆ๋น„์–ธ, ์–‘์„ฑ์• ์ž, ํŠธ๋žœ์Šค์  ๋” ์—ฌ์„ฑ์ด ์—†์—ˆ์–ด์š”.
04:02
This is not underrepresentation.
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๊ทธ๋“ค์ด ์ž˜ ๋Œ€๋ณ€๋˜์ง€ ์•Š์€ ๊ฒŒ ์•„๋‹™๋‹ˆ๋‹ค.
04:05
This is erasure,
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์‚ญ์ œ๋œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:07
and I call this the epidemic of invisibility.
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์ €๋Š” ์ด๋ฅผ ์•ˆ ๋ณด์ด๋Š” ์ „์—ผ๋ณ‘์ด๋ผ๊ณ  ๋ถ€๋ฆ…๋‹ˆ๋‹ค.
04:12
Now, when we move from prevalence to protagonist,
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๋“ฑ์žฅ ๋นˆ๋„์—์„œ ์ฃผ์ธ๊ณต์œผ๋กœ ์˜ฎ๊ฒจ ๊ฐ€๋ณด๋ฉด
04:16
the story is still problematic.
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์ด์•ผ๊ธฐ๋“ค์—๋Š” ์—ฌ์ „ํžˆ ๋ฌธ์ œ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
04:18
Out of a hundred films last year,
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์ž‘๋…„ 100ํŽธ์˜ ์˜ํ™” ๊ฐ€์šด๋ฐ
04:20
only 32 featured a female lead or colead driving the action.
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32ํŽธ์—์„œ๋งŒ ์—ฌ์„ฑ ์ฃผ์—ฐ์ด๋‚˜ ๊ณต๋™ ์ฃผ์—ฐ์ด ๋“ฑ์žฅํ–ˆ์Šต๋‹ˆ๋‹ค.
04:25
Only three out of a hundred films
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100ํŽธ์˜ ์˜ํ™” ์ค‘ ๋‹จ 3ํŽธ์—์„œ๋งŒ
04:27
featured an underrepresented female driving the story,
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์†Œ์ˆ˜ ์ง‘๋‹จ ์—ฌ์„ฑ์ด ์ด์•ผ๊ธฐ๋ฅผ ์ด๋Œ์–ด๋‚˜๊ฐ”์Šต๋‹ˆ๋‹ค.
04:31
and only one diverse woman
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๊ทธ๋ฆฌ๊ณ  ๊ฐœ๋ด‰ ๋‹น์‹œ 45์„ธ ์ด์ƒ์ด์—ˆ๋˜,
04:33
that was 45 years of age or older at the time of theatrical release.
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๋‹ค์–‘์„ฑ์„ ์ง€๋‹Œ ์—ฌ์„ฑ์€ ๋‹จ ํ•œ ๋ช… ๋‚˜์™”์Šต๋‹ˆ๋‹ค.
04:38
Now let's look at portrayal.
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์ด์ œ ๋ฌ˜์‚ฌ๋œ ๋ชจ์Šต์„ ๋ด…์‹œ๋‹ค.
04:40
In addition to the numbers you just saw,
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์—ฌ๋Ÿฌ๋ถ„์ด ๋ณด๊ณ  ์žˆ๋Š” ์ˆซ์ž์— ๋ง๋ถ™์—ฌ
04:42
females are far more likely to be sexualized in film
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์˜ํ™”์—์„œ ์—ฌ์„ฑ์€ ํ›จ์”ฌ ๋” ์„ฑ์ ์œผ๋กœ ๋ถ€๊ฐ๋˜๋Š” ๊ฒฝํ–ฅ์ด ์žˆ์–ด์š”.
04:46
than their male counterparts.
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์ƒ๋Œ€ ๋ฐฐ์—ญ์˜ ๋‚จ์„ฑ๋ณด๋‹ค๋„์š”.
04:48
Matter of fact, they're about three times as likely
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์‚ฌ์‹ค ์—ฌ์„ฑ์€ ๋Œ€์ฒด๋กœ ์„ธ ๋ฐฐ ์ •๋„ ๋”
04:50
to be shown in sexually revealing clothing,
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๋ชธ๋งค๊ฐ€ ๋“œ๋Ÿฌ๋‚˜๋Š” ์˜์ƒ์„ ์ž…๊ฑฐ๋‚˜
04:52
partially naked,
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๋ถ€๋ถ„ ๋‚˜์ฒด๋กœ ๋“ฑ์žฅํ•ฉ๋‹ˆ๋‹ค.
04:53
and they're far more likely to be thin.
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๊ทธ๋ฆฌ๊ณ  ํ›จ์”ฌ ๋” ๋‚ ์”ฌํ•œ ๊ฒฝํ–ฅ์ด ์žˆ์ฃ .
04:56
Now, sometimes, in animation, females are so thin
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์ข…์ข… ์• ๋‹ˆ๋ฉ”์ด์…˜์—์„œ๋Š” ์—ฌ์„ฑ์ด ๋„ˆ๋ฌด๋‚˜ ๋ง๋ผ์„œ
05:00
that their waist size approximates the circumference of their upper arm.
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ํ—ˆ๋ฆฌ ์‚ฌ์ด์ฆˆ๊ฐ€ ๊ทธ๋“ค์˜ ํŒ” ์œ„์ชฝ ๋‘˜๋ ˆ ์ •๋„์ž…๋‹ˆ๋‹ค.
05:04
(Laughter)
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(์›ƒ์Œ)
05:06
We like to say that these gals have no room for a womb
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์šฐ๋ฆฌ๋Š” ์ด ์—ฌ์ž๋“ค์—๊ฒŒ ์ž๊ถ์ด๋‚˜ ๋‹ค๋ฅธ ์žฅ๊ธฐ๊ฐ€
05:09
or any other internal organ.
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์žˆ์„ ๊ณต๊ฐ„์ด ์—†๋‹ค๊ณ  ๋†๋‹ดํ•ฉ๋‹ˆ๋‹ค.
05:12
(Laughter)
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(์›ƒ์Œ)
05:14
Now, all joking aside,
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๋ชจ๋“  ๋†๋‹ด์„ ์ œ์ณ ๋‘๊ณ ์š”.
05:16
theories suggest, research confirms,
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์ด๋ก ์ด ๋ณด์—ฌ์ฃผ๊ณ  ์—ฐ๊ตฌ๊ฐ€ ์ฆ๋ช…ํ•ด ์ค๋‹ˆ๋‹ค.
05:18
exposure to thin ideals and objectifying content
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์–‡์€ ์ด์ƒ๊ณผ ์—ฌ์„ฑ์„ ๋Œ€์ƒํ™”์‹œํ‚ค๋Š” ๋‚ด์šฉ์— ๋…ธ์ถœ๋˜๋ฉด
05:20
can lead to body dissatisfaction, internalization of the thin ideal
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์ผ๋ถ€ ์—ฌ์„ฑ ๊ด€๊ฐ๋“ค์€ ์‹ ์ฒด์— ๋Œ€ํ•ด ๋งŒ์กฑํ•˜์ง€ ๋ชปํ•˜๊ณ 
05:24
and self-objectification among some female viewers.
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๊ทธ ์–‡์€ ์ด์ƒ์ด ๋‚ด๋ฉดํ™”ํ•˜๋ฉฐ, ์Šค์Šค๋กœ๋ฅผ ๋Œ€์ƒํ™”ํ•˜๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
05:28
Obviously, what we see on-screen
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๋ช…๋ฐฑํžˆ, ์šฐ๋ฆฌ๊ฐ€ ์Šคํฌ๋ฆฐ์—์„œ ๋ณด๋Š” ๊ฒƒ๊ณผ
05:30
and what we see in the world,
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์„ธ์ƒ์—์„œ ๋ณด๋Š” ๊ฒƒ์ด
05:32
they do not match.
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์ผ์น˜ํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
05:34
They do not match!
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์ผ์น˜ํ•˜์ง€ ์•Š๋Š”๋‹ค๊ณ ์š”!
05:35
Matter of fact, if we lived in the screen world,
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์‚ฌ์‹ค, ์šฐ๋ฆฌ๊ฐ€ ์Šคํฌ๋ฆฐ ์„ธ์ƒ์—์„œ ์‚ด๋ฉด
05:38
we would have a population crisis on our hands.
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์ธ๊ตฌ ์œ„๊ธฐ์— ๋ด‰์ฐฉํ•˜๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค.
05:42
So, as soon as I recognized these patterns,
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๊ทธ๋ž˜์„œ ์ €๋Š” ์ด๋Ÿฐ ์–‘์ƒ์„ ์•Œ์•„์ฑ„์ž๋งˆ์ž
05:44
I wanted to find out why,
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์ด์œ ๋ฅผ ๋ฐํžˆ๊ณ  ์‹ถ์—ˆ์–ด์š”.
05:45
and it turns out that there are two drivers to inequality on-screen:
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์Šคํฌ๋ฆฐ์—์„œ ๋ถˆํ‰๋“ฑ์„ ์ดˆ๋ž˜ํ•˜๋Š” ์›์ธ์ด ๋‘ ๊ฐ€์ง€ ์žˆ๋”๊ตฐ์š”.
05:49
content creator gender and misperceptions of the audience.
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์ฝ˜ํ…์ธ  ์ฐฝ์ž‘์ž์˜ ์„ฑ๋ณ„๊ณผ ๊ด€๊ฐ์˜ ์˜คํ•ด์ž…๋‹ˆ๋‹ค.
05:53
Let's unpack them really quick.
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๋นจ๋ฆฌ ๊ทธ๊ฒƒ๋“ค์„ ํ’€์–ด๋ณด๊ฒ ์Šต๋‹ˆ๋‹ค.
05:54
If you want to change any of the patterns I just talked about,
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์ œ๊ฐ€ ๋งํ–ˆ๋˜ ์–‘์ƒ๋“ค์„ ๋ณ€ํ™”์‹œํ‚ค๊ณ  ์‹ถ์œผ๋ฉด
05:57
all you have to do is hire female directors.
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์—ฌ์„ฑ ๊ฐ๋…์„ ๊ณ ์šฉํ•˜๋ฉด ๋ฉ๋‹ˆ๋‹ค.
06:00
Turns out, the female directors
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๋“œ๋Ÿฌ๋‚œ ๋ฐ”๋ฅผ ๋ณด๋ฉด, ์—ฌ์„ฑ ๊ฐ๋…๋“ค์€
06:02
are associated with, in terms of short films and indie films,
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๋‹จํŽธ ์˜ํ™”์™€ ์ธ๋”” ์˜ํ™”์˜ ๊ฒฝ์šฐ
06:06
more girls and women on-screen,
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์Šคํฌ๋ฆฐ์— ๋” ๋งŽ์€ ์†Œ๋…€์™€ ์—ฌ์„ฑ์„ ๋“ฑ์žฅ์‹œํ‚ค๊ณ 
06:08
more stories with women in the center,
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์—ฌ์„ฑ์ด ์ค‘์‹ฌ์ธ๋ฌผ์ธ ์ด์•ผ๊ธฐ๊ฐ€ ๋” ๋งŽ๊ณ 
06:11
more stories with women 40 years of age or older on-screen,
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40์„ธ ์ด์ƒ์˜ ์—ฌ์„ฑ์ด ๋‚˜์˜ค๋Š” ์ด์•ผ๊ธฐ๊ฐ€ ๋” ๋งŽ์Šต๋‹ˆ๋‹ค.
06:15
which I think is good news for this crowd.
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์—ฌ๊ธฐ ๊ณ„์‹  ์ฒญ์ค‘๋ถ„๋“ค๊ป˜ ์ข‹์€ ์†Œ์‹์ด๋ผ๊ณ  ์ƒ๊ฐํ•ด์š”.
06:18
More underrepresented --
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์†Œ์ˆ˜ ์ง‘๋‹จ์ด์ž–์•„์š”.
06:20
(Laughter)
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(์›ƒ์Œ)
06:22
Sorry.
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์ฃ„์†กํ•ฉ๋‹ˆ๋‹ค.
06:23
(Laughter)
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(์›ƒ์Œ)
06:25
Sorry but not sorry.
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์ฃ„์†กํ•œ๋ฐ ์•ˆ ์ฃ„์†กํ•ด์š”.
06:26
More underrepresented characters in terms of race and ethnicity,
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์ธ์ข…๊ณผ ๋ฏผ์กฑ ๋ฉด์—์„œ ์†Œ์™ธ๋œ ์ธ๋ฌผ๋“ค์„ ๋” ๋“ฑ์žฅ์‹œํ‚ค๊ณ ,
06:30
and most importantly,
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๊ฐ€์žฅ ์ค‘์š”ํ•˜๊ฒŒ๋Š”
06:31
more women working behind the camera
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์นด๋ฉ”๋ผ ๋’ค์—์„œ ์ œ์ž‘์—์„œ ์ค‘์š”ํ•œ ์—ญํ• ์„ ๋งก๋Š”
06:33
in key production roles.
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์—ฌ์„ฑ๋“ค์ด ๋” ๋งŽ์•„์ง€๋ฉด ๋ฉ๋‹ˆ๋‹ค.
06:35
Easy answer to the problems that we just talked about.
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์šฐ๋ฆฌ๊ฐ€ ์–˜๊ธฐํ•œ ๋ฌธ์ œ๋“ค์— ๋Œ€ํ•œ ์‰ฌ์šด ํ•ด๊ฒฐ์ฑ…์ด์ฃ .
06:39
Or is it?
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ํ•˜์ง€๋งŒ ์ •๋ง ์‰ฌ์šธ๊นŒ์š”?
06:40
It's actually not.
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์‹ค์ œ๋กœ๋Š” ์•ˆ ๊ทธ๋ ‡์Šต๋‹ˆ๋‹ค.
06:42
800 films, 2007-2015,
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2007๋…„๋ถ€ํ„ฐ 2015๋…„๊นŒ์ง€ 800ํŽธ ์˜ํ™”๋ฅผ ๋งŒ๋“ 
06:45
886 directors.
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886๋ช…์˜ ๊ฐ๋… ์ค‘์—์„œ
06:47
Only 4.1 percent are women.
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4.1%๋งŒ์ด ์—ฌ์ž์ž…๋‹ˆ๋‹ค.
06:51
Only three are African-American or black,
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๋‹จ ์„ธ ๋ช…๋งŒ์ด ์•„ํ”„๋ฆฌ์นด๊ณ„ ๋ฏธ๊ตญ์ธ์ด๊ฑฐ๋‚˜ ํ‘์ธ์ž…๋‹ˆ๋‹ค.
06:54
and only one woman was Asian.
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์•„์‹œ์•„์ธ ์—ฌ์„ฑ์€ ๋‹จ ํ•œ ๋ช…์ž…๋‹ˆ๋‹ค.
06:57
So why is it so difficult
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๊ทธ๋ ‡๋‹ค๋ฉด ์—ฌ์„ฑ๊ฐ๋…์ด ํ•ด๊ฒฐ์ฑ…์˜ ์ผ๋ถ€์ธ๋ฐ
07:00
to have female directors
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์™œ ์—ฌ์„ฑ ๊ฐ๋…์„ ๋‘๋Š” ๊ฒƒ์ด
07:02
if they're part of the solution?
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๋งค์šฐ ์–ด๋ ค์šด ์ผ์ผ๊นŒ์š”?
07:05
Well, to answer this question,
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๊ธ€์Ž„์š”. ์ด ์งˆ๋ฌธ์— ๋‹ตํ•˜๊ธฐ ์œ„ํ•ด ์—ฐ๊ตฌํ–ˆ์Šต๋‹ˆ๋‹ค.
07:07
we conducted a study.
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07:08
We interviewed dozens of industry insiders
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์—…๊ณ„ ๋‚ด๋ถ€์ž ์ˆ˜์‹ญ ๋ช…์„ ์ธํ„ฐ๋ทฐํ•ด์„œ
07:11
and asked them about directors.
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๊ฐ๋…์— ๋Œ€ํ•ด ๋ฌผ์–ด๋ดค์–ด์š”.
07:13
Turns out, both male and female executives,
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๊ฒฐ๊ณผ๋Š”, ๋‚จ์„ฑ๊ณผ ์—ฌ์„ฑ ๊ฒฝ์˜์ง„ ๋ชจ๋‘
07:17
when they think director,
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๊ฐ๋…์„ ๋– ์˜ฌ๋ฆด ๋•Œ๋Š”
07:19
they think male.
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๋‚จ์„ฑ์„ ๋– ์˜ฌ๋ ธ์Šต๋‹ˆ๋‹ค.
07:20
They perceive the traits of leadership
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๋ฆฌ๋”์‹ญ์˜ ํŠน์„ฑ๋“ค์„ ๊ทผ๋ณธ์ ์œผ๋กœ
07:23
to be masculine in nature.
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๋‚จ์„ฑ์ ์ธ ๊ฒƒ์œผ๋กœ ์ธ์‹ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:25
So when they're going to hire a director
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๊ทธ๋ž˜์„œ ๊ฒฝ์˜์ง„๋“ค์ด
07:29
to command a crew, lead a ship,
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์Šคํƒœํ”„๋“ค์„ ๊ฐ๋…ํ•˜๊ณ , ํ•จ์„ ์„ ์ด๋Œ๊ณ ,
07:31
be a visionary or be General Patton,
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์„ ๊ฒฌ์ง€๋ช…์„ ๊ฐ–๊ฑฐ๋‚˜ ํ›Œ๋ฅญํ•œ ์žฅ์ˆ˜๊ฐ€ ๋˜๋Š” ๋“ฑ์˜
07:33
all the things that we've heard --
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๊ทธ๋Ÿฐ ์ผ๋“ค์„ ์œ„ํ•œ ๊ฐ๋…์„ ๊ณ ์šฉํ•  ๋•Œ
07:36
their thoughts and ideations pull male.
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๊ทธ๋“ค์˜ ์ƒ๊ฐ๊ณผ ์ƒ์ƒ์ด ๋‚จ์„ฑ์„ ๋– ์˜ค๋ฅด๊ฒŒ ํ•œ ๊ฒƒ์ด์ฃ .
07:39
The perception of director or a leader
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๊ฐ๋…์ด๋‚˜ ๋ฆฌ๋”์— ๋Œ€ํ•œ ์ธ์‹์€
07:42
is inconsistent with the perception of a woman.
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์—ฌ์„ฑ์— ๋Œ€ํ•œ ์ธ์‹๊ณผ ๋ถˆ์ผ์น˜ํ•ฉ๋‹ˆ๋‹ค.
07:45
The roles are incongruous,
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๊ทธ ์—ญํ• ๋“ค์ด ์–ด์šธ๋ฆฌ์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
07:47
which is consistent with a lot of research in the psychological arena.
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์‹ฌ๋ฆฌํ•™ ๋ถ„์•ผ์˜ ๋งŽ์€ ์—ฐ๊ตฌ ๊ฒฐ๊ณผ๋“ค๊ณผ ์ผ์น˜ํ•ฉ๋‹ˆ๋‹ค.
07:52
Second factor contributing to inequality on-screen
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์˜ํ™”์—์„œ ๋ถˆํ‰๋“ฑ์— ๊ธฐ์—ฌํ•˜๋Š” ๋‘ ๋ฒˆ์งธ ์š”์†Œ๋Š”
07:55
is misperceptions of the audience.
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๊ด€๊ฐ์˜ ์˜คํ•ด์ž…๋‹ˆ๋‹ค.
07:57
I don't need to tell this crowd:
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์—ฌ๊ธฐ ๊ณ„์‹  ๋ถ„๋“ค์ด ๋‹ค ์•„์‹œ๊ฒ ์ง€๋งŒ,
07:59
50 percent of the people that go to the box office and buy tickets
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์˜ํ™”๊ด€์— ๊ฐ€์„œ ํ‘œ๋ฅผ ์‚ฌ๋Š” ์‚ฌ๋žŒ์˜ 50%๋Š”
08:02
are girls and women in this country.
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์ด ๋‚˜๋ผ์˜ ์†Œ๋…€์™€ ์—ฌ์„ฑ๋“ค์ž…๋‹ˆ๋‹ค.
08:04
Right?
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๋งž์ฃ ?
08:05
But we're not perceived to be a viable or financially lucrative target audience.
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ํ•˜์ง€๋งŒ ์šฐ๋ฆฌ๋ฅผ ์‹ค์งˆ์ ์œผ๋กœ ์ˆ˜์ต์ด ๋˜๋Š” ๋ชฉํ‘œ ๊ด€๊ฐ์œผ๋กœ ์—ฌ๊ธฐ์ง€ ์•Š์•„์š”.
08:11
Further, there's some misperceptions
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๋” ๋‚˜์•„๊ฐ€๋ฉด ์—ฌ์„ฑ๋“ค์ด ์˜ํ™”๋ฅผ
08:13
about whether females can open a film.
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์—ด ์ˆ˜ ์žˆ๋Š”๊ฐ€ ๊ด€ํ•œ ์˜คํ•ด๋“ค์ด ์กด์žฌํ•ฉ๋‹ˆ๋‹ค.
08:16
Open a film means that if you place a female at the center,
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์˜ํ™”๋ฅผ ์—ฐ๋‹ค๋Š” ์˜๋ฏธ๋Š” ์—ฌ์„ฑ์„ ์ค‘์‹ฌ์— ๋‘๋ฉด
08:19
it doesn't have the return on investment
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ํˆฌ์ž ์ˆ˜์ต์„ ๋‚ผ ์ˆ˜ ์—†๊ณ 
08:21
that if you place a male at the center of a story does.
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์Šคํ† ๋ฆฌ์˜ ์ค‘์‹ฌ์— ๋‚จ์„ฑ์„ ๋‘๋Š” ๊ฒŒ ์ˆ˜์ต์„ ์–ป์„ ์ˆ˜ ์žˆ๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
08:25
This misperception is actually costly.
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์ด ์˜คํ•ด์—๋Š” ํฐ ๋น„์šฉ์ด ๋”ฐ๋ฆ…๋‹ˆ๋‹ค.
08:28
Right?
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๊ทธ๋ ‡์ง€ ์•Š๋‚˜์š”?
08:30
Especially in the wake of franchise successes
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ํŠนํžˆ ํ”„๋ Œ์ฐจ์ด์ฆˆ ์˜ํ™”๋“ค์„ ๋ณด๋ฉด ๋” ๊ทธ๋ž˜์š”.
08:32
like "The Hunger Games,"
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"ํ—๊ฑฐ ๊ฒŒ์ž„"์ด๋‚˜
08:34
"Pitch Perfect"
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"ํ”ผ์น˜ ํผํŽ™ํŠธ"
08:35
or that small little indie film, "Star Wars: The Force Awakens."
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์ž‘์€ ์ธ๋”” ์˜ํ™” "์Šคํƒ€์›Œ์ฆˆ: ๊นจ์–ด๋‚œ ํฌ์Šค"๋ฅผ ๋ณด๋ฉด์š”.
08:41
Our own economic analyses show that gender of the lead character
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์ €ํฌ๊ฐ€ ํ•œ ๊ฒฝ์ œ์  ๋ถ„์„์— ๋”ฐ๋ฅด๋ฉด ์ฃผ์ธ๊ณต์˜ ์„ฑ๋ณ„์ด
08:45
doesn't play a role in economic success in the United States.
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๋ฏธ๊ตญ์—์„œ์˜ ๊ฒฝ์ œ์  ์„ฑ๊ณต์— ์•„๋ฌด ์—ญํ• ๋„ ํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
08:48
But what does?
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๊ทธ๋Ÿผ ๋ญ๊ฐ€ ์„ฑ๊ณต์„ ๊ฐ€์ ธ์˜ฌ๊นŒ์š”?
08:49
Production costs alone
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์ œ์ž‘๋น„๊ฐ€ ๊ฒฐ์ •ํ•˜๊ฑฐ๋‚˜
08:51
or in conjunction with how widely a film is distributed in this country.
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๋˜๋Š” ์ œ์ž‘๋น„์™€ ํ•จ๊ป˜ ๊ตญ๋‚ด์— ์–ผ๋งˆ๋‚˜ ๋„๋ฆฌ ๋ฐฐ๊ธ‰๋˜๋Š”๊ฐ€๊ฐ€ ๊ฒฐ์ •ํ•ฉ๋‹ˆ๋‹ค.
08:58
It's not the gender of the lead character.
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์ฃผ์ธ๊ณต ์„ฑ๋ณ„์ด ๋ฌธ์ œ๊ฐ€ ์•„๋‹™๋‹ˆ๋‹ค.
09:00
So at this point, we should all be sufficiently depressed.
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์ด์ฏค๋˜๋ฉด ์šฐ๋ฆฌ ๋ชจ๋‘ ๋งค์šฐ ์šฐ์šธํ•ด์•ผ ํ•ฉ๋‹ˆ๋‹ค.
09:05
No change in 50 years,
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50๋…„ ๋™์•ˆ ๋ณ€ํ™”๊ฐ€ ์—†์—ˆ์ฃ .
09:06
few female directors working behind the camera
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์นด๋ฉ”๋ผ ๋’ค์—์„œ ์ผํ•˜๋Š” ์—ฌ์„ฑ ๊ฐ๋…์ด ๊ฑฐ์˜ ์—†๊ณ 
09:09
and the entertainment industry does not trust us as an audience.
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์—ฐ์˜ˆ ์‚ฐ์—…์€ ์šฐ๋ฆฌ๋ฅผ ๊ด€๊ฐ์ด ๋  ์ˆ˜ ์žˆ๋‹ค๊ณ  ๋ฏฟ์ง€ ์•Š์ฃ .
09:14
Well, I told you there would be a silver lining,
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์ œ๊ฐ€ ํ•œ ๊ฐ€๋‹ฅ ํฌ๋ง์ด ์žˆ๋‹ค๊ณ  ๋ง์”€๋“œ๋ ธ๋Š”๋ฐ์š”,
09:16
and there is.
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์—ฌ๊ธฐ ์žˆ์Šต๋‹ˆ๋‹ค.
09:18
There are actually simple and tangible solutions
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์‹ค์ œ ์ด ๋ฌธ์ œ๋ฅผ ํ’€ ์ˆ˜ ์žˆ๋Š” ๊ฐ„๋‹จํ•˜๊ณ  ๊ตฌ์ฒด์ ์ธ
09:21
to fixing this problem
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ํ•ด๊ฒฐ์ฑ…์ด ์žˆ์Šต๋‹ˆ๋‹ค.
09:23
that involve content creators,
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์ฝ˜ํ…์ธ  ์ฐฝ์ž‘์ž๋“ค
09:25
executives and consumers
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๊ฒฝ์˜์ง„๊ณผ, ์—ฌ๊ธฐ ๊ณ„์‹  ๋ถ„๋“ค๊ณผ ๊ฐ™์€ ์†Œ๋น„์ž๋ฅผ
09:27
like the individuals in this room.
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ํ•„์š”๋กœ ํ•˜๋Š” ํ•ด๊ฒฐ์ฑ…์ž…๋‹ˆ๋‹ค.
09:29
Let's talk about a few of them.
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๋ช‡ ๊ฐ€์ง€ ์–˜๊ธฐ๋ฅผ ํ•ด ๋ณด๋ฉด์š”.
09:31
The first is what I call "just add five."
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์ฒซ๋ฒˆ์งธ ํ•ด๊ฒฐ์ฑ…์€ ์ œ๊ฐ€ ์ด๋ฆ„ ๋ถ™์ด๊ธธ, "๊ทธ๋ƒฅ 5๋ฅผ ๋”ํ•ด์š”."
09:34
Did you know if we looked at the top 100 films next year
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๋‚ด๋…„์— ๊ฐœ๋ด‰ํ•  ์ƒ์œ„ ์˜ํ™” 100ํŽธ์—
09:37
and simply added five female speaking characters on-screen
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๋Œ€์‚ฌ๋ฅผ ํ•˜๋Š” ์—ฌ์„ฑ ๋“ฑ์žฅ์ธ๋ฌผ 5๋ช…์„
09:40
to each of those films,
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๊ฐ๊ฐ ๋”ํ•˜๊ธฐ๋งŒ ํ•˜๋ฉด
09:41
it would create a new norm.
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์ƒˆ๋กœ์šด ํ‘œ์ค€์ด ์ƒ๊ธธ ๊ฑฐ์˜ˆ์š”.
09:43
If we were to do this for three contiguous years,
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์ด๋ ‡๊ฒŒ 3๋…„ ๋™์•ˆ ๊ณ„์†ํ•˜๋ฉด
09:46
we would be at gender parity
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๋ฐ˜์„ธ๊ธฐ๋งŒ์— ์ฒ˜์Œ์œผ๋กœ
09:48
for the first time in over a half of a century.
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์–‘์„ฑ ํ‰๋“ฑ์ด ์ด๋ฃจ์–ด์งˆ ๊ฑฐ์˜ˆ์š”.
09:53
Now, this approach is advantageous for a variety of reasons.
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์ด ๋ฐฉ๋ฒ•์€ ๋‹ค์–‘ํ•œ ์ด์œ ๋กœ ์ด๋“์ด ๋ฉ๋‹ˆ๋‹ค.
09:56
One? It doesn't take away jobs for male actors.
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์ฒซ์งธ, ๋‚จ์ž ๋ฐฐ์šฐ๋“ค์˜ ์ผ์ž๋ฆฌ๋ฅผ ๋บ์ง€ ์•Š์•„์š”.
10:00
Heaven forbid.
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๊ทธ๋Ÿฐ ์ผ์ด ์ผ์–ด๋‚˜์„  ์•ˆ๋˜์ฃ .
10:02
(Laughter)
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(์›ƒ์Œ)
10:04
Two, it's actually cost-effective. It doesn't cost that much.
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๋‘˜์งธ, ์‹ค์ œ๋กœ ๋น„์šฉ์ƒ ํšจ๊ณผ์ ์ด์—์š”. ๋น„์šฉ์ด ๊ทธ๋ ‡๊ฒŒ ๋งŽ์ด ๋“ค์ง€ ์•Š์•„์š”.
10:08
Three, it builds a pipeline for talent.
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์…‹์งธ, ์žฌ๋Šฅ์žˆ๋Š” ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ๊ธฐํšŒ๊ฐ€ ๋ผ์š”.
10:10
And four, it humanizes the production process.
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๋„ท, ์ œ์ž‘ ๊ณผ์ •์ด ์ธ๊ฐ„ํ™”๋ฉ๋‹ˆ๋‹ค.
10:13
Why? Because it makes sure that there's women on set.
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์™œ์ผ๊นŒ์š”? ๋ฌด๋Œ€์— ์—ฌ์ž๊ฐ€ ๋ฐ˜๋“œ์‹œ ์žˆ๊ฒŒ ํ•ด์ฃผ๋‹ˆ๊นŒ์š”.
10:17
Second solution is for A-list talent.
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๋‘ ๋ฒˆ์งธ ํ•ด๊ฒฐ์ฑ…์€ A๊ธ‰ ๋ฐฐ์šฐ๋“ค์„ ์œ„ํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
10:20
A-listers, as we all know, can make demands in their contracts,
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์šฐ๋ฆฌ๊ฐ€ ๋‹ค ์•Œ๋“ฏ์ด, A๊ธ‰ ๋ฐฐ์šฐ๋“ค์€ ๊ณ„์•ฝ์„œ์— ์š”๊ตฌ๋ฅผ ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
10:24
particularly the ones that work on the biggest Hollywood films.
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ํ• ๋ฆฌ์šฐ๋“œ ๋Œ€์ž‘ ์˜ํ™”์— ์ถœ์—ฐํ•˜๋Š” ๋ฐฐ์šฐ๋“ค์ด ํŠนํžˆ ๊ทธ๋ ‡์ฃ .
10:27
What if those A-listers
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๋งŒ์•ฝ A๊ธ‰ ๋ฐฐ์šฐ๋“ค์ด
10:29
simply added an equity clause or an inclusion rider
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ํ˜•ํ‰ ์กฐํ•ญ์ด๋‚˜ ํฌํ•จ๋˜์–ด์•ผ ํ•  ์‚ฌ๋žŒ์— ๊ด€ํ•œ ์‚ฌํ•ญ์„
10:33
into their contract?
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๊ณ„์•ฝ์„œ์— ๋ง๋ถ™์ด๊ธฐ๋งŒ ํ•ด๋„ ์–ด๋–ป๊ฒŒ ๋ ๊นŒ์š”?
10:35
Now, what does that mean?
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๊ทธ๊ฒƒ์˜ ์˜๋ฏธ๋Š”์š”?
10:37
Well, you probably don't know
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์—ฌ๋Ÿฌ๋ถ„์ด ๋ชจ๋ฅด์‹ค ์ˆ˜๋„ ์žˆ์„ํ…๋ฐ์š”,
10:39
but the typical feature film
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์ „ํ˜•์ ์ธ ์žฅํŽธ ์˜ํ™”๋Š”
10:40
has about 40 to 45 speaking characters in it.
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๋Œ€์‚ฌ๋ฅผ ํ•˜๋Š” ์ธ๋ฌผ์ด 40-45๋ช… ์ •๋„ ๋‚˜์˜ต๋‹ˆ๋‹ค.
10:44
I would argue that only 8 to 10 of those characters
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์ œ ์˜๊ฒฌ์œผ๋กœ๋Š” 8-10๋ช…๋งŒ์ด
10:47
are actually relevant to the story.
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์‹ค์ œ๋กœ ์ด์•ผ๊ธฐ์™€ ๊ด€๋ จ ์žˆ์Šต๋‹ˆ๋‹ค.
10:50
Except maybe "Avengers." Right?
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"์–ด๋ฒค์ ธ์Šค"๋Š” ์˜ˆ์™ธ์ผ ๊ฑฐ์˜ˆ์š”. ๊ทธ์ตธ?
10:52
A few more in "Avengers."
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"์–ด๋ฒค์ ธ์Šค"๋Š” ์ข€ ๋” ๋งŽ์•„์š”.
10:55
The remaining 30 or so roles,
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๋‚˜๋จธ์ง€ 30๊ฐœ ์ •๋„์˜ ์—ญํ• ๋“ค์ด
10:57
there's no reason why those minor roles
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๊ทธ๋Ÿฐ ์ž‘์€ ์—ญํ• ๋“ค์ด
11:00
can't match or reflect the demography
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์ด์•ผ๊ธฐ๊ฐ€ ๋ฒŒ์–ด์ง€๋Š” ์žฅ์†Œ์˜ ์ธ๊ตฌ ํ†ต๊ณ„์™€ ์ผ์น˜ํ•˜์ง€ ์•Š๊ฑฐ๋‚˜
11:03
of where the story is taking place.
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๋ฐ˜์˜ํ•˜์ง€ ์•Š์„ ์ด์œ ๋Š” ์—†์–ด์š”.
11:06
An equity rider by an A-lister in their contract
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A๊ธ‰ ๋ฐฐ์šฐ์˜ ๊ณ„์•ฝ์„œ์— ์žˆ๋Š” ํ˜•ํ‰ ์กฐํ•ญ์€
11:10
can stipulate that those roles
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๊ทธ๋Ÿฐ ์—ญํ• ๋“ค์ด
11:12
reflect the world in which we actually live.
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์‹ค์ œ ์šฐ๋ฆฌ๊ฐ€ ์‚ด๊ณ  ์žˆ๋Š” ์„ธ๊ณ„๋ฅผ ๋ฐ˜์˜ํ•˜๋„๋ก ๋ช…๊ธฐํ•  ์ˆ˜ ์žˆ์–ด์š”.
11:16
Now, there's no reason why a network,
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๋ฐฐ๊ธ‰๋ง์ด๋‚˜ ์˜ํ™”์‚ฌ, ์ œ์ž‘์‚ฌ๊ฐ€
11:18
a studio or a production company
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ํ˜‘์ƒ ๊ณผ์ •์—์„œ
11:21
cannot adopt the same contractual language
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๋™์ผํ•œ ๊ณ„์•ฝ ์šฉ์–ด๋ฅผ ์‚ฌ์šฉํ•˜์ง€ ๋ชปํ• 
11:24
in their negotiation processes.
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์ด์œ ๋Š” ์—†์Šต๋‹ˆ๋‹ค.
11:27
Third solution:
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์„ธ ๋ฒˆ์งธ ํ•ด๊ฒฐ์ฑ…์ž…๋‹ˆ๋‹ค.
11:29
this would be for the entertainment industry,
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์—ฐ์˜ˆ ์—…๊ณ„์— ํ•ด๋‹น๋˜๋Š” ํ•ด๊ฒฐ์ฑ…์ž…๋‹ˆ๋‹ค.
11:31
Hollywood in particular,
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ํŠนํžˆ ํ• ๋ฆฌ์šฐ๋“œ์—์„œ์š”.
11:32
to adopt the Rooney Rule
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๊ฐ๋…์„ ๊ณ ์šฉํ•˜๋Š” ๊ด€ํ–‰์— ์žˆ์–ด์„œ
11:35
when it comes to hiring practices around directors.
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๋ฃจ๋‹ˆ ๊ทœ์น™์„ ์ ์šฉํ•˜๋Š” ๊ฒ๋‹ˆ๋‹ค.
11:39
Now, in the NFL, the Rooney Rule stipulates
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๋ฏธ๊ตญ ํ”„๋กœ ๋ฏธ์‹์ถ•๊ตฌ ์—ฐ๋งน์˜ ๊ฒฝ์šฐ, ๋ฃจ๋‹ˆ ๊ทœ์น™์— ๋”ฐ๋ฅด๋ฉด
11:42
that if a team wants to hire a coach from outside the organization,
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์–ด๋–ค ํŒ€์ด ์กฐ์ง ์™ธ๋ถ€์— ์žˆ๋Š” ์ฝ”์น˜๋ฅผ ๊ณ ์šฉํ•˜๊ณ ์ž ํ•œ๋‹ค๋ฉด
11:45
what they have to do is interview an underrepresented candidate.
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์†Œ์ˆ˜ ์ง‘๋‹จ์˜ ํ›„๋ณด์ž๋ฅผ ์ธํ„ฐ๋ทฐํ•ด์•ผ ํ•ฉ๋‹ˆ๋‹ค.
11:49
The exact same principle can apply to Hollywood films.
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ํ• ๋ฆฌ์šฐ๋“œ ์˜ํ™”์— ๋˜‘๊ฐ™์€ ์›์น™์„ ์ ์šฉํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
11:54
How?
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์–ด๋–ป๊ฒŒ์š”?
11:55
Well, on these top films,
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์ƒ์œ„ ์˜ํ™”๋“ค์—์„œ
11:56
executives and agents can make sure
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๊ฒฝ์˜์ง„๊ณผ ์—์ด์ „ํŠธ๊ฐ€
12:00
that women and people of color are not only on the consideration list,
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์—ฌ์„ฑ๊ณผ ์œ ์ƒ‰์ธ์ด ๊ณ ๋ ค ๋Œ€์ƒ์— ์žˆ์„ ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ
12:05
but they're actually interviewed for the job.
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์‹ค์ œ๋กœ ์ธํ„ฐ๋ทฐ๊ฐ€ ๋˜์—ˆ๋Š”์ง€๋ฅผ ํ™•์‹คํžˆ ํ•ด์•ผ ํ•ฉ๋‹ˆ๋‹ค.
12:08
Now, one might say,
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ํ˜น์ž๋Š” ์ด๋ ‡๊ฒŒ ๋งํ•  ์ˆ˜๋„ ์žˆ์–ด์š”.
12:10
why is this important?
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์™œ ์ด๊ฒƒ์ด ์ค‘์š”ํ•œ๊ฐ€์š”?
12:11
Because it exposes or introduces executives to female directors
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๊ทธ๋ ‡๊ฒŒ ํ•จ์œผ๋กœ์จ ์†Œ์™ธ๋‹นํ•˜๋Š” ๊ณ ์šฉ ๊ด€ํ–‰์˜ ํฌ์ƒ์–‘์ด ๋˜๋Š” ์—ฌ์„ฑ ๊ฐ๋…๋“ค์„
12:17
who otherwise fall prey to exclusionary hiring practices.
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๊ฒฝ์˜์ง„์—๊ฒŒ ๋“œ๋Ÿฌ๋‚ด๊ฑฐ๋‚˜ ์†Œ๊ฐœ์‹œํ‚ฌ ์ˆ˜ ์žˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
12:22
The fourth solution
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๋„ค ๋ฒˆ์งธ ํ•ด๊ฒฐ์ฑ…์€
12:23
is for consumers like me and you.
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์ €์™€ ์—ฌ๋Ÿฌ๋ถ„๊ฐ™์€ ์†Œ๋น„์ž๋ฅผ ์œ„ํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
12:27
If we want to see more films by, for and about women,
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์—ฌ์„ฑ์— ์˜ํ•œ, ์—ฌ์„ฑ์„ ์œ„ํ•œ, ์—ฌ์„ฑ์— ๊ด€ํ•œ ์˜ํ™”๋ฅผ ๋” ๋ณด๊ณ  ์‹ถ์œผ๋ฉด
12:30
we have to support them.
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์šฐ๋ฆฌ๊ฐ€ ๊ทธ ์˜ํ™”๋“ค์„ ์ง€์ง€ํ•ด์•ผ ํ•ฉ๋‹ˆ๋‹ค.
12:32
It may mean going to the independent theater chain
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๋ฉ€ํ‹ฐํ”Œ๋ ‰์Šค๋ฅผ ๊ฐ€๋Š” ๋Œ€์‹  ๋…๋ฆฝ๊ทน์žฅ์„
12:34
instead of the multiplex.
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๊ฐ€์•ผํ•  ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
12:36
Or it might mean scrolling down a little further online
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์•„๋‹ˆ๋ฉด ์—ฌ์„ฑ ๊ฐ๋…์ด ๋งŒ๋“  ์˜ํ™”๋ฅผ ์ฐพ๊ธฐ ์œ„ํ•ด ์ธํ„ฐ๋„ท์—์„œ
12:40
to find a film by a female director.
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์Šคํฌ๋กค์„ ๋” ๋‚ด๋ ค์•ผ ํ•  ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
12:42
Or it may be writing a check and funding a film,
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์˜ํ™”์— ์ž๊ธˆ ์ง€์›์„ ํ•  ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
12:45
particularly by a female director from an underrepresented background.
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ํŠนํžˆ ์†Œ์™ธ๋œ ๋ฐฐ๊ฒฝ ์ถœ์‹ ์˜ ์—ฌ์„ฑ ๊ฐ๋…์˜ ์˜ํ™”์—์š”.
12:50
Right?
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์•ˆ ๊ทธ๋ž˜์š”?
12:51
We need to write, call and email companies
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์˜ํ™”๋ฅผ ๋งŒ๋“ค๊ณ  ๋ฐฐ๊ธ‰ํ•˜๋Š” ๊ธฐ์—…๋“ค์—๊ฒŒ ์ „ํ™”๋ฅผ ๊ฑธ๊ณ 
12:54
that are making and distributing films,
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ํŽธ์ง€๋‚˜ ์ด๋ฉ”์ผ์„ ์จ์•ผ ํ•ฉ๋‹ˆ๋‹ค.
12:56
and we need to post on our social media accounts
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๊ทธ๋ฆฌ๊ณ  ๋ชจ๋‘๊ฐ€ ๋Œ€๋ณ€๋˜๋Š” ์˜ํ™”๋ฅผ ๋ณด๊ณ  ์‹ถ๊ฑฐ๋‚˜
12:59
when we want to see inclusive representation,
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์Šคํฌ๋ฆฐ์— ์—ฌ์„ฑ์ด ๋‚˜์˜ค๋Š” ๊ฒƒ์ด๋‚˜,
13:02
women on-screen,
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์นด๋ฉ”๋ผ ๋’ค์— ์—ฌ์„ฑ์ด ์žˆ๋Š” ๊ฑธ
13:03
and most importantly, women behind the camera.
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๋ณด๊ณ  ์‹ถ์„ ๋•Œ SNS ๊ณ„์ •์— ๊ธ€์„ ์˜ฌ๋ ค์•ผ ํ•ฉ๋‹ˆ๋‹ค.
13:07
We need to make our voices heard and our dollars count.
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์šฐ๋ฆฌ์˜ ๋ชฉ์†Œ๋ฆฌ๊ฐ€ ๋“ค๋ฆฌ๊ฒŒ ํ•ด์•ผํ•˜๊ณ  ์šฐ๋ฆฌ์˜ ๋ˆ์ด ์ค‘์š”ํ•ด์ง€๊ฒŒ ํ•ด์•ผํ•ฉ๋‹ˆ๋‹ค.
13:13
Now, we actually have the ability to change the world on this one.
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์šฐ๋ฆฌ์—๊ฒ ์‹ค์ œ๋กœ ์ด ๋ฌธ์ œ์— ์žˆ์–ด์„œ ์„ธ์ƒ์„ ๋ฐ”๊ฟ€ ์ˆ˜ ์žˆ๋Š” ๋Šฅ๋ ฅ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
13:19
The US and its content,
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๋ฏธ๊ตญ๊ณผ ๋ฏธ๊ตญ์˜ ์ฝ˜ํ…์ธ 
13:21
films in particular,
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ํŠนํžˆ ๋ฏธ๊ตญ์˜ ์˜ํ™”๋Š”
13:23
have captured the imaginations of audiences worldwide.
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์ „์„ธ๊ณ„ ๊ด€๊ฐ์˜ ์ƒ์ƒ์„ ์‚ฌ๋กœ์žก์•„ ์™”์Šต๋‹ˆ๋‹ค.
13:28
Worldwide.
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์ „์„ธ๊ณ„์ ์œผ๋กœ์š”.
13:30
So that means that the film industry has unprecedented access
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์˜ํ™” ์‚ฐ์—…์ด ํ‰๋“ฑ์— ๊ด€ํ•œ ์ด์•ผ๊ธฐ๋ฅผ
13:35
to be able to distribute stories about equality
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์ „์„ธ๊ณ„์ ์œผ๋กœ ๋ฐฐ๊ธ‰ํ•  ์ˆ˜ ์žˆ๋Š” ์ „๋ก€์—†๋Š” ๊ถŒํ•œ์„
13:40
all around the world.
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๊ฐ€์ง€๊ณ  ์žˆ๋‹ค๋Š” ์˜๋ฏธ์ž…๋‹ˆ๋‹ค.
13:42
Imagine what would happen
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์˜ํ™” ์‚ฐ์—…์ด ๊ทธ๋“ค์˜ ๊ฐ€์น˜์™€
13:44
if the film industry aligned its values
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์˜ํ™”์—์„œ ๋ณด์—ฌ์ฃผ๋Š” ๊ฒƒ์„ ์ผ์น˜์‹œํ‚จ๋‹ค๋ฉด
13:47
with what it shows on-screen.
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๋ฌด์Šจ ์ผ์ด ์ผ์–ด๋‚ ์ง€ ์ƒ์ƒํ•ด ๋ณด์„ธ์š”.
13:50
It could foster inclusion
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์†Œ๋…€์™€ ์—ฌ์„ฑ๋“ค, ์œ ์ƒ‰์ธ
13:52
and acceptance for girls and women,
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์„ฑ์†Œ์ˆ˜์ž ์ง‘๋‹จ, ์žฅ์• ์ธ๋“ค
13:55
people of color,
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๊ทธ๋ฆฌ๊ณ  ์ „์„ธ๊ณ„์˜ ์ˆ˜๋งŽ์€ ์‚ฌ๋žŒ๋“ค์ด
13:57
the LGBT community,
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13:58
individuals with disabilities,
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์†Œ์™ธ๋‹นํ•˜์ง€ ์•Š๊ณ  ์ˆ˜์šฉ๋˜๋Š” ๊ฒƒ์„ ์ด‰์ง„์‹œํ‚ฌ ๊ฑฐ์˜ˆ์š”.
14:00
and so many more around the world.
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14:05
The only thing that the film industry has to do is unleash its secret weapon,
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์˜ํ™” ์‚ฐ์—…์ด ์œ ์ผํ•˜๊ฒŒ ํ•ด์•ผํ•  ์ผ์€ ๊ทธ ๋น„๋ฐ€ ๋ฌด๊ธฐ๋ฅผ ๊บผ๋‚ด๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
14:11
and that's storytelling.
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๊ทธ ๋ฌด๊ธฐ๋Š” ์Šคํ† ๋ฆฌํ…”๋ง์ž…๋‹ˆ๋‹ค.
14:15
Now, at the beginning of this talk,
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์ด ๊ฐ•์—ฐ ์ดˆ๋ฐ˜์— ์ œ๊ฐ€ ์˜ํ™”๋Š”
14:17
I said that films --
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์‹ค์ œ๋กœ ์šฐ๋ฆฌ๋ฅผ ๋‹ค๋ฅธ ๊ณณ์œผ๋กœ ์˜ฎ๊ฒจ์ค„ ์ˆ˜ ์žˆ๋‹ค๊ณ  ๋งํ–ˆ์—ˆ์ฃ .
14:19
that they can actually transport us,
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14:22
but I would like to argue that films, they can transform us.
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์ €๋Š” ์˜ํ™”๊ฐ€ ์šฐ๋ฆฌ๋ฅผ ๋ณ€ํ™”์‹œํ‚ฌ ์ˆ˜ ์žˆ๋‹ค๊ณ  ์ฃผ์žฅํ•˜๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค.
14:28
None of us in this room
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์ด ์ž๋ฆฌ์— ์žˆ๋Š” ๊ทธ ๋ˆ„๊ตฌ๋„ ์„ฑ์žฅํ•˜๋ฉด์„œ
14:30
have grown up or experienced a storytelling landscape
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์™„์ „ํžˆ ์‚ฌ์‹ค์ ์ธ ์—ฌ์„ฑ ์ธ๋ฌผ์ด ๋‚˜์˜ค๋Š”
14:34
with fully realized female characters,
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์Šคํ† ๋ฆฌํ…”๋ง ์กฐ๊ฒฝ์„ ๊ฒฝํ—˜ํ•œ ์ ์ด ์—†์Šต๋‹ˆ๋‹ค.
14:38
none of us,
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์šฐ๋ฆฌ ์ค‘ ์–ด๋Š ๋ˆ„๊ตฌ๋„์š”.
14:39
because the numbers haven't changed.
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์ˆ˜์น˜๊ฐ€ ๋ฐ”๋€Œ์ง€ ์•Š์•˜์ž–์•„์š”.
14:42
What would happen if the next generation of audiences
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๋‹ค์Œ ์„ธ๋Œ€ ๊ด€๊ฐ๋“ค์ด ์™„์ „ํžˆ ๋‹ค๋ฅธ ์˜ํ™” ํ˜„์‹ค์„ ๋ณด๋ฉด์„œ
14:46
grew up with a whole different screen reality?
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์ž๋ž€๋‹ค๋ฉด ๋ฌด์Šจ ์ผ์ด ์ผ์–ด๋‚ ๊นŒ์š”?
14:51
What would happen?
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๋ฌด์Šจ ์ผ์ด ์ƒ๊ธธ๊นŒ์š”?
14:52
Well I'm here to tell you today
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์ €๋Š” ์˜ค๋Š˜ ์ด ๋ง์„ ํ•˜๋Ÿฌ ๋‚˜์™”์Šต๋‹ˆ๋‹ค.
14:54
that it's not only possible to change what we see on-screen
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์šฐ๋ฆฌ๊ฐ€ ์˜ํ™”์—์„œ ๋ณด๋Š” ๊ฒƒ์„ ๋ฐ”๊พธ๋Š” ๊ฒƒ์ด ๊ฐ€๋Šฅํ•˜๊ณ ,
14:58
but I am impatient for it to get here.
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์ €๋Š” ์–ด์„œ ๊ทธ๋ ‡๊ฒŒ ๋˜๊ธฐ๋ฅผ ๋ฐ”๋ผ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
15:03
So let's agree to take action today
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๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ๋ณด์ด์ง€ ์•Š์Œ์˜ ์ „์—ผ๋ณ‘์„ ๋ฟŒ๋ฆฌ ๋ฝ‘๋Š” ๊ฑธ
15:07
to eradicate the epidemic of invisibility.
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์˜ค๋Š˜๋ถ€ํ„ฐ ์‹คํ–‰์— ์˜ฎ๊ธฐ๊ธฐ๋กœ ํ•ด์š”.
15:11
And let's agree to take action today
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๊ทธ๋ฆฌ๊ณ  ๋ฏธ๊ตญ๊ณผ ์ „์„ธ๊ณ„ ๊ด€๊ฐ๋“ค์ด
15:14
to agree that US audiences and global viewers
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๋” ๋งŽ์ด ์š”๊ตฌํ•˜๊ณ  ๋” ๋งŽ์ด ๋ˆ„๋ ค์•ผํ•œ๋‹ค๋Š” ๋ฐ
15:18
demand and deserve more.
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๋™์˜ํ•˜๋Š” ๊ฑธ ์˜ค๋Š˜๋ถ€ํ„ฐ ์‹คํ–‰ํ•ฉ์‹œ๋‹ค.
15:21
And let's agree today
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๊ทธ๋ฆฌ๊ณ  ์˜ค๋Š˜๋ถ€ํ„ฐ
15:24
that the next generation of viewers and audiences,
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๋‹ค์Œ ์„ธ๋Œ€์˜ ์‹œ์ฒญ์ž์™€ ๊ด€๋žŒ๊ฐ๋“ค์ด
15:29
that they deserve to see the stories
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์šฐ๋ฆฌ๊ฐ€ ์ ˆ๋Œ€ ๋ณผ ์ˆ˜ ์—†์—ˆ๋˜ ์ด์•ผ๊ธฐ๋“ค์„
15:32
we were never able to see.
316
932700
3136
๋ณผ ์ž๊ฒฉ์ด ์žˆ๋‹ค๋Š” ๊ฒƒ์— ์˜๊ฒฌ์„ ๊ฐ™์ด ํ•ฉ์‹œ๋‹ค.
15:35
Thank you.
317
935860
1216
๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
15:37
(Applause)
318
937100
5724
(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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