Lauren Zalaznick: The conscience of television

96,887 views ใƒป 2011-09-16

TED


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

๋ฒˆ์—ญ: bowon chung ๊ฒ€ํ† : Jung-Eun Kim
00:15
I want to say that really and truly,
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์ €๋Š” ์ง„์‹ฌ์œผ๋กœ, ์ง„์ •์œผ๋กœ ๋งํ•˜๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค
00:17
after these incredible speeches
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์ด ๋†€๋ผ์šด ๊ฐ•์—ฐ๊ณผ ์•„์ด๋””์–ด๋“ค์ด
00:19
and ideas that are being spread,
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๋„๋ฆฌ ํผ์ง€๊ณ  ๋‚œ ํ›„์—
00:21
I am in the awkward position
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์˜ค๋Š˜ ์ €๋Š” ์ด ๋†€๋ผ์šด ์œ„์น˜์— ์„œ์„œ
00:23
of being here to talk to you today
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์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ ์˜ค๋Š˜ ๊ฐ•์—ฐ์„ ํ•œ ์‚ฌ๋žŒ์ด๋ผ๊ณ ์š”.
00:25
about television.
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TV์— ๋Œ€ํ•ด์„œ ๋ง์ด์ง€์š”.
00:28
So most everyone watches TV.
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์ž, ๊ฑฐ์˜ ๋ชจ๋“  ์‚ฌ๋žŒ๋“ค์ด TV๋ฅผ ๋ด…๋‹ˆ๋‹ค.
00:30
We like it. We like some parts of it.
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์šฐ๋ฆฐ TV๋ฅผ ์ข‹์•„ํ•ด์š”. TV์˜ ์—ฌ๋Ÿฌ ๋ถ€๋ถ„์„ ์ข‹์•„ํ•˜์ฃ .
00:33
Here in America, people actually love TV.
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์ด๊ณณ์€ ๋ฏธ๊ตญ์ด๊ณ  ์‚ฌ๋žŒ๋“ค์€ ์‹ค์งˆ์ ์œผ๋กœ TV๋ฅผ ์‚ฌ๋ž‘ํ•ฉ๋‹ˆ๋‹ค.
00:36
The average American watches TV
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ํ‰๊ท ์ ์ธ ๋ฏธ๊ตญ์ธ๋“ค์€ TV๋ฅผ
00:39
for almost 5 hours a day.
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ํ•˜๋ฃจ์— ๊ฑฐ์˜ 5์‹œ๊ฐ„๊ฐ€๋Ÿ‰์„ ๋ด…๋‹ˆ๋‹ค.
00:42
Okay?
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๊ทธ๋ ‡์ฃ ?
00:44
Now I happen to make my living these days in television,
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์ด์ œ TV์•ˆ์—์„œ ์ œ ์ตœ๊ทผ ์‚ถ์„ ๋งŒ๋“ ๋‹ค๋ฉด
00:47
so for me, that's a good thing.
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์ œ๊ฒŒ๋Š”, ์ •๋ง ์ข‹์€ ์ผ์ž…๋‹ˆ๋‹ค.
00:49
But a lot of people don't love it so much.
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ํ•˜์ง€๋งŒ ์ •๋ง ๋งŽ์€ ์‚ฌ๋žŒ๋“ค์ด ์ด๊ฑธ ๋ณ„๋กœ ์ข‹์•„ํ•˜์ง€ ์•Š๊ฒ ์ง€์š”.
00:52
They, in fact, berate it.
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๊ทธ๋“ค์€, ์‚ฌ์‹ค์€, ๋น„๋‚œํ• ๊ฑฐ์˜ˆ์š”.
00:54
They call it stupid,
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์–ด๋ฆฌ์„์€ ์ง“์ด๋ผ๊ณ ,
00:56
and worse, believe me.
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๋˜๋Š” ๋” ๋‚˜์˜๊ฒŒ ์–˜๊ธฐํ•  ์ˆ˜๋„ ์žˆ์ฃ , ๋ถ„๋ช…ํ•ฉ๋‹ˆ๋‹ค.
00:58
My mother, growing up,
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๋‚˜์˜ ์–ด๋จธ๋‹ˆ๋Š”, ์ œ๊ฐ€ ์ž๋ผ๋ฉด์„œ
01:00
she called it the "idiot box."
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TV๋ฅผ "๋ฐ”๋ณด์ƒ์ž"๋ผ๊ณ  ๋ถˆ๋ €์Šต๋‹ˆ๋‹ค.
01:02
But my idea today is not to debate
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ํ•˜์ง€๋งŒ ์˜ค๋Š˜ ์ œ๊ฐ€ ์ด์•ผ๊ธฐํ•˜๊ณ ์ž ํ•˜๋Š” ๊ฒƒ์€
01:04
whether there's such a thing as good TV or bad TV;
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๋ฌด์—‡์ด ์ข‹์€TV์ด๊ณ  ๋‚˜์œ TV์ธ์ง€ ํ•˜๋Š” ๋…ผ์Ÿ์ด ์•„๋‹™๋‹ˆ๋‹ค.
01:07
my idea today
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์˜ค๋Š˜ ์ €๋Š”,
01:09
is to tell you that I believe
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TV์—๋„ ์˜์‹์ด ์žˆ๋‹ค๋Š” ๊ฒƒ์— ๋Œ€ํ•ด
01:11
television has a conscience.
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๋ง์”€๋“œ๋ฆฌ๊ณ ์ž ๋‚˜์™”์Šต๋‹ˆ๋‹ค.
01:14
So why I believe that television has a conscience
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๊ทธ๋Ÿผ, ์ œ๊ฐ€ TV์—๊ฒŒ ์˜์‹์ด ์žˆ๋‹ค๊ณ  ๋ฏฟ๋Š” ์ด์œ ๋ž€
01:17
is that I actually believe
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์‚ฌ์‹ค์ƒ,
01:19
that television directly reflects
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TV๊ฐ€ ์ง์ ‘์ ์œผ๋กœ
01:22
the moral, political,
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์šฐ๋ฆฌ ๋‚˜๋ผ๊ฐ€ ์š”๊ตฌํ•˜๋Š”
01:24
social and emotional need states of our nation --
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๋„๋•๊ณผ ์ •์น˜, ๊ทธ๋ฆฌ๊ณ  ์‚ฌํšŒ, ๊ฐ์ •๋“ค์„ ๋ฐ˜์˜ํ•˜๊ณ  ์žˆ์œผ๋ฉฐ
01:27
that television is how we actually disseminate
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๊ทธ๋Ÿผ์œผ๋กœ์จ TV๋Š” ์‚ฌ์‹ค์ƒ ์šฐ๋ฆฌ์˜ ๋ชจ๋“  ๊ฐ€์น˜ ์‹œ์Šคํ…œ์„
01:30
our entire value system.
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ํผํŠธ๋ฆฌ๊ณ  ์žˆ์Œ์„ ๋ฏฟ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
01:32
So all these things are uniquely human,
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์ด ๋ชจ๋“  ๊ฒƒ๋“ค์€ ํฅ๋ฏธ๋กœ์šธ ์ •๋„๋กœ ์ธ๊ฐ„์ ์ด๋ฉฐ
01:35
and they all add up
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์ด๋“ค์€ ๋ชจ๋‘ ์šฐ๋ฆฌ๊ฐ€ ๊ฐ€์ง„ ์˜์‹์— ๋Œ€ํ•œ ์‚ฌ๊ณ ์—
01:37
to our idea of conscience.
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์ฐจ๊ณก ์ฐจ๊ณก ์ถ•์ ๋ฉ๋‹ˆ๋‹ค.
01:39
Now today, we're not talking about good and bad TV.
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์ด์ œ ์šฐ๋ฆฌ๋Š” ๋”์ด์ƒ TV๊ฐ€ ์ข‹๋‹ค ๋‚˜์˜๋‹ค ์ด์•ผ๊ธฐ ํ•˜์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
01:41
We're talking about popular TV.
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์šฐ๋ฆฌ๋Š” "์š” ๊ทผ๋ž˜ TV"์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
01:44
We're talking about top-10 Nielsen-rated shows
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๋‹์Šจ์ด ์ง€๋‚œ 50๋…„์— ๊ฑธ์ณ ๋ฝ‘์€ ํ†ฑํ… TV์‡ผ์—
01:47
over the course of 50 years.
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๋Œ€ํ•ด์„œ ์ด์•ผ๊ธฐํ•ด๋ด…์‹œ๋‹ค.
01:49
How do these Nielsen ratings
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์–ด๋–ป๊ฒŒ ์ด ๋‹์Šจ ํ†ต๊ณ„๊ฐ€
01:51
reflect not just what you've heard about,
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์šฐ๋ฆฌ๊ฐ€ ์‚ฌํšŒ์ /์ง‘๋‹จ์  ๋ฌด์˜์‹์— ๋Œ€ํ•œ ์ƒ๊ฐ์œผ๋กœ
01:54
which is the idea of our social, collective unconscious,
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๋“ค์–ด์™”๋˜ ๊ฒƒ๋“ค์„ ๋ฐ˜์˜ํ•˜๊ณ , ๋˜ ๋ฌด์˜์‹ ๋ฟ ์•„๋‹ˆ๋ผ
01:58
but how do these top-10 Nielsen-rated shows
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์šฐ๋ฆฌ์˜ ์‚ฌํšŒ์  ์˜์‹์— ๋Œ€ํ•œ ์ƒ๊ฐ์„
02:00
over 50 years
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๋ฐ˜์˜ํ•˜๋Š” ๊ฑธ๊นŒ์š”?
02:02
reflect the idea
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๋‹์Šจ ํ†ฑํ… TV์†Œ๋“ค์ด
02:04
of our social conscience?
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50๋…„์„ ๊ฑธ์ณ์˜ค๋ฉด์„œ ๋‚ด๋‚ด ๋ง์˜ˆ์š”.
02:06
How does television evolve over time,
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์–ด๋–ป๊ฒŒ TV๊ฐ€ ์‹œ๊ฐ„์†์—์„œ ์ง„ํ™”ํ•˜๊ณ 
02:08
and what does this say about our society?
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์ด๋Ÿฐ ์ง„ํ™”๋Š” ์šฐ๋ฆฌ ์‚ฌํšŒ์— ๋ฌด์—‡์„ ์ด์•ผ๊ธฐํ•˜๋Š” ๊ฑธ๊นŒ์š”?
02:10
Now speaking of evolution,
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์ง„ํ™”์— ๋Œ€ํ•ด ์ด์•ผ๊ธฐํ•˜์ž๋ฉด,
02:12
from basic biology, you probably remember
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๊ธฐ์ดˆ์ ์ธ ์ƒ๋ฌผํ•™์—์„œ, ์—ฌ๋Ÿฌ๋ถ„์ด ๊ธฐ์–ตํ•˜์‹œ๋Š” ๋ฐ”๋Œ€๋กœ
02:15
that the animal kingdom, including humans,
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-์‚ฌ๋žŒ์„ ํฌํ•จํ•œ- ๋™๋ฌผ์˜ ์™•๊ตญ์—์„œ๋Š”
02:18
have four basic primal instincts.
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๋„ค๊ฐ€์ง€ ์ตœ์ƒ์œ„ ๊ธฐ์ดˆ ๋ณธ๋Šฅ์ด ์กด์žฌํ•ฉ๋‹ˆ๋‹ค.
02:20
You have hunger; you have sex; you have power;
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์—ฌ๋Ÿฌ๋ถ„์ด ๊ฐ€์ง„ ์‹์š•, ์„ฑ์š•, ๊ถŒ๋ ฅ์š•, ๊ทธ๋ฆฌ๊ณ 
02:23
and you have the urge for acquisitiveness.
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์†Œ์œ /ํš๋“์— ๋Œ€ํ•œ ์ถฉ๋™์ด ๊ทธ ๋ณธ๋Šฅ์ด์ฃ .
02:27
As humans, what's important to remember
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์ธ๊ฐ„์œผ๋กœ์„œ, ์šฐ๋ฆฌ๊ฐ€ ๊ธฐ์–ตํ•ด์•ผํ•  ์ค‘์š”ํ•œ ๋ถ€๋ถ„์€
02:29
is that we've developed, we've evolved over time
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์šฐ๋ฆฌ๊ฐ€ ์˜ค๋žœ ์‹œ๊ฐ„์— ๊ฑธ์ณ ์ด๋Ÿฐ ๋™๋ฌผ์ ์ธ ์š•๊ตฌ๋“ค์„
02:32
to temper, or tame,
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๋ˆ„๊ทธ๋Ÿฌ๋œจ๋ฆฌ๊ณ , ๋‹ค์Šค๋ฆฌ๋„๋ก
02:34
these basic animal instincts.
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๋ฐœ์ „ํ•˜๊ณ  ์ง„ํ™”ํ–ˆ๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
02:37
We have the capacity to laugh and cry.
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์šฐ๋ฆฌ๋Š” ์›ƒ๊ณ  ์šธ ์ˆ˜ ์žˆ๋Š” ๋Šฅ๋ ฅ์ด ์žˆ์Šต๋‹ˆ๋‹ค.
02:40
We feel awe, we feel pity.
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์šฐ๋ฆฌ๋Š” ๋†€๋ผ๊ณ , ๋™์ •ํ•˜๊ธฐ๋„ ํ•˜์ฃ .
02:42
That is separate and apart
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์ด๋Ÿฐ ํŠน์„ฑ์€ ๋™๋ฌผ์˜ ์™•๊ตญ์œผ๋กœ๋ถ€ํ„ฐ
02:44
from the animal kingdom.
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๋ถ„๋ฆฌ๋˜๊ณ  ๋…๋ฆฝํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
02:46
The other thing about human beings
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์ธ๊ฐ„์ด ๊ฐ€์ง€๋Š” ๋™๋ฌผ๋“ค๊ณผ์˜ ์ฐจ์ด์  ํ•˜๋‚˜๋Š”
02:48
is that we love to be entertained.
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์šฐ๋ฆฌ๊ฐ€ ์ฆ๊ธฐ๊ธฐ๋ฅผ ์‚ฌ๋ž‘ํ•œ๋‹ค๋Š” ์ ์ด์ฃ .
02:51
We love to watch TV.
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์šฐ๋ฆฐ TV๋ณด๊ธฐ๋ฅผ ์‚ฌ๋ž‘ํ•ด์š”.
02:53
This is something that clearly separates us
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์ด๊ฒƒ์€ ์šฐ๋ฆฌ๋ฅผ ์™„๋ฒฝํ•˜๊ฒŒ ๋™๋ฌผ๋“ค๋กœ๋ถ€ํ„ฐ
02:55
from the animal kingdom.
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๋ถ„๋ฆฌ์‹œ์ผœ์ฃผ๋Š” ์–ด๋–ค ํŠน์„ฑ์ž…๋‹ˆ๋‹ค.
02:57
Animals might love to play,
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๋™๋ฌผ๋“ค๋„ ์‚ฌ๋ž‘์„ ํ•˜๊ณ  ๋†€์ด๋ฅผ ํ•˜์ง€๋งŒ
02:59
but they don't love to watch.
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๊ทธ๋“ค์€ ๋ณด๋Š” ๊ฑธ ์ฆ๊ธฐ์ง„ ์•Š์•„์š”.
03:02
So I had an ambition
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๊ทธ๋ž˜์„œ ์ €๋Š” TV ํ”„๋กœ๊ทธ๋žจ๊ณผ
03:04
to discover what could be understood
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์ธ๊ฐ„์˜ ์˜์‹ ์‚ฌ์ด์—์„œ ์ด๋ฃจ์–ด์ง€๋Š”
03:06
from this uniquely human relationship
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๋…ํŠนํ•œ ์ธ๊ฐ„๊ด€๊ณ„๋ฅผ ํ†ตํ•ด ์–ป์–ด๋‚ผ ์ˆ˜ ์žˆ๋Š”
03:08
between television programs
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์–ด๋–ค ๊นจ๋‹ฌ์Œ์„ ์–ป๊ฒ ๋‹ค๋Š”
03:10
and the human conscious.
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์—ด์ •์„ ํ’ˆ๊ฒŒ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
03:12
Why has television entertainment evolved the way it has?
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์–ด์งธ์„œ TVํ”„๋กœ๊ทธ๋žจ์€ ์ง€๊ธˆ ๊ฐ™์€ ๋ฐฉํ–ฅ์œผ๋กœ ์ง„ํ™”ํ–ˆ์„๊นŒ์š”?
03:15
I kind of think of it
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์ด๋Ÿฐ ์งˆ๋ฌธ์„ ํ•ด๋ดค์Šต๋‹ˆ๋‹ค.
03:17
as this cartoon devil or angel
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๋งŒํ™”์—์„œ ์•…๋งˆ๋‚˜ ์ฒœ์‚ฌ๊ฐ€
03:19
sitting on our shoulders.
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์šฐ๋ฆฌ์˜ ์–ด๊นจ ์œ„์— ์•‰์€ ๊ฒƒ์ฒ˜๋Ÿผ
03:21
Is television literally functioning
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TV๊ฐ€ ๋ฌธ์ž ๊ทธ๋Œ€๋กœ
03:23
as our conscience,
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์šฐ๋ฆฌ์˜ ์˜์‹๊ณผ๋„ ๊ฐ™์ด ์ž‘์šฉํ•˜๋Š”๊ฐ€.
03:25
tempting us and rewarding us at the same time?
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์šฐ๋ฆฌ๋ฅผ ์œ ํ˜นํ•˜๊ณ  ๋™์‹œ์— ๊ทธ ๋ณด์ƒ์„ ์ฃผ๋Š”๊ฐ€?
03:28
So to begin to answer these questions,
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์ด ์งˆ๋ฌธ์— ๋‹ต๋ณ€์„ ํ•˜๊ธฐ์œ„ํ•ด์„œ
03:30
we did a research study.
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์—ฐ๊ตฌ๋ฅผ ์ง„ํ–‰ํ–ˆ์ฃ .
03:32
We went back 50 years
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์šฐ๋ฆฌ๋Š” 50๋…„์ „,
03:34
to the 1959/1960 television season.
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1959/1960๋…„์˜ TV์‹œ์ฆŒ์œผ๋กœ ๋Œ์•„๊ฐ€์„œ
03:37
We surveyed the top-20 Nielsen shows
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์šฐ๋ฆฌ๋Š” ๋งค ํ•ด์˜ ํ†ฑ20 ๋‹์Šจ ์‡ผ๋ฅผ
03:39
every year for 50 years --
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50๋…„ ๊ฑด์— ๊ฑธ์ณ-์•ฝ ์ฒœ ํŽธ์— ๋Œ€ํ•ด
03:41
a thousand shows.
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์กฐ์‚ฌํ–ˆ์Šต๋‹ˆ๋‹ค.
03:43
We talked to over 3,000 individuals --
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18์„ธ๋ถ€ํ„ฐ 70์„ธ์˜ 3000๋ช…์ด ๋„˜๋Š”,
03:45
almost 3,600 --
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๊ฑฐ์˜ 3600๋ช…์˜ ์‚ฌ๋žŒ๋“ค๊ณผ
03:47
aged 18 to 70,
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์ด์•ผ๊ธฐํ•˜๋ฉฐ
03:49
and we asked them how they felt emotionally.
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๊ทธ๋“ค์ด ๊ฐ์ •์ ์œผ๋กœ ์–ด๋–ป๊ฒŒ ๋Š๊ผˆ๋Š”์ง€ ๋ฌผ์—ˆ์Šต๋‹ˆ๋‹ค.
03:51
How did you feel
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์ด ์‡ผ๋“ค ์ค‘์˜ ํ•œ ํŽธ์„ ๋ณผ ๋•Œ
03:53
watching every single one of these shows?
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๋ฌด์—‡์„ ๋Š๋ผ์…จ๋‚˜์š”?
03:56
Did you feel a sense of moral ambiguity?
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๋„๋•์ ์ธ ํ˜ผ๋ž€์„ ๋Š๊ผˆ๋‚˜์š”?
03:58
Did you feel outrage? Did you laugh?
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๊ฒฉ๋ถ„ํ–ˆ๋‚˜์š”? ํ˜น์€ ์›ƒ์—ˆ๋‚˜์š”?
04:01
What did this mean for you?
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์—ฌ๋Ÿฌ๋ถ„์—๊ฒŒ ์–ด๋–ค ์˜๋ฏธ๊ฐ€ ์žˆ์—ˆ๋‚˜์š”?
04:03
So to our global TED audiences,
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์šฐ์„  TED์˜ ์ „์„ธ๊ณ„ ๊ด€๊ฐ๋“ค์—๊ฒŒ
04:05
I want to say that this was a U.S. sample.
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์ด๊ฒƒ์ด ๋ฏธ๊ตญ์˜ ์ƒ˜ํ”Œ์ด๋ผ๋Š” ์ ์„ ๋ง์”€๋“œ๋ฆฝ๋‹ˆ๋‹ค.
04:07
But as you can see,
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ํ•˜์ง€๋งŒ ์—ฌ๋Ÿฌ๋ถ„์ด ๋ณด์‹œ๋‹ค์‹œํ”ผ
04:09
these emotional need states are truly universal.
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์ด ๊ฐ์ •์ ์ธ ์š”๊ตฌ๋“ค์˜ ์ƒํƒœ๋Š” ์ง„์ • ๋ณดํŽธ์ ์ž…๋‹ˆ๋‹ค.
04:12
And on a factual basis,
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๊ทธ๋ฆฌ๊ณ  ์‚ฌ์‹ค์— ๊ทผ๊ฑฐํ•˜์˜€๊ตฌ์š”.
04:14
over 80 percent of the U.S.'s most popular shows
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80%์˜ ๋ฏธ๊ตญ์ธ๋“ค์˜ ๋ณดํŽธ์ ์ธ ์‡ผ๋Š”
04:17
are exported around the world.
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์ „์„ธ๊ณ„๋กœ ์ˆ˜์ถœ๋˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
04:19
So I really hope our global audiences
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๋”ฐ๋ผ์„œ ์ €๋Š” ์ „์„ธ๊ณ„์˜ ์‹œ์ฒญ์ž๋“ค์ด ์ด ๊ฒฐ๊ณผ์— ๊ด€๋ จ ์žˆ์œผ๋ฆฌ๋ผ
04:21
can relate.
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๋ฏฟ์Šต๋‹ˆ๋‹ค.
04:23
Two acknowledgments
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์ฒซ๋ฒˆ์งธ ๋ฐ์ดํ„ฐ ์Šฌ๋ผ์ด๋“œ๋ฅผ ๋ณด๊ธฐ์ „์—
04:25
before our first data slide:
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๋‘ ๊ฐ€์ง€๋ฅผ ๋จผ์ € ๋ง์”€๋“œ๋ฆด๊ฒŒ์š”.
04:27
For inspiring me
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๋จผ์ €, ์ œ๊ฐ€ ์˜์‹์— ๋Œ€ํ•ด
04:29
to even think about the idea of conscience
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์ƒ๊ฐํ•  ์ˆ˜ ์žˆ๊ฒŒ ํ•ด ์ค€, ๋˜ ์˜์‹์ด ์šฐ๋ฆฌ ์•ˆ์—์„œ
04:32
and the tricks that conscience can play on us on a daily basis,
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๋งค์ผ ์šฐ๋ฆฌ์—๊ฒŒ ๋ฌด์–ธ๊ฐ€ ์˜ํ–ฅ์„ ๋ผ์น˜๊ณ  ์žˆ๋‹ค๋Š” ์ ์„ ์•Œ๋ ค์ค€
04:36
I thank legendary rabbi, Jack Stern.
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์œ„๋Œ€ํ•œ ๋ž๋น„, ์žญ ์Šคํ„ด์—๊ฒŒ ๊ฐ์‚ฌ๋“œ๋ฆฌ๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค.
04:40
And for the way in which I'm going to present the data,
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๊ทธ๋ฆฌ๊ณ  ์ œ๊ฐ€ ๋ฐ์ดํ„ฐ๋ฅผ ๋ฐœํ‘œํ•˜๋Š” ๋ฐ ์žˆ์–ด์„œ
04:43
I want to thank TED community superstar Hans Rosling,
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TED์ปค๋ฎค๋‹ˆํ‹ฐ์˜ ์Šˆํผ์Šคํƒ€์ด๋ฉฐ ์—ฌ๋Ÿฌ๋ถ„์ด ์ข€ ์ „์— ๋ณด์‹ 
04:46
who you may have just seen.
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ํ•œ์Šค ๋กœ์Šฌ๋ง์—๊ฒŒ ๊ฐ์‚ฌ๋“œ๋ฆฌ๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค.
04:48
Okay, here we go.
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์ž ๊ทธ๋Ÿผ, ๋ณด๋„๋ก ํ•˜์ฃ .
04:50
So here you see,
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์—ฌ๊ธฐ์„œ ์—ฌ๋Ÿฌ๋ถ„์ด ๋ณผ ์ˆ˜ ์žˆ๋Š” ๊ฒƒ์€
04:52
from 1960 to 2010,
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1960๋…„๋ถ€ํ„ฐ 2010๋…„๊นŒ์ง€
04:54
the 50 years of our study.
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50๋…„๊ฐ„์— ๋Œ€ํ•œ ์šฐ๋ฆฌ์˜ ์—ฐ๊ตฌ์ž…๋‹ˆ๋‹ค.
04:57
Two things we're going to start with --
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์šฐ๋ฆฌ๋Š” ์˜๊ฐ๊ณผ ๋„๋•์ ์œผ๋กœ ๋ชจํ˜ธํ•œ ์ƒํƒœ,
04:59
the inspiration state and the moral ambiguity state,
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์ด ๋‘๊ฐ€์ง€๋กœ๋ถ€ํ„ฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
05:02
which, for this purpose,
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์—ฐ๊ตฌ์˜ ๋ชฉ์ ์„ ์œ„ํ•ด,
05:04
we defined inspiration
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์ €ํฌ๋Š” '์˜๊ฐ์„ ์ฃผ๋Š” TV์‡ผ'๋ฅผ
05:06
as television shows that uplift me,
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์„ธ์ƒ์— ๋Œ€ํ•ด์„œ ์ž์‹ ์ด ๋ณด๋‹ค ๊ธ์ •์ ์ด ๋  ์ˆ˜ ์žˆ๋„๋ก
05:08
that make me feel much more positive about the world.
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๋‚˜๋ฅผ ํ–ฅ์ƒ์‹œ์ผœ์ฃผ๋Š” ์ธก๋ฉด์œผ๋กœ ์ •์˜ํ–ˆ์Šต๋‹ˆ๋‹ค.
05:11
Moral ambiguity are televisions shows
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'๋„๋•์  ๋ชจํ˜ธ์„ฑ'์€ ๊ทธ ์‡ผ์˜
05:14
in which I don't understand
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์ข‹๊ณ  ๋‚˜์œ ์ธก๋ฉด์˜ ์ฐจ์ด๋ฅผ
05:16
the difference between right and wrong.
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์‡ผ ์•ˆ์—์„œ ๊ทœ์ •ํ•  ์ˆ˜ ์—†๋Š” TV์‡ผ๋กœ ์ •์˜ํ–ˆ์Šต๋‹ˆ๋‹ค.
05:19
As we start, you see in 1960
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์‹œ์ž‘ ์ง€์ ์—์„œ ์—ฌ๋Ÿฌ๋ถ„๋“ค์€ 1960๋…„๋Œ€์—,
05:21
inspiration is holding steady.
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์˜๊ฐ์ด ๊ธธ๊ฒŒ ์ง€์†๋˜๋Š” ๋ชจ์Šต์„ ๋ณด์‹ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
05:23
That's what we're watching TV for.
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์ด๊ฒƒ์ด ์šฐ๋ฆฌ๊ฐ€ TV๋ฅผ ๋ณด๋Š” ์ด์œ ์ฃ .
05:25
Moral ambiguity starts to climb.
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๋„๋•์  ๋ชจํ˜ธ์„ฑ ๊ทธ๋ž˜ํ”„๊ฐ€ ๋ˆˆ์˜ ๋„๊ธฐ ์‹œ์ž‘ํ•ฉ๋‹ˆ๋‹ค.
05:27
Right at the end of the 60s,
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60๋…„๋Œ€๊ฐ€ ๋๋‚˜๊ณ  ๋‚œ ์งํ›„
05:29
moral ambiguity is going up,
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๋„๋•์  ๋ชจํ˜ธ์„ฑ์€ ์ƒ์Šนํ•˜๊ธฐ ์‹œ์ž‘ํ•˜๊ณ 
05:31
inspiration is kind of on the wane.
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์˜๊ฐ์€ ์ •์ฒด๊ธฐ๋ฅผ ๊ฒช์Šต๋‹ˆ๋‹ค.
05:33
Why?
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์™œ์ผ๊นŒ์š”?
05:35
The Cuban Missile Crisis, JFK is shot,
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์ฟ ๋ฐ” ๋ฏธ์‚ฌ์ผ ์‚ฌํƒœ, JFK ํ”ผ๊ฒฉ,
05:37
the Civil Rights movement,
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์‹œ๋ฏผ๊ถŒ ์šด๋™
05:39
race riots, the Vietnam War,
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์ธ์ข… ํญ๋™๊ณผ ๋ฒ ํŠธ๋‚จ ์ „์Ÿ,
05:41
MLK is shot, Bobby Kennedy is shot,
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๋งˆํ‹ด ๋ฃจํ„ฐ ํ‚น๊ณผ ์•„๋ฒ„์ง€ ์ผ€๋„ค๋”” ํ”ผ๊ฒฉ,
05:43
Watergate.
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์›Œํ„ฐ๊ฒŒ์ดํŠธ.
05:45
Look what happens.
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๋ฌด์Šจ ์‚ฌ๊ฑด์ด ์ผ์–ด๋‚ฌ๋Š”์ง€๋ฅผ ๋ณด์„ธ์š”.
05:47
In 1970, inspiration plummets.
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1970๋…„๋Œ€๊ฐ€ ๋˜์ž, ์˜๊ฐ์€ ๊ณค๋‘๋ฐ•์งˆ์นฉ๋‹ˆ๋‹ค.
05:49
Moral ambiguity takes off.
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๋„๋•์  ๋ชจํ˜ธ์„ฑ์ด ๊ทธ ์ž๋ฆฌ๋ฅผ ์ฐจ์ง€ํ•˜์ฃ .
05:51
They cross,
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์ด๋“ค์€ ๊ต์ฐจํ•ฉ๋‹ˆ๋‹ค.
05:53
but Ronald Reagan, a telegenic president, is in office.
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๊ทธ๋Ÿฌ๋‚˜ ๋กœ๋„๋“œ ๋ ˆ์ด๊ฑด, ๋ฐฉ์†ก์— ๊ฑธ๋งž๋Š” ๋Œ€ํ†ต๋ น์ด ์ž„๊ธฐ ์ค‘์ด์—ˆ์Šต๋‹ˆ๋‹ค.
05:55
It's trying to recover.
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์ด ๋ถ€๋ถ„์ด ๋ฐฉ์†ก์„ ์žฌ๊ธฐ์‹œํ‚ค๋ คํ–ˆ์Šต๋‹ˆ๋‹ค.
05:57
But look, it can't:
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๊ทธ๋Ÿฌ๋‚˜ ๋ณด์„ธ์š”, ํ•  ์ˆ˜ ์—†์—ˆ์–ด์š”.
05:59
AIDS, Iran-Contra,
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์—์ด์ฆˆ, ์ด๋ž€๊ณผ์˜ ๋Œ€๋ฆฝ,
06:01
the Challenger disaster, Chernobyl.
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์ฑŒ๋ฆฐ์ €ํ˜ธ ์‚ฌ๊ณ , ์ฒด๋ฅด๋…ธ๋นŒ,
06:03
Moral ambiguity becomes the dominant meme in television
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๋„๋•์  ๋ชจํ˜ธ์„ฑ์€ TV์˜ ์ง€๋ฐฐ์ ์ธ ๋ฐˆ(meme)์ด ๋ฉ๋‹ˆ๋‹ค.
06:07
from 1990 for the next 20 years.
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1990๋…„๋ถ€ํ„ฐ ๊ทธ ํ›„ 20๋…„๊ฐ„ ๋ง์ด์ง€์š”.
06:09
Take a look at this.
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์ด๊ฒƒ์„ ๋ด์ฃผ์‹œ๊ธฐ ๋ฐ”๋ž๋‹ˆ๋‹ค.
06:11
This chart is going to document a very similar trend.
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์ด ์ฑ ํŠธ๋Š” ๋งค์šฐ ๋น„์Šทํ•œ ๊ฒฝํ–ฅ์„ ๋ณด์—ฌ์ฃผ๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
06:14
But in this case, we have comfort -- the bubble in red --
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ํ•˜์ง€๋งŒ ์—ฌ๊ธฐ, ์šฐ๋ฆฌ์—๊ฒ ์œ„์•ˆ์„ ์ฃผ๋Š” ๊ฒƒ - ๋ถ‰์€ ์ชฝ์˜ ๋™๊ทธ๋ผ๋ฏธ-์ด ๋ณด์ž…๋‹ˆ๋‹ค.
06:17
social commentary and irreverence
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์‚ฌํšŒ์  ๋…ผํ‰๊ณผ ๋ฐ˜๊ถŒ์œ„์ฃผ์˜๋Š”
06:19
in blue and green.
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๊ฐ๊ฐ ํ‘ธ๋ฅธ์ƒ‰๊ณผ ๋…น์ƒ‰ ๋ถ€๋ถ„์ž…๋‹ˆ๋‹ค.
06:22
Now this time on TV
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์ด ์‹œ๋Œ€์˜ TV์—๋Š”
06:24
you have "Bonanza," don't forget, you have "Gunsmoke,"
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"Bonanza"๊ฐ€ ์žˆ๊ณ , ์žŠ์ง€ ๋งˆ์„ธ์š”, "Gunsmoke*"๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.(*์ฃผ : 60' TV ์„œ๋ถ€๊ทน ์‹œ๋ฆฌ์ฆˆ)
06:27
you have "Andy Griffith,"
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"์•ค๋”” ๊ทธ๋ฆฌํ”ผ์Šค"๊ฐ€ ์žˆ๊ณ ์š”.
06:29
you have domestic shows all about comfort.
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"์œ„์•ˆ"๊ณผ ๊ด€๋ จํ•œ ๋ชจ๋“  ์ง€์—ญ์ ์ธ ์‡ผ๋“ค์ด ์žˆ์ฃ .
06:32
This is rising. Comfort stays whole.
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์ด๋“ค์ด ์ƒ์Šนํ•ฉ๋‹ˆ๋‹ค. ์œ„์•ˆ์ด ์ „๋ฐ˜์ ์ž…๋‹ˆ๋‹ค.
06:35
Irreverence starts to rise.
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๋ฐ˜๊ถŒ์œ„์ฃผ์˜๊ฐ€ ์ƒ์Šนํ•˜๊ธฐ ์‹œ์ž‘ํ•ฉ๋‹ˆ๋‹ค.
06:37
Social commentary is all of a sudden spiking up.
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์‚ฌํšŒ์  ๋…ผํ‰์€ ๊ฐ‘์ž‘์Šค๋Ÿฝ๊ฒŒ ์†Ÿ์•„์˜ค๋ฆ…๋‹ˆ๋‹ค.
06:40
You get to 1969, and look what happens.
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์ด์ œ 1969๋…„์„ ๋ด…์‹œ๋‹ค. ๋ฌด์Šจ ์ผ์ด ์ผ์–ด๋‚ฌ๋Š”์ง€๋ฅผ์š”.
06:43
You have comfort, irreverence, and social commentary,
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์œ„์•ˆ ๋ฐ˜๊ถŒ์œ„, ์‚ฌํšŒ์  ๋…ผํ‰์ด ๋ณด์ด๋„ค์š”.
06:46
not only battling it out in our society,
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์ด๋“ค์ด ๋‹จ์ง€ ์šฐ๋ฆฌ ์‚ฌํšŒ์™€ ์‹ธ์šธ ๋ฟ ์•„๋‹ˆ๋ผ
06:49
but you literally have two establishment shows --
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๋ฌธ์ž ๊ทธ๋Œ€๋กœ ๋‘ ๊ฐœ์˜ ์‡ผ๋ฅผ ์„ฑ๋ฆฝ์‹œํ‚ต๋‹ˆ๋‹ค.
06:53
"Gunsmoke" and "Gomer Pyle" --
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"Gunsmoe"์™€ "Gomer Pyle" ์‡ผ๋ฅผ ๋ง์˜ˆ์š”.
06:55
in 1969 are the number-two- and number-three-rated television shows.
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1969๋…„์—๋Š” ์ตœ์ƒ์œ„ 2,3์œ„์— ์žˆ๋˜ TV์‡ผํ”„๋กœ๊ทธ๋žจ๋“ค์ด ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
06:58
What's number one?
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๋ฌด์—‡์ด ์ตœ๊ณ ์˜ ์‡ผ์˜€๋‚˜์š”?
07:00
The socially irreverent hippie show,
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์‚ฌํšŒ์ ์œผ๋กœ ๋ฐ˜๊ถŒ์œ„์ ์ธ ํžˆํ”ผ์‡ผ์˜€๋˜
07:03
"Rowan and Martin's Laugh-In."
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"๋กœ์›ฌ๊ณผ ๋งˆํ‹ฐ์˜ ์›ƒ์ž Rawan and Martin's Laugh-In"์ž…๋‹ˆ๋‹ค.
07:05
They're all living together, right.
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์—ฌ๋Ÿฌ๋ถ„์ด ๋‚ด๋‚ด ํ•จ๊ป˜ ํ•ด์™”์„ ๊ฒ๋‹ˆ๋‹ค.
07:07
Viewers had responded dramatically.
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์‹œ์ฒญ์ž๋“ค์€ ๊ทน์ ์œผ๋กœ ํ˜ธ์‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:09
Look at this green spike in 1966
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์ด ์Šคํฌ๋ฆฐ์—์„œ 1966๋…„์— ํ™• ํŠ€์–ด์˜ค๋ฅธ ๊ฑด
07:12
to a bellwether show.
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๋ฒจ์œ„๋”์‡ผ์ž…๋‹ˆ๋‹ค.
07:14
When you guys hear this industry term, a breakout hit,
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์ด ์‚ฐ์—…ํ™” ์‹œ๊ธฐ์˜, ์ž˜ ์•Œ๋ ค์ง„ ํžˆํŠธ๊ฐ€
07:16
what does that mean?
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์˜๋ฏธํ•˜๋Š” ๋ฐ”๋Š” ๋ฌด์—‡์ผ๊นŒ์š”?
07:18
It means in the 1966 television season,
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1966๋…„ ํ…”๋ ˆ๋น„์ „ ์‹œ์ฆŒ ์•ˆ์—์„œ "์Šค๋ฌด๋”์Šค ๋ธŒ๋ผ๋”์Šค Smothers Brothers"๊ฐ€
07:21
The "Smothers Brothers" came out of nowhere.
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๊ฐ‘์ž‘์Šค๋Ÿฝ๊ฒŒ ํŠ€์–ด๋‚˜์™”์Œ์„ ์˜๋ฏธํ•ฉ๋‹ˆ๋‹ค.
07:25
This was the first show
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์ด ์‡ผ๋Š” ์ตœ์ดˆ๋กœ
07:27
that allowed viewers to say,
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์‹œ์ฒญ์ž๊ฐ€ TV์— ๋‚˜์™€ ์–˜๊ธฐํ•˜๊ฒŒ ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:29
"My God,
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"์„ธ์ƒ์—, ์ œ๊ฐ€ ์ง€๊ธˆ,
07:31
I can comment on how I feel about the Vietnam War,
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๋ฒ ํŠธ๋‚จ์ „์Ÿ๊ณผ ๋Œ€ํ†ต๋ น ์„ ์ถœ์— ๋Œ€ํ•ด์„œ
07:34
about the presidency, through television?"
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๋‚ด๊ฐ€ ์–ด๋–ป๊ฒŒ ๋Š๋ผ๋Š”์ง€๋ฅผ TV๋ฅผ ํ†ตํ•ด ๋งํ•  ์ˆ˜ ์žˆ๋„ค์š”?"
07:36
That's what we mean by a breakout show.
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์ด ๋Œ€ํžˆํŠธ ์‡ผ๋กœ๋ถ€ํ„ฐ ์šฐ๋ฆฌ๊ฐ€ ์–ป์–ด๋‚ผ ์ˆ˜ ์žˆ๋Š” ๊ฒƒ์€ ์ด๊ฒƒ์ž…๋‹ˆ๋‹ค.
07:39
So then, just like the last chart, look what happens.
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์ด์ œ ๋งˆ์ง€๋ง‰ ์ฑ ํŠธ๋กœ ๋Œ์•„๊ฐ€์„œ, ๋ฌด์Šจ ์ผ์ด ์ผ์–ด๋‚ฌ๋Š”์ง€ ๋ณด์„ธ์š”.
07:42
In 1970,
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1970๋…„,
07:44
the dam bursts. The dam bursts.
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๋Œ์ด ๋ฌด๋„ˆ์กŒ์Šต๋‹ˆ๋‹ค.๋Œ์ด ๋ฌด๋„ˆ์กŒ์–ด์š”.
07:46
Comfort is no longer why we watch television.
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์œ„์•ˆ์€ ๋”์ด์ƒ ์šฐ๋ฆฌ๊ฐ€ TV๋ฅผ ๋ณด๋Š” ์ด์œ ๊ฐ€ ๋˜์–ด์ฃผ์ง€ ๋ชปํ•ฉ๋‹ˆ๋‹ค.
07:49
Social commentary and irreverence
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์‚ฌํšŒ์  ๋…ผํ‰๊ณผ ๋ฐ˜๊ถŒ์œ„๊ฐ€
07:51
rise throughout the 70s.
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70๋…„๋Œ€๋ฅผ ๊ด€ํ†ตํ•ด์„œ ์น˜์†Ÿ์Šต๋‹ˆ๋‹ค.
07:53
Now look at this.
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์ด์ œ ์ด๊ฑธ ๋ณด์„ธ์š”.
07:55
The 70s means who? Norman Lear.
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70๋…„๋Œ€ ํ•˜๋ฉด ๋ˆ„๊ตฌ์ฃ ? ๋…ธ๋งŒ ๋ฆฌ์–ด์ฃ .
07:58
You have "All in the Family," "Sanford and Son,"
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"All in the Family"๋‚˜ "Sanford and son" ๊ทธ๋ฆฌ๊ณ 
08:00
and the dominant show --
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๊ทธ๋ฆฌ๊ณ  ๋˜ ๋‹ค๋ฅธ ๋‹น์‹œ์˜ ๋Œ€์„ธ๊ฐ€ ๋˜์—ˆ๋˜ ์‡ผ๋“ค-
08:02
in the top-10 for the entire 70s --
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70๋…„๋Œ€ ์ „์ฒด๋ฅผ ํ†ตํ‹€์–ด ํ†ฑํ…์ธ
08:04
"MAS*H."
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"MAS*H" ๊ฐ€ ์žˆ์ง€์š”.
08:06
In the entire 50 years
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์šฐ๋ฆฌ๊ฐ€ ์—ฐ๊ตฌํ•œ 50๋…„์— ๊ฑธ์นœ
08:08
of television that we studied,
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TV ์ „์ฒด๋ฅผ ํ†ตํ‹€์–ด์„œ
08:11
seven of 10 shows
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10๊ฐœ ์ค‘ 7๊ฐœ์˜ ์‡ผ๊ฐ€
08:14
ranked most highly for irreverence
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๊ฐ€์žฅ ๋ฐ˜๊ถŒ์œ„์ ์œผ๋กœ ๋žญํฌ๋˜์—ˆ๋Š”๋ฐ,
08:17
appeared on air during the Vietnam War,
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์ด๋“ค์€ ๋ชจ๋‘ ๋ฒ ํŠธ๋‚จ ์ „์Ÿ ์ค‘์— ๋ฐฉ์†ก๋๊ณ ,
08:19
five of the top-10 during the Nixon administration.
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10๊ฐœ์ค‘ ๋‹ค์„ฏ์€ ๋‹‰์Šจ ์ •๋ถ€ ํ•˜์—์„œ ์ œ์ž‘๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
08:23
Only one generation, 20 years in,
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20๋…„๊ฐ„ ์˜ค์ง ํ•˜๋‚˜์˜ ์„ธ๋Œ€์†์—์„œ
08:26
and we discovered,
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์šฐ๋ฆฌ๋Š” ๋ฐœ๊ฒฌํ–ˆ์Šต๋‹ˆ๋‹ค.
08:28
Wow! TV can do that?
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์™€! TV๊ฐ€ ํ•  ์ˆ˜ ์žˆ๊ตฌ๋‚˜?
08:31
It can make me feel this?
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์ด๋ ‡๊ฒŒ ๋Š๋ผ๋„๋ก ํ•  ์ˆ˜ ์žˆ๊ตฌ๋‚˜?
08:33
It can change us?
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TV๊ฐ€ ์šฐ๋ฆฌ๋ฅผ ๋ฐ”๊ฟ€ ์ˆ˜ ์žˆ๊ตฌ๋‚˜? ๋ผ๋Š” ๊ฒƒ์„์š”.
08:36
So to this very, very savvy crowd,
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์ด์— ๋Œ€ํ•ด ๋งค์šฐ, ๋งค์šฐ ๊ด€์šฉ์ ์ธ ๊ด€๊ฐ๋ถ„๋“ค๊ป˜
08:38
I also want to note
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์ €๋Š” ๋˜ํ•œ ์ด๋ ‡๊ฒŒ ๋ง๋ถ™์ด๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค.
08:41
the digital folks did not invent disruptive.
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๋””์ง€ํ„ธ์˜ ๋งน์•„๋“ค์€ ์ •์‹ ๋ถ„์—ด์ ์ธ ๊ฑธ ๋ฐœ๋ช…ํ•˜์ง€ ์•Š์•˜์–ด์š”.
08:44
Archie Bunker was shoved out of his easy chair
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์•„ํ‚ค ๋ฒˆ์ปค๋Š” ๋ณธ์ธ์˜ ์‰ฌ์šด ์ž๋ฆฌ๋ฅผ ๋ฐ•์ฐจ๊ณ  ๋‚˜๊ฐ”์Šต๋‹ˆ๋‹ค.
08:46
along with the rest of us
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๋‚จ์€ ์šฐ๋ฆฌ๋“ค์„ ๋”ฐ๋ผ,
08:48
40 years ago.
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40๋…„์ „์—์š”.
08:50
This is a quick chart. Here's another attribute:
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์ด๊ฒƒ์ด ๋น ๋ฅธ ์ฑ ํŠธ์ž…๋‹ˆ๋‹ค. ์—ฌ๊ธฐ ๋˜๋‹ค๋ฅธ ๊ฒƒ์ด ๋ณด์ด์ฃ :
08:52
fantasy and imagination,
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ํ™˜ํƒ€์ง€์™€ ์ƒ์ƒ์˜ ์ด๋ฏธ์ง€๋“ค,
08:54
which are shows defined as,
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์ด๋Ÿฐ ์‡ผ๋“ค์€ ์ด๋ ‡๊ฒŒ ์ •์˜๋‚ด๋ฆด ์ˆ˜ ์žˆ์„๊ฒ๋‹ˆ๋‹ค.
08:56
"takes me out of my everyday realm"
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"๋‚  ๋งค์ผ๋งค์ผ์˜ ํ˜„์‹ค ๊ณต๊ฐ„์œผ๋กœ๋ถ€ํ„ฐ ๊บผ๋‚ด์ค˜์š”."
08:59
and "makes me feel better."
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๊ทธ๋ฆฌ๊ณ  "๊ธฐ๋ถ„์ข‹๊ฒŒ ํ•ด์ฃผ์„ธ์š”."
09:01
That's mapped against the red dot, unemployment,
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์ด๊ฒƒ์€ ๋ถ‰์€์ƒ‰์œผ๋กœ ํ‘œ์‹œ๋œ ์‹ค์—…๋ฅ ์— ๊ณ ์Šค๋ž€ํžˆ ์–น์–ด์ง‘๋‹ˆ๋‹ค.
09:03
which is a simple Bureau of Labor Department statistic.
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์ด ์‹ค์—…๋ฅ ์€ ํ†ต๊ณ„์ฒญ์ด ๋ฐœํ‘œํ•œ ๋‹จ์ˆœํ•œ ํ†ต๊ณ„์ž…๋‹ˆ๋‹ค.
09:07
You'll see
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์—ฌ๋Ÿฌ๋ถ„๋“ค์€,
09:09
that every time fantasy and imagination shows rise,
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๋งค ์ˆœ๊ฐ„ ํ™˜ํƒ€์ง€ ๋ฐ ํ™˜์ƒ ๊ด€๋ จ ์‡ผ๊ฐ€ ์ˆ˜์น˜๊ฐ€ ์ƒ์Šนํ•  ๋•Œ๋งˆ๋‹ค
09:12
it maps to a spike in unemployment.
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์‹ค์—…๋ฅ  ์ƒ์Šน๊ณผ ์ผ์น˜ํ•˜๋Š” ๊ฒƒ์„ ๋ณด์‹ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
09:15
Do we want to see shows
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์šฐ๋ฆฌ๊ฐ€,
09:17
about people saving money and being unemployed?
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๋ˆ์„ ์ ˆ์•ฝํ•˜๊ณ , ์‹ค์—…์ƒํƒœ๋ฅผ ์œ ์ง€ํ•˜๊ธฐ์œ„ํ•ด์„œ ์‡ผ๋ฅผ ๋ณด๋‚˜์š”?
09:20
No. In the 70s
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์•„๋‹™๋‹ˆ๋‹ค. 70๋…„๋Œ€์—,
09:22
you have the bellwether show "The Bionic Woman"
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"๋ฐ”์ด์˜ค๋‹‰ ์šฐ๋จผthe Bionic Woman"์ด๋ผ๋Š” ๋ฒจ์œ„๋”์‡ผ๋ฅผ ๋ณด์ฃ .
09:25
that rocketed into the top-10 in 1973,
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์ด ์‡ผ๋Š” 1973๋…„์˜ ํ†ฑํ…์œผ๋กœ ์น˜์†Ÿ์•˜์Šต๋‹ˆ๋‹ค.
09:28
followed by the "Six Million-Dollar Man" and "Charlie's Angels."
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"6๋ฐฑ๋งŒ๋ถˆ์˜ ์‚ฌ๋‚˜์ด"๋‚˜ "์ฐฐ๋ฆฌ์˜ ์ฒœ์‚ฌ๋“ค"์ด ๊ทธ ๋’ค๋ฅผ ์ž‡๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
09:31
Another spike in the 1980s --
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1980๋…„๋Œ€์˜ ์ด์Šˆ๋ฅผ ๋Œ์ด์ผœ๋ณด๋ฉด,
09:34
another spike in shows about control and power.
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์ œ์–ด์™€ ๊ถŒ๋ ฅ์— ๋Œ€ํ•œ ๊ฒƒ๋“ค์ด ์‡ผ์˜ ์ด์Šˆ๊ฐ€ ๋ฉ๋‹ˆ๋‹ค.
09:38
What were those shows?
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์–ด๋–ค ์‡ผ๋“ค์ผ๊นŒ์š”?
09:40
Glamorous and rich.
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๋งค๋ ฅ๊ณผ ๋ถ€์œ ํ•จ์ด์ฃ .
09:42
"Dallas," "Fantasy Island."
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"๋‹ฌ๋ผ์Šค", "ํŒํƒ€์ง€ ์•„์ผ๋žœ๋“œ"
09:45
Incredible mapping of our national psyche
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์šฐ๋ฆฌ์˜ ์ „๊ตญ๊ฐ€์ ์ธ ์‹ฌ๋ฆฌ ์ƒํƒœ๋ฅผ
09:48
with some hard and fast facts:
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๊ฐ•ํ•˜๊ณ  ๋น ๋ฅด๊ฒŒ ํˆฌ์˜ํ•œ ์ž‘ํ’ˆ๋“ค์ž…๋‹ˆ๋‹ค.
09:50
unemployment.
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์‹ค์—…๋ฅ ์š”.
09:53
So here you are, in my favorite chart,
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์ด์ œ ์ œ๊ฐ€ ๊ฐ€์žฅ ์ข‹์•„ํ•˜๋Š” ์ฑ ํŠธ๋ฅผ ๋ณด์ฃ .
09:56
because this is our last 20 years.
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์šฐ๋ฆฌ์˜ ์ง€๋‚œ 20๋…„๊ฐ„์„ ๋ณด์—ฌ์ฃผ๋Š” ์ฐจํŠธ์ž…๋‹ˆ๋‹ค.
09:58
Whether or not you're in my business,
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์—ฌ๋Ÿฌ๋ถ„๋“ค์ด ์ œ ๊ด€์‹ฌ ๋ถ„์•ผ์— ๊ด€๋ จ์ด ์žˆ์—ˆ๋“  ์—†์—ˆ๋“ 
10:00
you have surely heard or read
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์‚ผ์ค‘ ์นด๋ฉ”๋ผ ์‹œํŠธ์ฝค๋ผ๊ณ  ๋ถˆ๋ฆฌ์šฐ๋Š” ๊ฒƒ์˜
10:03
of the decline of the thing called the three-camera sitcom
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์‡ ๋ฝ์„ ๋ถ„๋ช…ํžˆ ๋“ฃ๊ฑฐ๋‚˜ ์ฝ์€ ์ ์ด ์žˆ์„ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
10:06
and the rise of reality TV.
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๊ทธ๋ฆฌ๊ณ  ๋ฆฌ์–ผ๋ฆฌํ‹ฐ TV๊ฐ€ ๋ถ€์ƒํ•˜๊ณ ์š”.
10:10
Well, as we say in the business,
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์ž, ์‚ฌ์—…์— ๊ด€ํ•ด ์ด์•ผ๊ธฐํ•  ๋•Œ์ฒ˜๋Ÿผ
10:12
X marks the spot.
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X๋งˆํฌ๋ฅผ ์น˜๋„๋ก ํ•ฉ์‹œ๋‹ค.
10:14
The 90s -- the big bubbles of humor --
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90๋…„๋Œ€์— - ์œ ๋จธ์˜ ๊ฑฐํ’ˆ์ด ์กด์žฌํ•˜๋˜ -
10:16
we're watching "Friends," "Frasier," "Cheers" and "Seinfeld."
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์šฐ๋ฆฌ๋Š” "ํ”„๋ Œ์ฆˆ" "ํ”„๋ ˆ์ด์ €" "์น˜์–ด์Šค" ๊ทธ๋ฆฌ๊ณ  "์ž์ธํŽ ๋“œ"๋ฅผ ๋ณด์•˜์Šต๋‹ˆ๋‹ค.
10:19
Everything's good, low unemployment.
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๋‹ค ์ข‹์•˜์–ด์š”. ์‹ค์—…๋ฅ ์ด ๋‚ฎ์•˜์ฃ .
10:22
But look: X marks the spot.
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ํ•˜์ง€๋งŒ X๋งˆํฌ๊ฐ€ ํ•œ ์ง€์ ์„ ๊ฐ€๋ฆฌํ‚ต๋‹ˆ๋‹ค.
10:25
In 2001,
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2001๋…„์—,
10:27
the September 2001 television season,
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2001๋…„ 9์›” TV์‹œ์ฆŒ์€
10:30
humor succumbs to judgment once and for all.
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์œ ๋จธ๊ฐ€ ๋ชจ๋“  ๊ฒƒ์— ๋Œ€ํ•œ ์‹ฌํŒ ์•ž์— ํ•œ๋ฒˆ, ์™„๋ฒฝํžˆ ๊ตด๋ณตํ–ˆ์Šต๋‹ˆ๋‹ค.
10:34
Why not?
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์™œ ์•ˆ ๊ทธ๋žฌ๊ฒ ์–ด์š”.
10:36
We had a 2000 presidential election
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์šฐ๋ฆฌ์—๊ฒ ์ƒ์›์˜ ๊ฒฐ์ • ํ•˜์—
10:38
decided by the Supreme Court.
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2000๋…„, ๋Œ€ํ†ต๋ น ์„ ๊ฑฐ๊ฐ€ ์žˆ์—ˆ๊ณ 
10:40
We had the bursting of the tech bubble.
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IT๋ฒ„๋ธ”๋กœ ๋“ค์ฉ์˜€์Šต๋‹ˆ๋‹ค.
10:42
We had 9/11.
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9/11์ด ์žˆ์—ˆ๊ณ ์š”.
10:44
Anthrax becomes part of the social lexicon.
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๋ชฐ์‚ด์ด ์‚ฌํšŒ์  ์‚ฌ์ „์˜ ์ผ๋ถ€๊ฐ€ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
10:47
Look what happens when we keep going.
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์—ฌ๊ธฐ์„œ ๊ณ„์† ๋‚˜์•„๊ฐ€๋ฉฐ ๋ฌด์—‡์ด ์ผ์–ด๋‚ฌ๋Š”์ง€๋ฅผ ๋ณด์„ธ์š”.
10:49
At the turn of the century, the Internet takes off,
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์„ธ๊ธฐ๊ฐ€ ๋ฐ”๋€Œ๋ฉด์„œ ์ธํ„ฐ๋„ท์ด ๋ฌผ๋Ÿฌ๋‚˜๊ณ 
10:52
reality television has taken hold.
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๋ฆฌ์–ผ๋ฆฌํ‹ฐ์‡ผ๊ฐ€ ์ž๋ฆฌ๋ฅผ ์ฐจ์ง€ํ•ฉ๋‹ˆ๋‹ค.
10:55
What do people want in their TV then?
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๊ทธ๋•Œ ์‚ฌ๋žŒ๋“ค์ด TV์— ์›ํ–ˆ๋˜ ๊ฒƒ์€ ๋ฌด์—‡์ด์—ˆ์„๊นŒ์š”?
10:57
I would have thought revenge
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์ €๋Š” ๋ณต์ˆ˜๋‚˜
11:00
or nostalgia.
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ํ˜น์€ ํ–ฅ์ˆ˜๋ฅผ ์ƒ๊ฐํ–ˆ์—ˆ์Šต๋‹ˆ๋‹ค.
11:02
Give me some comfort; my world is falling apart.
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๋‚ด๊ฒŒ ์œ„์•ˆ์„ ์ฃผ์„ธ์š”. ์ œ ์„ธ๊ณ„์˜ ์ผ๋ถ€๊ฐ€ ๋–จ์–ด์ ธ๋‚˜๊ฐ”์ฃ .
11:04
No, they want judgment.
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์•„๋‹ˆ์š”. ์‚ฌ๋žŒ๋“ค์€ ์‹ฌํŒ์„ ์›ํ–ˆ์Šต๋‹ˆ๋‹ค.
11:06
I can vote you off the island.
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๋‚œ ๋‹น์‹ ์ด ๊ทธ ์„ฌ์— ์„ ์ถœ๋˜์ง€ ์•Š๋„๋ก ํ•  ์ˆ˜ ์žˆ์–ด์š”.
11:08
I can keep Sarah Palin's daughter dancing.
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๋‚˜๋Š” ์‚ฌ๋ผ ํŒ”๋ฆฐ์˜ ๋”ธ์ด ๊ณ„์† ์ถค์ถ”๋„๋ก ํ•  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
11:11
I can choose the next American Idol. You're fired.
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๋‚˜๋Š” ๋‹ค์Œ ์•„๋ฉ”๋ฆฌ์นธ ์•„์ด๋Œ์„ ์„ ํƒํ•  ์ˆ˜ ์žˆ์–ด์š”. ๋‹น์‹ ์€ ํ•ด๊ณ ์˜ˆ์š”.
11:14
That's all great, right?
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์ด๋Ÿฐ ๊ฑด ๊ต‰์žฅํ•˜์ฃ ? ๊ทธ๋ ‡์ฃ ?
11:17
So as dramatically different as these television shows,
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๊ทธ๋ž˜์„œ, ์ด๋Ÿฐ TV์‡ผ๋“ค๊ณผ ๊ทน์ ์œผ๋กœ ๋Œ€์กฐ์ ์œผ๋กœ
11:21
pure entertainment, have been over the last 50 years --
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์ง€๋‚œ 50๋…„๊ฐ„์— ๊ฑธ์ณ์„œ ์žˆ์—ˆ๋˜ ์ˆœ์ˆ˜ํ•œ ์—”ํ„ฐํ…Œ์ธ๋จผํŠธ-์œ ํฅ-์€,
11:24
what did I start with? --
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์–ด๋””์—์„œ ์‹œ์ž‘ํ–ˆ์„๊นŒ์š”?
11:26
one basic instinct remains.
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ํ•œ๊ฐ€์ง€, ๊ธฐ๋ณธ์ ์ธ ๋ณธ๋Šฅ์ด ๋‚จ์•„์žˆ์Šต๋‹ˆ๋‹ค.
11:28
We're animals, we need our moms.
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์šฐ๋ฆฌ๋Š” ๋™๋ฌผ์ด๊ณ  ์šฐ๋ฆฌ๋Š” ์šฐ๋ฆฌ์˜ ์—„๋งˆ๊ฐ€ ํ•„์š”ํ•ฉ๋‹ˆ๋‹ค.
11:31
There has not been a decade of television
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ํ…”๋ ˆ๋น„์ ผ์˜ ์ง€๋‚œ ๋งค 10๋…„๊ฐ„์†์—์„œ,
11:33
without a definitive, dominant TV mom.
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ํ™•๊ณ ๋ถ€๋™ํ•˜๊ณ  ๊ฒฐ์ •์ ์ธ TV์†์˜ ์—„๋งˆ ์—†์ด TV๋Š” ์กด์žฌํ•œ ์ ์ด ์—†์Šต๋‹ˆ๋‹ค.
11:37
The 1950s:
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1950๋…„๋Œ€์—
11:39
June Cleever in the original comfort show, "Leave it to Beaver."
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์˜ค๋ฆฌ์ง€๋„ ์˜ค๋ฝ ํ”„๋กœ๊ทธ๋žจ์ด์—ˆ๋˜ "Leave it to Beaver"์—์„œ ์ค€ ํด๋ฆฌ๋ฒ„๋‚˜
11:42
Lucille Ball kept us laughing
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๋ฃจ์‹ค ๋ณผ์€ ์šฐ๋ฆฌ๋ฅผ ๊ณ„์† ์›ƒ๊ฒŒ ๋งŒ๋“ค์—ˆ์Šต๋‹ˆ๋‹ค
11:45
through the rise of social consciousness in the 60s.
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60๋…„๋Œ€์˜ ์‚ฌํšŒ์  ์–‘์‹ฌ์ด ์น˜์†Ÿ๋Š” ๋™์•ˆ ๋ง์ด์ฃ .
11:48
Maude Findlay,
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๋งˆ์šฐ๋“œ ํ•€๋“ค๋ฆฌ๋Š”,(*์ฃผ: "Maude"์˜ ์ฃผ์ธ๊ณต)
11:50
the epitome of the irreverent 1970s,
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1970๋…„๋Œ€์˜ ๋ฐ˜๊ถŒ์œ„ ์†์—์„œ ๋ฐœ์ทŒํ•œ ์ด ์บ๋ฆญํ„ฐ๋Š”
11:53
who tackled abortion, divorce,
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๋‚™ํƒœ์™€ ์ดํ˜ผ์„ ๊ฑธ๊ณ  ๋„˜์–ด์กŒ๊ณ 
11:55
even menopause on TV.
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์‹ฌ์ง€์–ด ์›”๊ฒฝ์„ TV์— ์˜ฌ๋ ธ์ฃ .
11:57
The 1980s,
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1980๋…„๋Œ€์—
11:59
our first cougar was given to us
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์ฒซ ์ฝ”์šฐ๊ฐ€(*์ฃผ: ์ Š์€ ์• ์ธ์„ ๋‘” ๋‚˜์ด๋“  ์—ฌ์„ฑ)๊ฐ€ ์šฐ๋ฆฌ์—๊ฒŒ ์ฃผ์–ด์กŒ์Šต๋‹ˆ๋‹ค.
12:02
in the form of Alexis Carrington.
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์•Œ๋ ‰์‹œ์Šค ์บ๋งํ„ด์ด๋ผ๋Š” ํ˜•ํƒœ๋กœ ๋ง์ด์ฃ .
12:05
Murphy Brown took on a vice president
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๋จธํ”ผ ๋ธŒ๋ผ์šด์€ ํ™‘๋ถ€๋ชจ๋ผ๋Š” ๋ช…์ œํ•˜์—
12:07
when she took on the idea of single parenthood.
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๋ถ€ํ†ต๋ น์˜ ์ง์œ„์— ์˜ฌ๋ž์Šต๋‹ˆ๋‹ค.
12:12
This era's mom,
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์ด "์—„๋งˆ"์˜ ์˜์—ญ์—๋Š”
12:14
Bree Van de Kamp.
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๋ธŒ๋ฆฌ ๋ฐ˜ ๋“œ ์บ„ํ”„๊ฐ€ ์žˆ์ฃ .
12:17
Now I don't know if this is the devil or the angel
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์ €๋Š” ์šฐ๋ฆฌ์˜ ์–‘์‹ฌ ์œ„์— ์•‰์•„ ์žˆ๋Š”,
12:20
sitting on our conscience,
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TV์˜ ์–ด๊นจ์œ„์— ์„  ์ด๊ฒƒ๋“ค์ด
12:22
sitting on television's shoulders,
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์•…๋งˆ์ธ์ง€ ์ฒœ์‚ฌ์ธ์ง€ ๋ชจ๋ฆ…๋‹ˆ๋‹ค.
12:24
but I do know that I absolutely love this image.
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๊ทธ๋Ÿฌ๋‚˜ ์ €๋Š” ์ด ์ด๋ฏธ์ง€๋“ค์„ ์™„๋ฒฝํ•˜๊ฒŒ ์‚ฌ๋ž‘ํ•ฉ๋‹ˆ๋‹ค.
12:29
So to you all,
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๊ทธ๋ฆฌ๊ณ  ์—ฌ๋Ÿฌ๋ถ„ ๋ชจ๋‘์—๊ฒŒ
12:31
the women of TEDWomen, the men of TEDWomen,
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TEDWomen์ค‘์˜ ์—ฌ์„ฑ, TEDWomen์ค‘์˜ ๋‚จ์„ฑ
12:33
the global audiences of TEDWomen,
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๊ทธ๋ฆฌ๊ณ  ์ „์„ธ๊ณ„์—์„œ TEDWomen์„ ๋ฐ”๋ผ๋ณด๋Š” ์ฒญ์ค‘๋ถ„๋“ค์—๊ฒŒ
12:36
thank you for letting me present my idea
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TV์˜ ์˜์‹์— ๋Œ€ํ•œ ์ œ ์•„์ด๋””์–ด๋ฅผ
12:38
about the conscience of television.
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๋ณด์—ฌ๋“œ๋ฆด ์ˆ˜ ์žˆ์—ˆ๋˜ ๊ฒƒ์— ๊ฐ์‚ฌ๋“œ๋ฆฝ๋‹ˆ๋‹ค.
12:40
But let me also thank the incredible creators
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๋˜ํ•œ, ๋†€๋ผ์šด ์ œ์ž‘์ž๋“ค์—๊ฒŒ ๊ฐ์‚ฌ๋“œ๋ฆฌ๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค.
12:43
who get up everyday
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๋งค์ผ๋งค์ผ ์ผ์–ด๋‚˜์„œ
12:45
to put their ideas on our television screens
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๊ทธ๋“ค์˜ ์•„์ด๋””์–ด๋ฅผ TV ์Šคํฌ๋ฆฐ๋“ค์—
12:48
throughout all these ages of television.
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์ด ๋ชจ๋“  ์„ธ๋Œ€์˜ TV์•ˆ์— ์Ÿ์•„๋ถ€์–ด์ค€ ๋ถ„๋“ค์—๊ฒŒ์š”.
12:50
They give it life on television, for sure,
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๊ทธ๋“ค์€ TV์— ์ง„์ •์œผ๋กœ ์‚ถ์„ ๋ถˆ์–ด๋„ฃ์—ˆ๊ณ ,
12:53
but it's you as viewers,
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๋˜ํ•œ ์‹œ์ฒญ์ž๋กœ์„œ ์—ฌ๋Ÿฌ๋ถ„๋“ค์€
12:55
through your collective social consciences,
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์—ฌ๋Ÿฌ๋ถ„๋“ค์˜ ์ง‘๋‹จ ์‚ฌํšŒ ์˜์‹์„ ํ†ตํ•ด์„œ
12:58
that give it life, longevity,
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TV์— ์‚ถ๊ณผ ์ƒ๋ช…, ๊ถŒ๋ ฅ์„ ๋ถ€์—ฌํ•˜๊ฑฐ๋‚˜
13:00
power or not.
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๋นผ์•—์Šต๋‹ˆ๋‹ค.
13:02
So thanks very much.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
13:04
(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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