Beeban Kidron: The shared wonder of film

50,059 views ใƒป 2012-06-13

TED


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

00:00
Translator: Timothy Covell Reviewer: Morton Bast
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๋ฒˆ์—ญ: Mayyul Cho ๊ฒ€ํ† : Woo Hwang
00:15
Evidence suggests that humans in all ages and from all cultures
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์•Œ๋ ค์ง„๋ฐ”์— ์˜ํ•˜๋ฉด ๋ชจ๋“ ์‹œ๋Œ€๋‚˜ ๋ฌธํ™”๋ฅผ ๋ง๋ผํ•˜์—ฌ ์ธ๊ฐ„๋“ค์€
00:20
create their identity in some kind of narrative form.
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์ž๊ธฐ๋“ค์˜ ์ •์ฒด๋ฅผ ์ผ์ข…์˜ ์ด์•ผ๊ธฐ ํ˜•์‹์œผ๋กœ ์ฐฝ์กฐํ•ฉ๋‹ˆ๋‹ค
00:24
From mother to daughter, preacher to congregant,
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์—„๋งˆ๊ฐ€ ๋”ธ์—๊ฒŒ, ์„ค๊ต์ž๊ฐ€ ํšŒ์ค‘์—๊ฒŒ,
00:27
teacher to pupil, storyteller to audience.
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์„ ์ƒ์ด ํ•™์ƒ์—๊ฒŒ, ์ด์•ผ๊ธฐ๊พผ์ด ๊ตฐ์ค‘์—๊ฒŒ ๋ง์ด์ฃ .
00:30
Whether in cave paintings
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๋™๊ตด๋ฒฝํ™”์—๋“ ์ง€
00:32
or the latest uses of the Internet,
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์ตœ๊ทผ ์ธํ„ฐ๋„ท ์‚ฌ์šฉ์„ ๋ณด๋”๋ผ๋„,
00:34
human beings have always told their histories and truths
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๋น„์œ ์™€ ์šฐํ™”๋ฅผ ํ†ตํ•ด์„œ
00:38
through parable and fable.
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์ธ๊ฐ„๋“ค์€ ํ•ญ์ƒ ๊ทธ๋“ค์˜ ์—ญ์‚ฌ์™€ ์ง„์‹ค์„ ์–˜๊ธฐํ•ด์™”์๋‹ˆ๋‹ค.
00:41
We are inveterate storytellers.
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์šฐ๋ฆฌ๋Š” ์›๋ž˜๋ถ€ํ„ฐ ์ด์•ผ๊ธฐ๊พผ๋“ค์ž…๋‹ˆ๋‹ค.
00:44
But where, in our increasingly secular and fragmented world,
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๊ทธ๋ ‡์ง€๋งŒ ์ ์  ์†์„ธํ™”ํ•˜๊ณ  ํŒŒ๊ดด๋˜์–ด๊ฐ€๋Š” ์„ธ์ƒ์—์„œ,
00:49
do we offer communality of experience,
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์‚ฌ๋žŒ๋“ค์ด ์งœ์ฆ๋‚˜๋Š” ์ƒ์—…์ฃผ์˜์— ์ฐŒ๋“ค์ง€ ์•Š๊ณ 
00:53
unmediated by our own furious consumerism?
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๊ฒฝํ—˜์˜ ๋™์งˆ๊ฐ์„ ์ด์•ผ๊ธฐ ํ•˜๋‚˜์š”?
00:57
And what narrative, what history,
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๊ทธ๋ฆฌ๊ณ  ์–ด๋–ค ์ด์•ผ๊ธฐ, ์–ด๋–ค ์—ญ์‚ฌ,
01:01
what identity, what moral code
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์–ด๋–ค ์ •์ฒด์„ฑ, ์–ด๋–ค ์œค๋ฆฌ๊ทœ๋ฒ”์„
01:03
are we imparting to our young?
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์šฐ๋ฆฌ ์ Š์€์ด๋“ค์—๊ฒŒ ์•Œ๋ ค ์ค„ ์ˆ˜ ์žˆ์„๊นŒ์š”?
01:07
Cinema is arguably
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์˜ํ™”๋Š” ํ‹€๋ฆผ์—†์ด
01:09
the 20th century's most influential art form.
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20์„ธ๊ธฐ์˜ ๊ฐ€์žฅ ์˜ํ–ฅ๋ ฅ์žˆ๋Š” ์˜ˆ์ˆ ์–‘์‹์ž…๋‹ˆ๋‹ค.
01:12
Its artists told stories
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์˜ํ™”์˜ˆ์ˆ ๊ฐ€๋“ค์€ ๊ตญ๊ฒฝ์„ ๋– ๋‚˜์„œ,
01:14
across national boundaries,
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๋‹ค์–‘ํ•œ ์–ธ์–ด, ์žฅ๋ฅด, ๊ทธ๋ฆฌ๊ณ  ์ฒ ํ•™์œผ๋กœ
01:15
in as many languages, genres and philosophies
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์‚ฌ๋žŒ๋“ค์ด ์ƒ์ƒ ํ•  ์ˆ˜ ์žˆ๋Š” ๊ฒƒ๋“ค์„
01:18
as one can imagine.
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๋งํ•ด์™”์Šต๋‹ˆ๋‹ค.
01:20
Indeed, it is hard to find a subject
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์‚ฌ์‹ค ์˜ํ™”๊ฐ€ ์•„์ง ๋‹ค๋ฃจ์ง€์•Š์€ ์ฃผ์ œ๋ฅผ
01:22
that film has yet to tackle.
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์ฐพ๊ธฐํž˜๋“ค์ •๋„์ž…๋‹ˆ๋‹ค.
01:24
During the last decade
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์ง€๋‚œ ์„ธ๊ธฐ๋™์•ˆ
01:26
we've seen a vast integration of global media,
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์šฐ๋ฆฌ๋Š” ์ด์ œ ํ• ๋ฆฌ์šฐ๋“œ ๋ธ”๋Ÿญ๋ฒ„์Šคํ„ฐ ๋ฌธํ™”๊ฐ€ ์ ์œ ํ•œ
01:28
now dominated by a culture of the Hollywood blockbuster.
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๊ฑฐ๋Œ€ํ•œ ์„ธ๊ณ„์  ๋ฏธ๋””์–ด์˜ ํ†ตํ•ฉ์„ ๋ณด์•„์™”์๋‹ˆ๋‹ค
01:32
We are increasingly offered a diet
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์šฐ๋ฆฌ์—๊ฒŒ ์ ์  ์ด์•ผ๊ธฐ๋ณด๋‹ค ์„ผ์„ธ์ด์…˜์ด
01:34
in which sensation, not story, is king.
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์ฃผ๊ฐ€ ๋œ ๋ฉ”๋‰ด๊ฐ€ ์ œ๊ณต๋˜๊ณ  ์žˆ์๋‹ˆ๋‹ค.
01:38
What was common to us all 40 years ago --
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40๋…„ ์ „๋งŒ ํ•ด๋„ ์šฐ๋ฆฌ ๋ชจ๋‘์—๊ฒŒ ํ”ํ–ˆ๋˜ ๊ฒƒ์ด--
01:40
the telling of stories between generations --
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์„ธ๋Œ€ ๊ฐ„์˜ ์ด์•ผ๊ธฐ ๋‚˜๋ˆ„๋Š”๋ฐ ์žˆ์–ด์„œ์š”--
01:43
is now rarified.
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์•„์ฃผ ๊ท€ํ•ด์กŒ์–ด์š”.
01:45
As a filmmaker, it worried me.
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์˜ํ™”์ œ์ž‘์ž๋กœ์จ, ์ด๊ฒƒ์ด ๊ฑฑ์ •๋์–ด์š”.
01:47
As a human being, it puts the fear of God in me.
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์ธ๊ฐ„์œผ๋กœ์„œ๋Š” ์‹ ์— ๋Œ€ํ•œ ๋‘๋ ค์›€์„ ํ’ˆ๊ฒŒํ–ˆ์–ด์š”.
01:51
What future could the young build
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์ Š์€์„ธ๋Œ€๋“ค์˜ ๊ทผ๋ณธ์ด ๋ฌด์—‡์ด๊ณ 
01:53
with so little grasp
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์–ด๋–ค ๋ฏธ๋ž˜๊ฐ€ ์žˆ๋Š”์ง€์— ๋Œ€ํ•œ
01:55
of where they've come from
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์ด์•ผ๊ธฐ๋ฅผ ํ•˜์ง€ ์•Š๊ณ 
01:57
and so few narratives of what's possible?
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๊ทธ๋“ค์ด ์–ด๋–ป๊ฒŒ ๋ฏธ๋ž˜๋ฅผ ๋งŒ๋“ค ์ˆ˜ ์žˆ์„๊นŒ์š”?
02:00
The irony is palpable;
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์—ญ์„ค์ ์ธ ๋ถ€๋ถ„์ด ์žˆ๋Š”๋ฐ์š”;
02:01
technical access has never been greater,
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๊ธฐ์ˆ ์ ์ธ ์ ‘๊ทผ์€ ๊ทธ ์–ด๋Š๋•Œ๋ณด๋‹ค ํฌ์ง€๋งŒ,
02:05
cultural access never weaker.
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๋ฌธํ™”์ ์ธ ๋ฉด์—์„  ์–ด๋Š ๋•Œ๋ณด๋‹ค ์ทจ์•ฝํ•ฉ๋‹ˆ๋‹ค.
02:08
And so in 2006 we set up FILMCLUB,
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๊ทธ๋ž˜์„œ 2006๋…„์— FILMCLUB์„ ๊ฒฐ์„ฑํ–ˆ์–ด์š”,
02:12
an organization that ran weekly film screenings in schools
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ํ•™๊ต์—์„œ ๋งค ์ฃผ ์˜ํ™”์ƒ์˜ ํ›„ ํ† ๋ก 
02:16
followed by discussions.
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์ฃผ๊ด€ํ•˜๋Š” ์กฐ์ง์ž…๋‹ˆ๋‹ค.
02:18
If we could raid the annals of 100 years of film,
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๋งŒ์•ฝ ์šฐ๋ฆฌ๊ฐ€ ์ง€๋‚œ ๋ฐฑ๋…„๊ฐ„ ์ง‘์„ฑ๋œ ์˜ํ™”๋“ค์„ ํŒŒํ—ค์น˜๋ฉด
02:22
maybe we could build a narrative
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ํŒŒ๊ดด๋˜๊ณ  ๋ถˆ์•ˆํ•œ ์ Š์€์ด๋“ค์˜ ์„ธ๊ณ„์—
02:24
that would deliver meaning
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์˜๋ฏธ๋ฅผ ์ ˆ๋‹ฌํ•ด์ค„
02:26
to the fragmented and restless world of the young.
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์ด์•ผ๊ธฐ๋ฅผ ๋งŒ๋“ค์ˆ˜ ์žˆ์„์ง€๋„ ๋ชจ๋ฆ…๋‹ˆ๋‹ค.
02:29
Given the access to technology,
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๊ธฐ์ˆ ๋ฉด์—์„œ ๋ณด๋ฉด
02:30
even a school in a tiny rural hamlet
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์‹œ๊ณจ์˜ ์ž‘์€ ํ•™๊ต๋“ค๋„ ์ž˜ ๊ฐ–์ถ”์–ด์ ธ
02:34
could project a DVD onto a white board.
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ํ”„๋กœ์ ํ„ฐ๋กœ ์น ํŒ์— DVD๋ฅผ ์ƒ์˜ ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
02:38
In the first nine months
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์ฒ˜์Œ์ƒ์˜ ์‹œ์ž‘ํ•œ 9๊ฐœ์›” ๋™์•ˆ,
02:40
we ran 25 clubs across the U.K.,
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์˜๊ตญ์ „์—ญ์—์„œ
02:42
with kids in age groups between five and 18
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5์‚ด์—์„œ 18์‚ด ์‚ฌ์ด์˜ ์•„์ด๋“ค๋กœ ๊ตฌ์„ฑ๋œ
02:45
watching a film uninterrupted for 90 minutes.
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์‰ฌ์ง€ ์•Š๊ณ  90๋ถ„์งœ๋ฆฌ ์˜ํ™”๋ฅผ ๋ณด๋Š” 25 ๊ฐœ์˜ ์˜ํ™” ํด๋Ÿฝ์„ ์šด์˜ ํ–ˆ์–ด์š”.
02:48
The films were curated and contextualized.
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์˜ํ™”์˜ ์†Œ๊ฐœ์™€ ํ•ด์„ค์ด ์ฒจ๊ฐ€๋˜์—ˆ์ฃ .
02:51
But the choice was theirs,
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๊ทธ๋ ‡์ง€๋งŒ ์•„์ด๋“คํ•œํ…Œ ์„ ํƒ๊ถŒ์ด์ฃผ์–ด์กŒ๊ณ ,
02:53
and our audience quickly grew
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์šฐ๋ฆฌ์˜ ๊ด€๊ฐ๋“ค์€ ๊ณง
02:54
to choose the richest and most varied diet that we could provide.
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์šฐ๋ฆฌ๊ฐ€ ๊ณต๊ธ‰ํ•˜๋Š” ํ’๋ถ€ํ•˜๊ณ  ์•„์ฃผ ๋‹ค์–‘ํ•œ ๋ฉ”๋‰ด์—์„œ ์„ ํƒ์„ ์ฆ๊ธฐ๊ฒŒ ๋˜์—ˆ์–ด์š”.
02:59
The outcome, immediate.
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๊ฒฐ๊ณผ๋Š” ์ฆ‰์‹œ ๋‚˜์™”์ฃ .
03:01
It was an education of the most profound and transformative kind.
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์•„์ฃผ ์‹ฌ์˜คํ•˜๊ณ  ํš๊ธฐ์ ์ธ ์ข…๋ฅ˜์˜ ๊ต์œก์ด์—ˆ์ฃ .
03:07
In groups as large as 150 and as small as three,
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๊ฐ€์žฅ ํฐ ๊ณณ์€ 150๋ช…์— ๋‹ฌํ•˜๊ณ , ์ž‘์€ ๊ณณ์€ ์„ธ ๋ช…์œผ๋กœ ๊ตฌ์„ฑ๋˜์—ˆ๋Š”๋ฐ์š”,
03:10
these young people discovered new places,
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์ด ์•„์ด๋“ค์€ ์ƒˆ ๊ณณ,
03:13
new thoughts, new perspectives.
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์ƒˆ ์ƒ๊ฐ, ์ƒˆ ๊ด€์ ๋“ค์„ ๋ฐœ๊ฒฌํ–ˆ์–ด์š”.
03:15
By the time the pilot had finished,
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์‹œ๋ฒ” ๊ธฐ๊ฐ„์ด ๋๋‚ฌ์„๋•Œ,
03:17
we had the names of a thousand schools
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์šฐ๋ฆฌ๋Š” ๊ฐ€์ž…ํ•˜๊ณ ์ž ํ•˜๋Š” ์ฒœ์—ฌ๊ฐœ ํ•™๊ต์˜
03:20
that wished to join.
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์ด๋ฆ„์„ ๋ฐ›์•˜์–ด์š”.
03:24
The film that changed my life
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์ œ ์‚ถ์„ ๋ฐ”๊พผ ์˜ํ™”๋Š”
03:25
is a 1951 film by Vittorio De Sica, "Miracle in Milan."
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1951๋…„ Vittorio De Sica์˜ "๋ฐ€๋ž€์˜ ๊ธฐ์ "(Miracle in Milan) ์ด๋ผ๋Š” ์˜ํ™”์ธ๋ฐ์š”.
03:30
It's a remarkable comment
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๊ทธ๊ฒƒ์€ ๋นˆ๋ฏผ๊ฐ€, ๊ฐ€๋‚œ, ํฌ๋ถ€์—๊ด€ํ•œ
03:32
on slums, poverty and aspiration.
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๋†€๋ผ์šด ํ‘œํ˜„์ด์—ˆ์ฃ .
03:35
I had seen the film on the occasion of my father's 50th birthday.
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๊ทธ์˜ํ™”๋ฅผ ์ €๋Š” ์•„๋ฒ„์ง€ 50ํšŒ ์ƒ์‹  ๋•Œ ๋ดค์–ด์š”.
03:40
Technology then meant we had to hire a viewing cinema,
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๊ทธ ๋•Œ์˜ ๊ธฐ์ˆ ์ˆ˜์ค€์œผ๋กœ๋Š” ์˜ํ™”๊ด€์„ ์„ธ๋‚ด๊ณ ,
03:44
find and pay for the print and the projectionist.
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์˜์‚ฌ๊ธฐ ๊ธฐ์‚ฌ์™€ ์˜ํ™” ํ•„๋ฆ„์ž์ฒด๋ฅผ ์ฐพ๋Š”๋ฐ ๋ˆ์„ ๋“ค์—ฌ์•ผ ํ•˜๋Š” ์ƒํ™ฉ์ด์—ˆ์ฃ .
03:47
But for my father,
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๊ทธ๋ ‡์ง€๋งŒ ์ €ํฌ ์•„๋ฒ„์ง€์—๊ฒŒ๋Š”
03:48
the emotional and artistic importance of De Sica's vision was so great
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De Sica์˜ ๋น„์ „์˜ ๊ฐ์„ฑ์ , ์˜ˆ์ˆ ์  ์ค‘์š”์„ฑ์ด ๋„ˆ๋ฌด ์ปค์„œ
03:54
that he chose to celebrate his half-century
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๊ทธ์˜ ๋ฐ˜ํ‰์ƒ์„ ์ถ•ํ•˜ํ•˜๋Š” ํ–‰์‚ฌ๋ฅผ ๊ทธ ์˜ํ™”๋ฅผ ๋ณด๋ฉด์„œ
03:57
with his three teenage children and 30 of their friends,
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30๋ช…์˜ ์นœ๊ตฌ๋“ค๊ณผ ํ•จ๊ป˜ ํ•˜๊ธฐ๋กœ ํ–ˆ๋˜๊ฑฐ์ฃ .
04:01
"In order," he said,
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๊ทธ๋Š” ๋ง์”€ํ•˜์‹œ๊ธฐ๋ฅผ,
04:02
"to pass the baton of concern and hope
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"๊ฑฑ์ •๊ณผ ํฌ๋ง์˜ ๋Œ€๋ฅผ
04:05
on to the next generation."
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๋‹ค์Œ์„ธ๋Œ€์—๊ฒŒ ๋ฌผ๋ ค์ฃผ๊ธฐ์œ„ํ•ด์„œ" ๋ผ๊ณ ์š”.
04:08
In the last shot of "Miracle in Milan,"
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"๋ฐ€๋ž€์˜ ๊ธฐ์ "์˜ ๋งˆ์ง€๋ง‰ ์žฅ๋ฉด์—
04:11
slum-dwellers float skyward on flying brooms.
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๋นˆ๋ฏผ๊ฐ€ ์ฃผ๋ฏผ๋“ค์ด ๋น—์ž๋ฃจ๋ฅผ ํƒ€๊ณ  ํ•˜๋Š˜๋กœ ์˜ฌ๋ผ๊ฐ‘๋‹ˆ๋‹ค.
04:15
Sixty years after the film was made
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๊ทธ ์˜ํ™” ์ฐ์€์ง€ 60๋…„ ์ง€๋‚˜๊ณ ,
04:17
and 30 years after I first saw it,
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์ œ๊ฐ€ ์ฒ˜์Œ ๊ทธ ์˜ํ™”๋ฅผ ๋ณธ ์ง€ 30๋…„ ํ›„
04:19
I see young faces tilt up in awe,
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์•„์ด๋“ค์˜ ๋†€๋ผ์›€์œผ๋กœ,
04:22
their incredulity matching mine.
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๋‚˜์ฒ˜๋Ÿผ ๋ชป๋ฏฟ์–ดํ•˜๋ฉด์„œ๋„,๊ธฐ์šฐ๋šฑํ•œ ์–ผ๊ตด์„ ๋ด…๋‹ˆ๋‹ค.
04:24
And the speed with which they associate it
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๊ทธ๋ฆฌ๊ณ , "์Šฌ๋Ÿผ๋… ๋ฐ€๋ฆฌ์–ด๋„ค์–ด"๋‚˜ ๋ฆฌ์˜ค๋ฐ์ž๋„ค์ด๋กœ์˜ ๋นˆ๋ฏผ๊ฐ€๋ฅผ ๋ณด๋ฉฐ
04:27
with "Slumdog Millionaire" or the favelas in Rio
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๊ทธ๋“ค์ด ์ฆ‰๊ฐ ๊ทธ ์˜ํ™”๋ฅผ ๊ณง์žฅ ๋– ์˜ฌ๋ฆฌ๋Š” ๊ฒƒ์€
04:30
speaks to the enduring nature.
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๊ทธ ์˜ํ™”์˜ ๊พธ์ค€ํ•œ ์ง€์†์„ฑ์„ ๋งํ•ด์ค๋‹ˆ๋‹ค.
04:33
In a FILMCLUB season about democracy and government,
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FILMCLUB์—์„œ ๋ฏผ์ฃผ์ฃผ์˜์™€ ์ •๋ถ€๋ฅผ (์ฃผ์ œ๋กœ) ๋‹ค๋ฃจ๋Š” ๊ธฐ๊ฐ„์—๋Š”
04:36
we screened "Mr. Smith Goes to Washington."
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"์Šค๋ฏธ์Šค์”จ๊ฐ€ ์›Œ์‹ฑํ†ค์— ๊ฐ€๋‹ค (Mr. Smith Goes to Washington)" ๋ฅผ ์ƒ์˜ํ–ˆ์–ด์š”.
04:38
Made in 1939, the film is older than most of our members' grandparents.
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1939๋…„์— ์ฐ์—ˆ์œผ๋‹ˆ๊นŒ, ์ด ์˜ํ™”๋Š” ์šฐ๋ฆฌ ๋Œ€๋ถ€๋ถ„์˜ ์กฐ๋ถ€๋ชจ๋‹˜๋ณด๋‹ค ๋” ๋‚˜์ด๋งŽ์ฃ .
04:45
Frank Capra's classic values independence and propriety.
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Frank Capra์˜ ๊ณ ์ „์€ ๋…๋ฆฝ๊ณผ ์˜ˆ์˜๋ฒ”์ ˆ์— ๊ฐ€์น˜๋ฅผ ๋‘ก๋‹ˆ๋‹ค.
04:49
It shows how to do right,
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์–ด๋–ป๊ฒŒ ๋ฐ”๋ฅด๊ฒŒ ์‚ด์•„์•ผํ•˜๋Š”์ง€,
04:50
how to be heroically awkward.
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์–ด๋–ป๊ฒŒ ์˜์›…์ด๋ฉด์„œ ์–ด์ƒ‰ํ•  ์ˆ˜ ์žˆ๋Š”์ง€ ๋ณด์—ฌ์ค๋‹ˆ๋‹ค.
04:52
It is also an expression of faith
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๋˜ํ•œ ๋ช…์˜ˆ๋กœ์šด ์ •์น˜์ฒด๊ณ„์—์˜
04:55
in the political machine as a force of honor.
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์‹ ๋ขฐ์˜ ํ‘œํ˜„์ž…๋‹ˆ๋‹ค.
04:58
Shortly after "Mr. Smith" became a FILMCLUB classic,
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"Mr. Smith"๊ฐ€ FILMCLUB ๊ณ ์ „์ด ๋œ ์ง€ ๊ณง ์–ผ๋งˆ ํ›„
05:02
there was a week of all-night filibustering in the House of Lords.
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์ƒ์›์˜์›ํšŒ์—์„œ ๋ฐค์ƒˆ ์˜์‚ฌ์ง„ํ–‰๋ฐฉํ•ด๊ฐ€ ์ผ์–ด ๋‚œ์ ์ด ์žˆ์—ˆ์–ด์š”.
05:07
And it was with great delight
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์•„์ฃผ ๊ธฐ์œ์ผ์ด์—ˆ์–ด์š”,
05:08
that we found young people up and down the country
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๊ตญ๋‚ด ์ „์—ญ์—์„œ ์•„์ด๋“ค์ด
05:10
explaining with authority
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๊ถŒ์œ„์ ์ธ ์ด ๋‚˜๋ผ๋ฅผ ์™”๋‹ค๊ฐ”๋‹ค ํ•˜๋ฉด์„œ
05:12
what filibustering was
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์˜ํšŒ์—์„œ ์˜์‚ฌ์ง„ํ–‰์„ ๋ฐฉํ•ดํ•˜๋Š”๊ฒƒ์ด ๋ญ”์ง€
05:14
and why the Lords might defy their bedtime on a point of principle.
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๊ทธ๋ฆฌ๊ณ  ์™œ ์›์น™์ ์œผ๋กœ ์ƒ์›์˜์›๋“ค์ด ์ž ์„ ์•ˆ์ž๊ณ  ๊ทธ๋Ÿฌ๋Š”์ง€ ์•Œ๊ฒŒ๋˜์—ˆ์ฃ .
05:20
After all, Jimmy Stewart filibustered for two entire reels.
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์•„๋ฌดํŠผ ์ง€๋ฏธ ์ŠคํŠœ์–ดํŠธ๋Š” ํ•„๋ฆ„ ๋‘ ํ†ต์ด ๋‹ค ๋Œ์•„๊ฐ€๋„๋ก ๊ณ„์† ๋ฐ˜๋ก ์„ ์ง„ํ–‰ํ–ˆ์œผ๋‹ˆ๊นŒ์š”.
05:24
In choosing "Hotel Rwanda,"
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"Hotel Rwanda"์—์„œ
05:27
they explored genocide of the most brutal kind.
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๊ทธ๋“ค์€ ๊ฐ€์žฅ ์ž”์ธํ•œ ์ข…๋ฅ˜์˜ ๋Œ€๋Ÿ‰ํ•™์‚ด์—๋Œ€ํ•ด ๋ณด์—ฌ์คฌ์Šต๋‹ˆ๋‹ค.
05:30
It provoked tears as well as incisive questions
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๋ˆˆ๋ฌผ๋ฟ ์•„๋‹ˆ๋ผ ์˜ˆ๋ฆฌํ•œ ์งˆ๋ฌธ๋“ค์„ ๋Œ์–ด๋ƒˆ๋Š”๋ฐ์š”,
05:34
about unarmed peace-keeping forces
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๋น„๋ฌด์žฅ ํ‰ํ™”์œ ์ง€๋ ฅ๊ณผ
05:36
and the double-dealing of a Western society
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์ƒํ’ˆ๊ฐ€์น˜๋ฅผ ๋‘๊ณ 
05:38
that picks its moral fights with commodities in mind.
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๋„๋•์  ์‹ธ์›€๊ฑฐ๋ฆฌ๋ฅผ ์„ ํƒํ•˜๋Š” ์ด์ค‘์  ์„œ๊ตฌ์‚ฌํšŒ์˜ ๋ฐฉ์‹์— ๋Œ€ํ•œ ์ด์•ผ๊ธฐ์ฃ .
05:42
And when "Schindler's List" demanded that they never forget,
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๊ทธ๋ฆฌ๊ณ , "Schindler's List"๊ฐ€ ์ ˆ๋Œ€ ์žŠ์ง€์•Š์„ ๊ฒƒ์„ ์š”๊ตฌํ–ˆ์„๋•Œ
05:46
one child, full of the pain of consciousness, remarked,
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ํ•œ์•„์ด๊ฐ€ ์–‘์‹ฌ์˜ ๊ณ ํ†ต์œผ๋กœ ๊ฐ€๋“์ฐจ์„œ ๋งํ–ˆ์–ด์š”,
05:50
"We already forgot,
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์šฐ๋ฆฐ ๋ฒŒ์จ ์žŠ์–ด๋ฒ„๋ ธ์–ด,
05:52
otherwise how did 'Hotel Rwanda' happen?"
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๊ทธ๋ ‡์ง€ ์•Š๊ณ ์„œ์•ผ ์–ด๋–ป๊ฒŒ 'Hotel Rwanda'๊ฐ€ ์ƒ๊ฒจ๋‚ฌ์ง€?"
05:56
As they watch more films their lives got palpably richer.
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๊ทธ๋“ค์ด ๋” ๋งŽ์€ ์˜ํ™”๋ฅผ ๋ณด๋ฉด์„œ ๊ทธ๋“ค์˜ ์‚ถ์€ ํ˜„์ €ํ•˜๊ฒŒ ํ’์กฑํ•ด์ ธ๊ฐ”์๋‹ˆ๋‹ค.
06:00
"Pickpocket" started a debate about criminality disenfranchisement.
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Pickpocket (์†Œ๋งค์น˜๊ธฐ)"์„ ์ƒ์˜ํ•จ์œผ๋กœ์จ ๋ฒ”์ฃ„์ž ์„ ๊ฑฐ๊ถŒ ๋ฐ•ํƒˆ์— ๋Œ€ํ•ด ํ† ๋ก ์ด ์‹œ์ž‘๋˜์—ˆ์๋‹ˆ๋‹ค.
06:04
"To Sir, with Love" ignited its teen audience.
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"To Sir, with Love"๋Š” ์ฒญ์†Œ๋…„ ๊ด€๊ฐ๋“ค์„ ๊ฐ๋™์‹œ์ผฐ์๋‹ˆ๋‹ค.
06:08
They celebrated a change in attitude
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๊ทธ๋“ค์€ ์œ ์ƒ‰ ์˜๊ตญ์ธ์— ๋Œ€ํ•œ
06:11
towards non-white Britons,
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์‹œ์„ ์ด ๋ฐ”๋€Œ๋Š” ๊ฒƒ์„ ์ถ•ํ•˜ํ•˜์˜€์ง€๋งŒ
06:12
but railed against our restless school system
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์ง‘๋‹จ์ •์ฒด์„ฑ์„ ์กด์ค‘ํ•˜์ง€์•Š๋Š”
06:16
that does not value collective identity,
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๋ถˆ์•ˆ์ •ํ•œ ํ•™๊ต์ œ๋„์—๋Œ€ํ•ด ์•…๋‹ด์„ ํผ๋ถ€์—ˆ์๋‹ˆ๋‹ค.
06:19
unlike that offered by Sidney Poitier's careful tutelage.
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์‹œ๋“œ๋‹ˆ ํฌ์™€ํ‹ฐ๊ฐ€ ์„ธ์‹ฌํ•˜๊ฒŒ ์ง€๋„ํ•œ ๊ฒƒ๊ณผ๋Š” ๋‹ค๋ฅด๊ฒŒ ๋ง์ด์ฃ .
06:25
By now, these thoughtful, opinionated, curious young people
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์ด์ œ๋Š” ์‚ฌ๋ ค๊นŠ๊ณ , ๊ฒฌํ•ด๊ฐ€ ๋šœ๋ ทํ•˜๋ฉฐ, ํ˜ธ๊ธฐ์‹ฌ๋งŽ์€ ์ฒญ์†Œ๋…„๋“ค์ด
06:29
thought nothing of tackling films of all forms --
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๋ชจ๋“  ํ˜•ํƒœ์˜ ์˜ํ™”๋“ค์— ๋Œ€ํ•ด์„œ ๋ถˆํ‰์ด ์—†์Šต๋‹ˆ๋‹ค. --
06:32
black and white, subtitled,
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ํ‘๋ฐฑ์ด๋‚˜, ์ž๋ง‰์ด๋˜
06:33
documentary, non-narrative, fantasy --
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๋‹คํ๋ฉ˜ํƒ€๋ฆฌ, ๊ฑด์กฐ์ฒด, ํ™˜์ƒ๊ทน์ด๋˜ ๋ง์ด์ฃ  --
06:36
and thought nothing of writing detailed reviews
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๊ทธ๋ฆฌ๊ณ  ์˜ํ™”๋ฅผ ๋น„๊ตํ•ด๊ฐ€๋ฉด์„œ
06:39
that competed to favor one film over another
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์—ด์ •์ ์ด๊ณ  ๋ณต์žกํ•œ ์‚ฐ๋ฌธ์œผ๋กœ
06:42
in passionate and increasingly sophisticated prose.
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์ž์„ธํ•œ ๋น„ํ‰์„ ์“ฐ๋Š”๊ฒƒ ๋งˆ๋‹คํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
06:46
Six thousand reviews each school week
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์œก๋งŒ ํŽธ์˜ ๋…ผํ‰์ด
06:49
vying for the honor of being review of the week.
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๋งค์ฃผ ์ตœ๊ณ ์˜ ์˜์˜ˆ์— ๋ฝ‘ํžˆ๊ธฐ์œ„ํ•ด ๊ฒฝ์Ÿํ–ˆ์๋‹ˆ๋‹ค.
06:54
From 25 clubs, we became hundreds, then thousands,
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25 ๊ฐœ ํด๋Ÿฝ์—์„œ ์‹œ์ž‘ํ•ด์„œ, ๋ช‡๋ฐฑ๊ฐœ๋กœ, ๊ทธ ๋‹ค์Œ์—๋Š” ๋ช‡์ฒœ๊ฐœ๋กœ,
06:58
until we were nearly a quarter of a million kids
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๋‚˜๋ผ์ „์—ญ์— ๊ฑธ์ณ ๊ฑฐ์˜ 25๋งŒ๋ช…์˜ ์ฒญ์†Œ๋…„์ด ์ฐธ๊ฐ€ํ•˜๋Š”
07:01
in 7,000 clubs right across the country.
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7,000 ๊ฐœ ํด๋Ÿฝ์— ๋‹ฌํ–ˆ์๋‹ˆ๋‹ค.
07:04
And although the numbers were, and continue to be, extraordinary,
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์•„์ง๋„ ๋Š˜๊ณ ์žˆ๋Š” ๊ทธ ์ˆซ์ž๊ฐ€ ๋†€๋ž์ง€๋งŒ,
07:07
what became more extraordinary
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๋” ๋†€๋ผ์šด ๊ฒƒ์€,
07:09
was how the experience of critical and curious questioning
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๋น„ํŒ์ ์ด๊ณ  ํ˜ธ๊ธฐ์‹ฌ ๋งŽ์€ ์งˆ๋ฌธ์„ ๋˜์ง€๋Š” ๊ทธ ๊ฒฝํ—˜์ด
07:13
translated into life.
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์–ด๋–ป๊ฒŒ ์‚ถ์— ์ ์šฉ๋˜๋Š”๋ƒ ํ•˜๋Š” ๊ฒƒ์ด์ฃ .
07:15
Some of our kids started talking with their parents,
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์šฐ๋ฆฌ์•„์ด๋“ค์ค‘์—์„œ ๋ถ€๋ชจ๋“ค๊ณผ ์„ ์ƒ๋‹˜๊ณผ,
07:18
others with their teachers,
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์•„๋‹ˆ๋ฉด ์นœ๊ตฌ๋“ค๊ณผ ์ด์•ผ๊ธฐ๋ฅผ
07:20
or with their friends.
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์‹œ์ž‘ํ•˜๋Š” ์•„์ด๋“ค์ด ์ƒ๊ฒจ๋‚ฌ์–ด์š”.
07:21
And those without friends
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์นœ๊ตฌ๊ฐ€์—†๋˜ ์•„์ด๋“ค์ด
07:23
started making them.
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์‚ฌ๊ท€๊ธฐ๋ฅผ ์‹œ์ž‘ํ–ˆ์๋‹ˆ๋‹ค.
07:25
The films provided communality across all manner of divide.
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์˜ํ™”๊ฐ€ ๋ชจ๋“  ๋ถ„๋‹จ์ง€์ ์— ๊ณตํ†ต์„ฑ์„ ์ œ๊ณตํ–ˆ์–ด์š”.
07:30
And the stories they held provided a shared experience.
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๋“ค์€ ๋Œ€ํ™”๋ฅผ ํ†ตํ•ด ๊ฒฝํ—˜์„ ๊ณต์œ ํ–ˆ์–ด์š”.
07:33
"Persepolis" brought a daughter closer to her Iranian mother,
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"Persepolis"๋Š” ์ด๋ž€์ธ ์—„๋งˆ์™€ ๊ทธ์˜ ๋”ธ์„ ๊ฐ€๊น๊ฒŒ ํ•ด์ฃผ์—ˆ์œผ๋ฉฐ
07:38
and "Jaws" became the way in which one young boy
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"Jaws"๋Š” ์–ด๋ฆฐ์†Œ๋…„์œผ๋กœ ํ•˜์—ฌ๊ธˆ,
07:42
was able to articulate the fear he'd experienced
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๊ทธ ํญ๋ ฅ์— ๋Œ€ํ•ญํ•˜์—ฌ ๊ฒฝํ—˜ํ–ˆ๋˜ ๊ณตํฌ๋ฅผ
07:45
in flight from violence
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๋ฌ˜์‚ฌํ•  ์ˆ˜ ์žˆ๊ฒŒ ํ–ˆ์–ด์š”.
07:47
that killed first his father then his mother,
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๊ทธ ํญ๋ ฅ์œผ๋กœ ๋จผ์ € ์•„๋ฒ„์ง€๊ฐ€ ์ฃฝ์ž„๋‹นํ•˜๊ณ  ์ด์–ด ์—„๋งˆ๋„ ์žƒ์—ˆ๋Š๋ฐ
07:50
the latter thrown overboard on a boat journey.
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์—„๋งˆ๋Š” ํ•ญํ•ด ์ค‘ ๋ฐฐ ๋ฐ–์œผ๋กœ ๋˜์ ธ์กŒ์–ด์š”.
07:55
Who was right, who wrong?
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๋ˆ„๊ฐ€ ์˜ณ๊ณ , ๋ˆ„๊ฐ€ ๊ทธ๋ฅธ๊ฐ€์š”?
07:57
What would they do under the same conditions?
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๊ทธ ์ƒํ™ฉ์—์„œ ๋‹น์‹ ์€ ์–ด๋–ป๊ฒŒ ํ–ˆ๊ฒ ์–ด์š”?
07:59
Was the tale told well?
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์ด์•ผ๊ธฐ๋ฅผ ์ž˜ ์ „๊ฐœ ํ–ˆ๋‚˜์š”?
08:00
Was there a hidden message?
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์ˆจ๊ฒจ์ง„ ๋ฉ”์„ธ์ง€๊ฐ€ ์žˆ์—ˆ๋‚˜์š”?
08:02
How has the world changed? How could it be different?
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์„ธ์ƒ์ด ์–ด๋–ป๊ฒŒ ๋‹ฌ๋ผ์กŒ๋‚˜์š”? ์–ด๋–ป๊ฒŒ ๋‹ฌ๋ผ์งˆ์ˆ˜์žˆ์„๊นŒ์š”?
08:05
A tsunami of questions flew out of the mouths of children
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์ด ์„ธ์ƒ ๋ˆ„๊ตฌ๋„ ํฅ๋ฏธ๋ฅผ ๊ฐ€์ง€๋ฆฌ๋ผ ๊ธฐ๋Œ€ํ•˜์ง€ ์•Š์•˜๋˜
08:09
who the world didn't think were interested.
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์•„์ด๋“ค ์ž…์—์„œ ํญํ’๊ฐ™์€ ์งˆ๋ฌธ๋“ค์ด ์Ÿ์•„์ ธ ๋‚˜์™”์–ด์š”.
08:11
And they themselves had not known they cared.
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๊ทธ๋“ค ์ž์‹ ์กฐ์ฐจ๋„ ๊ด€์‹ฌ์žˆ๋Š” ์ค„ ๋ชฐ๋ž์—ˆ์ฃ .
08:15
And as they wrote and debated,
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๊ทธ๋“ค์ด ๊ธ€์“ฐ๋ฉด์„œ, ํ† ๋ก ํ•˜๋ฉด์„œ,
08:17
rather than seeing the films as artifacts,
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์˜ํ™”๋ฅผ (๊ณ ์ )์œ ๋ฌผ๋กœ ์—ฌ๊ธฐ๋Š” ๋Œ€์‹ 
08:19
they began to see themselves.
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์ž๊ธฐ ์ž์‹ ๋“ค์„ ๋ฐœ๊ฒฌํ•˜๊ธฐ ์‹œ์ž‘ํ–ˆ์ฃ .
08:25
I have an aunt who is a wonderful storyteller.
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์ œ ์ด๋ชจ๋‹˜์€ ํ›Œ๋ฅญํ•œ ์ด์•ผ๊ธฐ๊พผ์ด์˜ˆ์š”.
08:28
In a moment she can invoke images
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๋ˆˆ๊นœ์งํ•  ์‚ฌ์ด
08:30
of running barefoot on Table Mountain and playing cops and robbers.
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Table Mountain(๋‚จ์•„ํ”„๋ฆฌ์นด ๊ณตํ™”๊ตญ์˜ ์‚ฐ)์„ ๋งจ๋ฐœ๋กœ ๋‹ฌ๋ฆฌ๋Š” ๋„๋‘‘๊ณผ ์ˆœ๊ฒฝ์„ ์ƒ์ƒํ•˜๊ฒŒ ํ•  ์ˆ˜ ์žˆ์–ด์š”.
08:34
Quite recently she told me
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์•„์ฃผ ์ตœ๊ทผ์—
08:35
that in 1948, two of her sisters and my father
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์ œ ๋‘ ์—ฌํ˜•์ œ์™€ ์•„๋ฒ„์ง€๊ฐ€ 1948 ๋…„์—
08:39
traveled on a boat to Israel without my grandparents.
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์กฐ๋ถ€๋ชจ๋‹˜์—†์ด ๋ฐฐ ํƒ€๊ณ  ์ด์Šค๋ผ์—˜ ์—ฌํ–‰ํ–ˆ์—ˆ๋‹ค๊ณ  ์–˜๊ธฐํ•ด์คฌ์–ด์š”.
08:41
When the sailors mutinied at sea in a demand for humane conditions,
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๊ทธ ๋ฐฐ์˜ ์„ ์›๋“ค์ด ๋ฐ”๋‹ค์—์„œ ์ธ๊ฐ„์ ์ธ ๋Œ€์šฐ๋ฅผ
08:46
it was these teenagers that fed the crew.
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์š”๊ตฌํ•˜๋ฉฐ ํญ๋™์„ ์ผ์œผ์ผฐ์–ด์š”.
08:50
I was past 40 when my father died.
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์•„๋ฒ„์ง€๊ฐ€ ๋Œ์•„๊ฐ€์…จ์„๋•Œ ์ €๋Š” ๋ฒŒ์จ ์‚ฌ์‹ญ์ด ๋„˜์—ˆ์—ˆ์๋‹ˆ๋‹ค
08:52
He never mentioned that journey.
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์•„๋ฒ„์ง€๋Š” ์ „ํ˜€ ๊ทธ ์—ฌํ–‰์— ๋Œ€ํ•ด ์–ธ๊ธ‰ํ•˜์ง€ ์•Š์œผ์…จ์–ด์š”.
08:54
My mother's mother left Europe in a hurry
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์ €์˜ ์™ธํ• ๋จธ๋‹ˆ๋Š” ์„œ๋‘˜๋Ÿฌ ์œ ๋Ÿฝ์„ ๋– ๋‚ฌ์–ด์š”.
08:58
without her husband, but with her three-year-old daughter
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๋‚จํŽธ์—†์ด ์„ธ์‚ด๋ฐ•์ด ๋”ธ์„ ๋ฐ๋ฆฌ๊ณ ,
09:01
and diamonds sewn into the hem of her skirt.
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๋‹ค์ด์•„๋ชฌ๋“œ๋ฅผ ์น˜๋งˆ๋‹จ์— ๊ผฌ๋งค๋„ฃ๊ณ 
09:05
After two years in hiding,
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2๋…„๋™์•ˆ ์ˆจ์–ด์žˆ๋‹ค๊ฐ€
09:07
my grandfather appeared in London.
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์ €ํฌ ํ• ์•„๋ฒ„์ง€๋Š” ๋Ÿฐ๋˜์— ๋‚˜ํƒ€๋‚ฌ์–ด์š”
09:09
He was never right again.
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๊ทธํ›„ ๋๋‚ด ์ •์ƒํšŒ๋ณตํ•˜์ง€ ๋ชปํ–ˆ์–ด์š”.
09:12
And his story was hushed as he assimilated.
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๋™ํ™”ํ•œ ํ›„ ๊ทธ์˜ ์ด์•ผ๊ธฐ๋Š” ๋น„๋ฐ€์— ๋ถ€์ณ์กŒ์–ด์š”.
09:16
My story started in England
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์ œ ๊ฐœ์ธ ์ด์•ผ๊ธฐ๋Š” ์˜๊ตญ์—์„œ
09:20
with a clean slate and the silence of immigrant parents.
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์ด๋ฏผ ๋ถ€๋ชจ์˜ ์นจ๋ฌต์œผ๋กœ ์ „๊ณผ ๊ธฐ๋ก์—†์ด ์‹œ์ž‘๋์๋‹ˆ๋‹ค
09:25
I had "Anne Frank," "The Great Escape,"
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์ €๋Š” "Anne Frank," "The Great Escape,"
09:27
"Shoah," "Triumph of the Will."
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"Shoah," "Triumph of the Will"๋ฅผ ๋ดค์๋‹ˆ๋‹ค.
09:29
It was Leni Riefenstahl
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Leni Riefenstahl์˜
09:31
in her elegant Nazi propaganda
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๊ณ ์ƒํ•œ ๋‚˜์น˜ ์„ ์ „๋ฌผ์ด
09:34
who gave context to what the family had to endure.
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๋‚ด๊ฒŒ ์šฐ๋ฆฌ๊ฐ€์กฑ์ด ๊ฒช์€ ์ƒํ™ฉ์„ ์•Œ๋ ค์ฃผ์—ˆ์–ด์š”.
09:38
These films held what was too hurtful to say out loud,
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์ด์˜ํ™”๋“ค์€ ์ฐจ๋งˆ ์ž…๋ฐ–์— ๋‚ด๊ธฐ์—๋Š” ๋„ˆ๋ฌด ๊ดด๋กœ์šด ๊ฒƒ๋“ค์„ ๋‹ด๊ณ  ์žˆ์—ˆ๊ณ 
09:44
and they became more useful to me
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์ œ๊ฒŒ๋Š” ํ›จ์”ฌ ์“ธ๋ชจ ์žˆ์—ˆ์–ด์š”.
09:46
than the whispers of survivors
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์ƒ์กด์ž๋“ค์˜ ์†์‚ญ์ž„์ด๋‚˜,
09:49
and the occasional glimpse of a tattoo
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๊ฐ€๋” ํ ์ณ ๋ณด๋Š”
09:52
on a maiden aunt's wrist.
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์ฒ˜๋…€ ์ด๋ชจ์˜ ์†๋ชฉ์˜ ๋ฌธ์‹ ๋ณด๋‹ค
09:54
Purists may feel that fiction dissipates
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์ˆœ์ •์ฃผ์˜์ž๋“ค์€
09:57
the quest of real human understanding,
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์˜ํ™”๊ฐ€ ๋ณต์žกํ•˜๊ณ  ์ž์„ธํ•œ ์—ญ์‚ฌ๋ฅผ ๋ฌ˜์‚ฌํ•˜๊ธฐ ์œ„ํ•ด
10:00
that film is too crude
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๋„ˆ๋ฌด ํ—ˆ์ˆ ํ•˜๋‹ค๋˜๊ฐ€,
10:02
to tell a complex and detailed history,
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์˜ํ™”์ œ์ž‘์ž๊ฐ€ ์ง„์‹ค๋ณด๋‹ค ๋“œ๋ผ๋งˆ๋ฅผ ํƒํ•œ๋‹ค๋˜๊ฐ€ ํ•ด์„œ
10:04
or that filmmakers always serve drama over truth.
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ํ—ˆ๊ตฌ๋Š” ์ง„์‹ค๋œ ์ธ๊ฐ„์˜ ์ดํ•ด๋ฅผ ์ถ”๊ตฌํ•˜๋Š”๋…ธ๋ ฅ์„ ์ˆ˜ํฌ๋กœ ๋Œ๋ฆฌ๋Š” ๊ฒƒ์œผ๋กœ ๋Š๋‚„์ง€ ๋ชจ๋ฅด๊ฒ ์–ด์š”.
10:08
But within the reels lie purpose and meaning.
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๊ทธ๋ ‡์ง€๋งŒ ์˜์‚ฌ๊ธฐ๋ฅผ ํ†ตํ•ด ๋ชฉ์ ๊ณผ ์˜๋ฏธ๊ฐ€ ์ „๋‹ฌ ๊ฐ€๋Šฅํ•ฉ๋‹ˆ๋‹ค.
10:12
As one 12-year-old said after watching "Wizard of Oz,"
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์–ด๋Š 12์‚ด ์งœ๋ฆฌ๊ฐ€ "์˜ค์ฆˆ์˜ ๋งˆ๋ฒ•์‚ฌ"๋ฅผ ๋ณด๊ณ  ๋‚˜์„œ ๋งํ•œ๋Œ€๋กœ,
10:15
"Every person should watch this,
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"๋ˆ„๊ตฌ๋˜์ง€ ์ด ์˜ํ™”๋ฅผ ๋ด์•ผํ•ด์š”,
10:17
because unless you do
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์™œ๋ƒํ•˜๋ฉด, ์•ˆ ๋ณด๋ฉด,
10:19
you may not know that you too have a heart."
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๋‹น์‹ ๋„ ๋งˆ์Œ์„ ๊ฐ€์ง€๊ณ  ์žˆ๋‹ค๋Š” ๊ฑธ ๋ชจ๋ฅผ ์ˆ˜ ์žˆ์–ด์š”."
10:24
We honor reading, why not honor watching with the same passion?
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์ฑ… ์ฝ๋Š” ๊ฒƒ ์€ ๊ถŒ์žฅํ•˜๋ฉด์„œ, ์™œ ์˜ํ™” ๋ณด๋Š” ๊ฒƒ์„ ๊ฐ™์€ ์—ด์„ฑ์œผ๋กœ ํ›„์›ํ•˜์ง€ ์•Š์ฃ ?
10:28
Consider "Citizen Kane" as valuable as Jane Austen.
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"Citizen Kane"์ด ์ œ์ธ ์˜ค์Šคํ‹ด ๋งŒํผ ๊ฐ’์ง‘๋‹ˆ๋‹ค.
10:31
Agree that "Boyz n the Hood," like Tennyson,
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"Boyz n the Hood"๊ฐ€ ํ…Œ๋‹ˆ์Šจ ์ฒ˜๋Ÿผ
10:35
offers an emotional landscape and a heightened understanding
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์ƒํ˜ธ์ž‘์šฉํ•˜๋Š” ๊ฐ์ •์˜๊ฒฝ์น˜์™€ ์ดํ•ด์˜ ๊ณ ์–‘์„
10:39
that work together.
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๋ถ€์—ฌํ•จ์— ๋™์˜ํ•˜์‹ญ์‹œ์š”.
10:40
Each a piece of memorable art,
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๊ฐ ์˜ํ™” ํ•œ ํŽธ ํ•œ ํŽธ์ด ๊ธฐ์–ตํ•  ์˜ˆ์ˆ  ์ž‘ํ’ˆ์œผ๋กœ์จ
10:42
each a brick in the wall of who we are.
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์šฐ๋ฆฌ๊ฐ€ ๋ˆ„๊ตฐ๊ฐ€๋ฅผ ๋ณด์—ฌ์ฃผ๋Š” ๋‹ด์žฅ ๋‚ด ํ•œ ์žฅ ํ•œ ์žฅ ๋ฒฝ๋Œ์— ํ•ด๋‹นํ•ฉ๋‹ˆ๋‹ค.
10:45
And it's okay if we remember Tom Hanks
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์šฐ์ฃผ๋น„ํ–‰์‚ฌ Jim Lovell ๋ณด๋‹ค Tom Hanks๋ฅผ
10:48
better than astronaut Jim Lovell
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๋” ์ž˜ ๊ธฐ์–ตํ•œ๋‹ค๋˜๊ฐ€,
10:50
or have Ben Kingsley's face superimposed onto that of Gandhi's.
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Ben Kingsley์˜ ์–ผ๊ตด์ด ๊ฐ„๋””์˜ ์–ผ๊ตด์— ๊ฒน์ณ๋ณด์—ฌ๋„ ๊ดœ์ฐฎ์Šต๋‹ˆ๋‹ค.
10:55
And though not real, Eve Harrington, Howard Beale, Mildred Pierce
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ํ˜„์‹ค์ด ์•„๋‹ˆ์ง€๋งŒ, Eve Harrington, Howard Beale, Mildred Pierce๋ฅผ ํ†ตํ•ด
10:58
are an opportunity to discover
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์ธ๊ฐ„์ด๋ž€ ๋ฌด์—‡์ธ๊ฐ€๋ฅผ
11:01
what it is to be human,
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๊นจ๋‹ซ๋Š”๋‹ค๋Š” ๊ฒƒ์ด
11:03
and no less helpful to understanding our life and times
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์šฐ๋ฆฌ์˜ ์„ธ๋Œ€์™€ ์‚ถ์„ ์ดํ•ดํ•˜๋Š”๋ฐ ๋„์›€์ด ๋ฉ๋‹ˆ๋‹ค.
11:08
as Shakespeare is in illuminating the world of Elizabethan England.
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์…ฐ์ต์Šคํ”ผ์–ด๊ฐ€ ์˜๊ตญ ์—˜๋ฆฌ์ž๋ฒ ๋“œ ์‹œ๋Œ€๋ฅผ ๋ฐํ˜”๋˜ ๊ฒƒ ๋งŒํผ
11:13
We guessed that film,
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์˜ํ™” ๊ทธ๋ฆฌ๊ณ 
11:15
whose stories are a meeting place
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์˜ํ™” ์†์˜ ์–˜๊ธฐ๋“ค์ด
11:17
of drama, music, literature and human experience,
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๋“œ๋ผ๋งˆ, ์Œ์•…, ๋ฌธํ•™, ์ธ๊ฐ„๊ฒฝํ—˜์˜ ์–ด์šฐ๋Ÿฌ์ง€๋Š” ์žฅ์†Œ๋กœ์จ
11:19
would engage and inspire the young people participating in FILMCLUB.
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์ฒญ์†Œ๋…„๋“ค์˜ ๊ด€์‹ฌ์„ ๋Œ์–ด FILMCLUB์— ์ฐธ๊ฐ€์‹œํ‚ฌ ๊ฑฐ๋ผ๋Š” ๊ฒƒ์€ ์•Œ์•˜์–ด์š”.
11:24
What we could not have foreseen
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์šฐ๋ฆฌ๊ฐ€ ์˜ˆ์ƒํ•˜์ง€ ๋ชปํ•œ๊ฒƒ์€
11:25
was the measurable improvements
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ํ–‰๋™, ์ž์‹ ๊ฐ, ํ•™๋ ฅ ๋ถ€๋ฌธ์—์„œ์˜
11:27
in behavior, confidence and academic achievement.
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์ฃผ๋ชฉํ•  ๋งŒํ•œ ํ–ฅ์ƒ์ž…๋‹ˆ๋‹ค.
11:30
Once-reluctant students now race to school, talk to their teachers,
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์ „์— ์˜์š•์—†๋˜ ํ•™์ƒ๋“ค์ด ์ด์   ์—ด์‹ฌํžˆ ๋“ฑ๊ตํ•˜๊ณ , ์„ ์ƒ๋‹˜๊ณผ ์ด์•ผ๊ธฐ ํ•˜๋ฉฐ,
11:35
fight, not on the playground,
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์‹ธ์šฐ๋Š”๋ฐ์š”, ๋†€์ดํ„ฐ์—์„œ๊ฐ€ ์•„๋‹ˆ๋ผ,
11:36
but to choose next week's film --
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๋‹ค์Œ์ฃผ ์˜ํ™”๋ฅผ ์ •ํ•˜๊ธฐ ์œ„ํ•ด์„œ์˜ˆ์š”--
11:38
young people who have found self-definition, ambition
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์ž์‹ ์˜ ์ •์ฒด, ์•ผ์‹ฌ,
11:42
and an appetite for education and social engagement
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๊ทธ๋ฆฌ๊ณ  ๊ต์œก๊ณผ ์‚ฌํšŒ ์ฐธ์—ฌ์—์˜ ์˜์š•์„
11:46
from the stories they have witnessed.
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์ž์‹ ๋“ค์ด ๋ณธ ์ด์•ผ๊ธฐ๋“ค์—์„œ ๋ฐœ๊ฒฌํ•œ ์ฒญ์†Œ๋…„๋“ค์ด์ฃ .
11:49
Our members defy the binary description
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์šฐ๋ฆฌ ํšŒ์›๋“ค์€ ์‚ฌ๋žŒ๋“ค์ด ํ”ํžˆ
11:53
of how we so often describe our young.
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ํ•™์ƒ๋“ค์„ ์ด์ง„๋ฒ•์ ์œผ๋กœ ๋ฌ˜์‚ฌํ•˜๋Š” ๊ฒƒ์„ ์‹ซ์–ดํ•ฉ๋‹ˆ๋‹ค.
11:55
They are neither feral nor myopically self-absorbed.
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๊ทธ๋“ค์€ (๊ฑฐ์น ๊ฑฐ๋‚˜) ์•ผ์„ฑ์ ์ด์ง€๋„ ์•Š๊ณ  ๊ทผ์‹œ์•ˆ์ ์œผ๋กœ ์ž๊ธฐ์ƒ๊ฐ์—๋งŒ ๊ณจ๋˜˜ํ•˜์ง€๋„ ์•Š์Šต๋‹ˆ๋‹ค.
12:00
They are, like other young people,
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๊ทธ๋“ค์€ ๋‹ค๋ฅธ ์—ฌ๋Š ์•„์ด๋“ค์ฒ˜๋Ÿผ,
12:02
negotiating a world with infinite choice,
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์„ ํƒ์€ ๋ฌดํ•œํ•˜๋‚˜
12:06
but little culture of how to find meaningful experience.
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๋ฌธํ™”์ ์œผ๋กœ๋Š” ๋ณด์ž˜๊ฒƒ ์—†๋Š” ์„ธ์ƒ์—์„œ ํƒ€ํ˜‘ํ•˜๊ณ  ์žˆ์–ด์š”
12:10
We appeared surprised at the behaviors
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์šฐ๋ฆฌ๋Š” ์‹ ๋ฐœ์œ„ ์ง„๋“œ๊ธฐ์˜ ํฌ๊ธฐ๋กœ
12:13
of those who define themselves
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์ž์‹ ์„ ์ •์˜ํ•˜๋Š” ์•„์ด๋“ค์˜ ํ–‰๋™์—
12:15
by the size of the tick on their shoes,
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๋†€๋ž€๋“ฏํ•˜์ง€๋งŒ,
12:17
yet acquisition has been the narrative we have offered.
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์‹ค์ œ ์„ฑ์ทจํ•œ๊ฒƒ์€ ์šฐ๋ฆฌ๊ฐ€ ์ œ๊ณตํ•œ ์ด์•ผ๊ธฐ์—์„œ ๋น„๋กฏ๋ฉ๋‹ˆ๋‹ค.
12:21
If we want different values
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๋‹ค๋ฅธ ๊ฐ€์น˜๋ฅผ ์›ํ•˜๋ฉด
12:23
we have to tell a different story,
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๋‹ค๋ฅธ ์ด์•ผ๊ธฐ๋ฅผ ํ•ด์•ผ์ฃ ,
12:27
a story that understands that an individual narrative
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๊ฐœ์ธ์˜ ์„œ์ˆ ํ•˜๋Š” ๋ฐ”๊ฐ€
12:31
is an essential component of a person's identity,
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๊ฐœ์ธ์˜ ์ •์ฒด๊ฐ์— ๊ธฐ๋ณธ์  ๋ถ€๋ถ„์ด๋“ฏ
12:34
that a collective narrative
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๊ณต๋™ ์„œ์ˆ ์€
12:36
is an essential component of a cultural identity,
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๋ฌธํ™”์  ์ •์ฒด์„ฑ์— ๊ทผ๋ณธ์ ์ธ๊ฒƒ์ด๋ฉฐ,
12:40
and without it it is impossible to imagine yourself
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๊ทธ๊ฒƒ์ด ์—†์œผ๋ฉด ๊ฐœ์ธ์ด
12:44
as part of a group.
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์ง‘๋‹จ์— ์†ํ•˜๋Š”๊ฒƒ์€ ๋ถˆ๊ฐ€๋Šฅํ•˜๊ฒŒ ๋˜์ฃ .
12:45
Because when these people get home
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์™œ๋ƒํ•˜๋ฉด "Rear Window"๋ฅผ ๋ณธํ›„
12:48
after a screening of "Rear Window"
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์ง‘์—๊ฐ€์„œ
12:51
and raise their gaze to the building next door,
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์ด์›ƒ๋นŒ๋”ฉ์— ์‹œ์„ ์„ ์ฃผ์—ˆ๋‹ค๋ฉด,
12:54
they have the tools to wonder who, apart from them,
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์ด ์‚ฌ๋žŒ๋“ค์€ ์ž๊ธฐ ์ž์‹ ์„ ๋– ๋‚˜,
12:57
is out there
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๋ˆ„๊ฐ€ ๋ฌด์Šจ ์ด์•ผ๊ธฐ๋ฅผ ๊ฐ€์ง€๊ณ  ๊ฑฐ๊ธฐ ์‚ฌ๋Š”์ง€,
12:59
and what is their story.
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๊ด€์‹ฌ ๊ฐ€์งˆ ๋Šฅ๋ ฅ์„ ๊ฐ–์ถ”์—ˆ๊ธฐ ๋•Œ๋ฌธ์ด์ฃ ..
13:01
Thank you.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
13:03
(Applause)
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(๋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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