Taryn Simon: The stories behind the bloodlines

54,635 views ・ 2012-04-18

TED


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

λ²ˆμ—­: Woo Hwang κ²€ν† : K Bang
00:16
This is Shivdutt Yadav,
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이뢄은 쉬뢀둣 μ•Όλ‹€λΈŒ 라고 ν•©λ‹ˆλ‹€..
00:18
and he's from Uttar Pradesh, India.
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μΈλ„μ˜ μš°νƒ€ 프라데쉬 지역 μΆœμ‹ μ΄μ£ .
00:21
Now Shivdutt was visiting the local land registry office
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쉬뢀둣은 μš°νƒ€ ν”„λΌλ°μ‰¬μ˜
00:24
in Uttar Pradesh,
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지역 ν† μ§€λ“±κΈ°μ†Œλ₯Ό 듀린적이 μžˆλŠ”λ°μš”.
00:26
and he discovered
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κ³΅μ‹μžλ£Œμ— κ·Έκ°€
00:28
that official records were listing him as dead.
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μ‚¬λ§ν•œ κ²ƒμœΌλ‘œ λ“±λ‘λœ 사싀을 λ°œκ²¬ν–ˆμŠ΅λ‹ˆλ‹€.
00:30
His land was no longer registered
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그의 땅은 더이상
00:32
in his name.
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μžμ‹ μ˜ μ†Œμœ κ°€ μ•„λ‹ˆμ—ˆμŠ΅λ‹ˆλ‹€.
00:34
His brothers, Chandrabhan and Phoolchand,
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그의 ν˜•μ œλ“€μΈ μ°¬λ“œλΌλ°˜κ³Ό ν’€μ°¬λ“œ λ˜ν•œ
00:37
were also listed as dead.
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μ‚¬λ§ν•œ κ²ƒμœΌλ‘œ λ“±λ‘λ˜μ–΄ μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
00:39
Family members had bribed officials
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가쑱듀은 ν˜•μ œλ“€μ΄ 죽은 κ²ƒμœΌλ‘œ λ˜μ–΄
00:41
to interrupt the hereditary transfer of land
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토지가 ν™˜μˆ˜ λ˜λŠ” 것을 막기 μœ„ν•΄μ„œ
00:44
by having the brothers declared dead,
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κ³΅λ¬΄μ›λ“€μ—κ²Œ λ‡Œλ¬Όμ„ μ£Όμ—ˆμŠ΅λ‹ˆλ‹€.
00:46
allowing them to inherit
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그리고 μ„ μ‘°μ˜ 농지쀑 μ•„λ²„μ§€μ˜ 지뢄을
00:48
their father's share of the ancestral farmland.
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상속 받도둝 ν–ˆμŠ΅λ‹ˆλ‹€.
00:51
Because of this, all three brothers and their families
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이것 λ•Œλ¬Έμ—, 3λͺ…μ˜ ν˜•μ œλ“€κ³Ό 가쑱듀은
00:54
had to vacate their home.
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κ·Έλ“€μ˜ 집을 λΉ„μ›Œμ•Όλ§Œ ν–ˆμŠ΅λ‹ˆλ‹€.
00:57
According to the Yadav family,
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μ•Όλ‹€λΈŒμ”¨ 가쑱에 μ˜ν•˜λ©΄,
00:59
the local court has been scheduling a case review
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법정은 2001λ…„ μ΄ν›„λ‘œ 계속
01:01
since 2001,
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사건을 μž¬κ²€ν†  ν•  μ˜ˆμ •μ΄μ—ˆμœΌλ‚˜,
01:03
but a judge has never appeared.
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μ–΄λ–€ νŒμ‚¬λ„ μž¬νŒμ„ ν•˜μ§€ μ•Šκ³  μžˆμŠ΅λ‹ˆλ‹€.
01:06
There are several instances in Uttar Pradesh
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μš°νƒ€ 프라데쉬 μ§€μ—­μ—μ„œλŠ”
01:08
of people dying
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사건을 μ •μƒμ μœΌλ‘œ μž¬μ‹¬μ‚¬ ν•˜κΈ°λ„ 전에
01:10
before their case is given a proper review.
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μ‚¬λžŒμ΄ 죽은 κ²½μš°κ°€ λͺ‡κ±΄μ΄ μžˆμŠ΅λ‹ˆλ‹€.
01:13
Shivdutt's father's death and a want for his property
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쉬뢀둣 μ•„λ²„μ§€μ˜ 죽음과 μž¬μ‚°μ— λŒ€ν•œ 열망이
01:16
led to this corruption.
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이런 λΆ€νŒ¨λ₯Ό λ‚³κ²Œ λœκ²ƒμ΄μ£ .
01:19
He was laid to rest in the Ganges River,
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κ·ΈλŠ” κ° μ§€μŠ€κ°•μ— μ˜λ©΄ν–ˆμŠ΅λ‹ˆλ‹€.
01:21
where the dead are cremated along the banks of the river
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고인듀이 κ°•λ‘‘μ—μ„œ ν™”μž₯λ˜κ±°λ‚˜
01:23
or tied to heavy stones and sunk in the water.
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무거운 λŒμ— λ¬Άμ—¬ 물속에 수μž₯λ˜λŠ” 곳이죠.
01:27
Photographing these brothers
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κ·Έ ν˜•μ œλ“€μ€ μ„œλ₯˜μƒμœΌλ‘œλŠ” μ‘΄μž¬ν•˜μ§€ μ•ŠκΈ° λ•Œλ¬Έμ—
01:29
was a disorienting exchange
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사진을 μ°λŠ” μž‘μ—…μ€
01:31
because on paper they don't exist,
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ν˜Όλ™λ˜λŠ” μž‘μ—…μ΄κ³ ,
01:33
and a photograph is so often used as an evidence of life.
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μ’…μ’… 사진이 μƒμ‘΄μ˜ 증거둜 μ‚¬μš©λ˜κΈ°λ„ ν•©λ‹ˆλ‹€.
01:36
Yet, these men remain dead.
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ν•˜μ§€λ§Œ 그뢄듀은 μ—¬μ „νžˆ μ‚¬λ§ν•œ κ²ƒμœΌλ‘œ λ˜μ–΄ μžˆμŠ΅λ‹ˆλ‹€.
01:39
This quandary led to the title of the project,
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이런 μ–΄μ©”μˆ˜ μ—†λŠ” 상황이 이 ν”„λ‘œμ νŠΈμ˜ 이름을 λ§Œλ“€μ—ˆλŠ”λ°μš”.
01:41
which considers in many ways
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μš°λ¦¬κ°€ λͺ¨λ‘
01:44
that we are all the living dead
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μ‚΄μ•„μžˆλŠ” 망자이고,
01:46
and that we in some ways represent
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μ–΄λ–€ λ©΄μ—μ„œλŠ” 과거와 미래의 μ˜ν˜Όμ„
01:48
ghosts of the past and the future.
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ν‘œν˜„ν•œλ‹€λŠ” κ΄€μ μ—μ„œ 많이 κ³ λ―Όν–ˆμŠ΅λ‹ˆλ‹€.
01:53
So this story is the first of 18 chapters
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이것은 "μ£½μ€μžλ‘œ 기둝된 μ‚°μžμ™€ λ‹€λ₯Έ 이야기듀"μ΄λΌλŠ”
01:55
in my new body of work titled "A Living Man Declared Dead and Other Chapters."
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제λͺ©μ˜ 제 μ‹ κ°„μ˜ 18μž₯ 쀑 첫번째 이야기 μž…λ‹ˆλ‹€.
02:00
And for this work,
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이 μž‘μ—…μ„ μœ„ν•΄μ„œ,
02:02
I traveled around the world over a four-year period
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μ €λŠ” 4λ…„κ°„ 전세계λ₯Ό λŒμ•„λ‹€λ‹ˆλ©΄μ„œ
02:04
researching and recording bloodlines
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ν˜ˆν†΅κ³Ό 그와 κ΄€λ ¨λœ 이야기듀을
02:06
and their related stories.
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μ—°κ΅¬ν•˜κ³  κΈ°λ‘ν•˜μ˜€μŠ΅λ‹ˆλ‹€.
02:09
I was interested in ideas surrounding fate
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μ €λŠ” μˆ™λͺ…κ³Ό κ΄€λ ¨λœ 이야기에
02:12
and whether our fate is determined
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관심을 가지고 μžˆμ—ˆλŠ”λ°μš”,
02:14
by blood, chance or circumstance.
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μˆ™λͺ…μ΄λΌλŠ”κ²ƒμ΄ ν˜ˆν†΅μ΄λ“ , μš°μ—°μ΄λ“ , ν™˜κ²½μœΌλ‘œ κ²°μ •λ˜λ“  μƒκ΄€μ—†μ—ˆμ–΄μš”.
02:19
The subjects I documented
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μ œκ°€ μž‘μ—…ν•œ μ£Όμ œλ“€μ€
02:21
ranged from feuding families in Brazil
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κ°€μ •λΆˆν™”κ°€ μžˆλŠ” 브라질의 κ°€μ‘±λΆ€ν„°,
02:23
to victims of genocide in Bosnia
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λ³΄μŠ€λ‹ˆμ•„ ν•™μ‚΄μ˜ ν¬μƒμžλ“€,
02:25
to the first woman to hijack an airplane
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λΉ„ν–‰κΈ°μ—μ„œ λ‚©μΉ˜λ‹Ήν•œ 첫번째 μ—¬μ„±,
02:27
and the living dead in India.
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그리고 μΈλ„μ˜ μ‚΄μ•„μžˆλŠ” λ§μžκΉŒμ§€ λ‹€μ–‘ν•©λ‹ˆλ‹€.
02:30
In each chapter, you can see the external forces
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제 μ±…μ˜ 각μž₯λ§ˆλ‹€, 지배, ꢌλ ₯, μ˜μ—­ λ˜λŠ” 쒅ꡐ와 같은 외뢀적인 힘과
02:33
of governance, power and territory or religion
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심리적이고 물리적인 μž”μž¬λ“€κ³Ό 같은 내뢀적인 힘이
02:36
colliding with the internal forces
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μ„œλ‘œ μΆ©λŒν•˜λŠ” 것을
02:38
of psychological and physical inheritance.
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보싀 수 μžˆμŠ΅λ‹ˆλ‹€.
02:42
Each work that I make
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μ œκ°€ ν–ˆλ˜ 각각의 μž‘μ—…μ€
02:44
is comprised of three segments.
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3개의 μ˜μ—­μœΌλ‘œ κ΅¬μ„±λ©λ‹ˆλ‹€.
02:46
On the left are one or more portrait panels
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μ™Όμͺ½μ—λŠ” 1개 μ΄μƒμ˜
02:49
in which I systematically order
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혈쑱 κ΅¬μ„±μ›λ“€μ˜ μ΄ˆμƒν™”λ₯Ό
02:51
the members of a given bloodline.
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μ§ˆμ„œ μ •μ—°ν•˜κ²Œ λ°°μ—΄ν–ˆμŠ΅λ‹ˆλ‹€.
02:53
This is followed by a text panel, it's designed in scroll form,
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κ·Έ λ‹€μŒμ€ ν…μŠ€νŠΈ νŒ¨λ„μΈλ°μš”. μ­‰ ν›‘μ–΄ 볼수 μžˆλŠ” ν˜•νƒœμž…λ‹ˆλ‹€.
02:56
in which I construct
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여기에 이 사진에 λŒ€ν•œ λ‚΄μš©μ„
02:58
the narrative at stake.
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μ΄μ•ΌκΈ°μ²˜λŸΌ κΈ°μˆ ν–ˆμŠ΅λ‹ˆλ‹€.
03:00
And then on the right is what I refer to as a footnote panel.
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그리고 였λ₯Έμͺ½μ—λŠ” μ°Έκ³ λ₯Ό μœ„ν•΄ μΌμ’…μ˜ 각주λ₯Ό λ‹¬μ•˜μŠ΅λ‹ˆλ‹€.
03:03
It's a space that's more intuitive
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이 뢀뢄은 λ‹€λ₯Έ μ΄μ•ΌκΈ°λ“€μ˜ μ‹œμž‘μ΄λ‚˜,
03:05
in which I present fragments of the story,
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사진에 찍힌 증거 같은 μ΄μ•ΌκΈ°μ˜ 쑰각듀
03:07
beginnings of other stories, photographic evidence.
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λ”μš± μ§κ΄€μ μœΌλ‘œ ν‘œν˜„ν•˜κΈ°λ„ ν•©λ‹ˆλ‹€.
03:10
And it's meant to kind of reflect
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이건 μš°λ¦¬κ°€ 인터넷 μƒμ—μ„œ λ§Œλ‚˜λŠ” μ—­μ‚¬λ‚˜ 이야기와
03:13
how we engage with histories or stories on the Internet,
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μ–΄λ–»κ²Œ 관련이 μ§€μ–΄μ§€λŠ”μ§€λ₯Ό λ°˜μ˜ν•˜λ €λŠ” μ˜λ„μ˜€μŠ΅λ‹ˆλ‹€.
03:15
in a less linear form.
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직선 ν˜•νƒœλ‘œ μ—°κ²°λœ μˆœμ„œμ™€λŠ” 쑰금 λ‹€λ₯΄μ§€μš”.
03:17
So it's more disordered.
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κ·Έλž˜μ„œ μ’€ 더 ν˜Όλ™μŠ€λŸ½κΈ°λŠ” ν•©λ‹ˆλ‹€.
03:19
And this disorder is in direct contrast
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이런 배열이 λ°”κΏ€μˆ˜ μ—†λŠ” ν˜ˆν†΅λ‚΄μ—μ„œμ˜ μˆœμ„œμ™€
03:22
to the unalterable order of a bloodline.
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직접적인 비ꡐ가 λ˜λŠ” 것이죠.
03:27
In my past projects I've often worked in serial form,
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과거의 제 μž‘μ—…μ—μ„œλŠ” λ‹¨μˆœν•œ μ§μ„ ν˜•νƒœμ˜ 배열을 μ’…μ’… μ‚¬μš©ν–ˆλŠ”λ°μš”.
03:30
documenting things that have
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정해진 제λͺ©κ³Ό ν‘œν˜„ 방법을 톡해
03:32
the appearance of being comprehensive
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사물듀을 ν¬κ΄„μ μœΌλ‘œ ν˜•νƒœλ‘œ
03:34
through a determined title and a determined presentation,
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λ¬Έμ„œν™”ν•˜λŠ” λ°©μ‹μ΄μ—ˆμ£ .
03:37
but in fact, are fairly abstract.
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ν•˜μ§€λ§Œ κ·Έ μž‘μ—…λ“€μ€ μƒλ‹Ήνžˆ μΆ”μƒμ μž…λ‹ˆλ‹€.
03:40
In this project I wanted to work in the opposite direction
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κ·Έλž˜μ„œ 이번 ν”„λ‘œμ νŠΈμ—μ„œλŠ” κΈ°μ‘΄κ³ΌλŠ” λ‹€λ₯Έ λ°©ν–₯으둜 μž‘μ—…ν•˜κΈ° μ›ν–ˆμ£ .
03:42
and find an absolute catalog,
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그리고 μ›ν•˜λ˜ κ±Έ μ°Ύμ•˜μŠ΅λ‹ˆλ‹€.
03:45
something that I couldn't interrupt, curate or edit by choice.
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μ œκ°€ λΌμ–΄λ“€κ±°λ‚˜, μ„€λͺ…을 λΆ™μ΄κ±°λ‚˜ ν˜Ήμ€ μ„ νƒμ μœΌλ‘œ νŽΈμ§‘ν•΄ λ§Œλ“€μ–΄λ‚Ό 수 μ—†λŠ” κ²ƒμ΄μ—ˆμŠ΅λ‹ˆλ‹€.
03:49
This led me to blood.
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이런 뢀뢄이 μ €λ₯Ό ν˜ˆν†΅μ— 관심을 κ°€μ§€κ²Œ ν–ˆμŠ΅λ‹ˆλ‹€.
03:51
A bloodline is determined and ordered.
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ν˜ˆν†΅μ€ 결정적이고 μ§ˆμ„œ μ •μ—°ν•©λ‹ˆλ‹€.
03:54
But the project centers
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ν•˜μ§€λ§Œ 이 ν”„λ‘œμ νŠΈλŠ”
03:56
on the collision of order and disorder --
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μ§ˆμ„œμ™€ 혼돈의 μΆ©λŒμ— 쀑심을 두고 μžˆμŠ΅λ‹ˆλ‹€. --
03:58
the order of blood butting up against the disorder
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제 μ±…μ˜ 주제인 혼돈과 폭λ ₯적인 이야기가
04:01
represented in the often chaotic and violent stories
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λ‚œλ¬΄ν•˜λŠ” λ¬΄μ§ˆμ„œμ— λŒ€ν•­ν•˜μ—¬
04:04
that are the subjects of my chapters.
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이λ₯Ό μΉ˜λ°›λŠ” ν˜ˆν†΅μ˜ μ§ˆμ„œ 같은거 말이죠.
04:07
In chapter two, I photograph the descendants of Arthur Ruppin.
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λ‘λ²ˆμ§Έ μž₯μ—μ„œλŠ”, 아더 λ£¨ν•€μ”¨μ˜ μžμ†λ“€μ„ μ°μ—ˆμŠ΅λ‹ˆλ‹€.
04:11
He was sent in 1907 to Palestine
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κ·ΈλŠ” 1907년에 μ‹œμ˜¨μ£Όμ˜ 쑰직에 μ˜ν•΄
04:14
by the Zionist organization
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νŒ”λ ˆμŠ€νƒ€μΈμœΌλ‘œ λ³΄λ‚΄μ‘ŒμŠ΅λ‹ˆλ‹€.
04:16
to look at areas for Jewish settlement
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μœ λŒ€μΈ κ±°μ£Ό μ˜ˆμ • 지역을 λŒμ•„λ³΄κ³ 
04:19
and acquire land for Jewish settlement.
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μœ λŒ€μΈ κ±°μ£Ό μ§€μ—­μ˜ 토지λ₯Ό μΈμˆ˜ν•˜κΈ° μœ„ν•΄μ„œμ£ .
04:22
He oversaw land acquisition
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κ·ΈλŠ” νŒ”λ ˆμŠ€νƒ€μΈ ν† μ§€κ°œλ°œκ³΅μ‚¬λ₯Ό λŒ€ν‘œν•˜μ—¬
04:24
on behalf of the Palestine Land Development Company
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토지 인수λ₯Ό κ°λ…ν–ˆμŠ΅λ‹ˆλ‹€.
04:27
whose work led to the establishment
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그의 μž‘μ—…μ΄ μœ λŒ€κ΅­κ°€μ˜ 섀립을
04:29
of a Jewish state.
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μ΄λŒκΈ°λ„ ν–ˆμŠ΅λ‹ˆλ‹€.
04:32
Through my research at the Zionist Archives in Jerusalem,
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μ˜ˆλ£¨μ‚΄λ ˜μ— μžˆλŠ” μ‹œμ˜¨μ£Όμ˜μž κΈ°λ‘λ³΄κ΄€μ†Œμ—μ„œ 제 연ꡬλ₯Ό ν–ˆλŠ”λ°μš”.
04:35
I wanted to look at the early paperwork
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μœ λŒ€κ΅­κ°€μ˜ 섀립에 λŒ€ν•œ 초기 자료λ₯Ό
04:37
of the establishment of the Jewish state.
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보고 μ‹Άμ—ˆμŠ΅λ‹ˆλ‹€.
04:39
And I found these maps which you see here.
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그리고 μ—¬κΈ° λ³΄μ‹œλŠ” 이런 지도듀을 μ°Ύμ•˜μŠ΅λ‹ˆλ‹€.
04:42
And these are studies
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이 μ—°κ΅¬λŠ” μœ λŒ€μΈμ˜ λŒ€μ²΄ 거주지역을 μœ„ν•΄
04:44
commissioned by the Zionist organization
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μ‹œμ˜¨μ£Όμ˜ 쑰직의 μœ„μž„μœΌλ‘œ
04:46
for alternative areas for Jewish settlement.
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μ΄λ£¨μ–΄μ‘ŒμŠ΅λ‹ˆλ‹€.
04:48
In this, I was interested in the consequences
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μ—¬κΈ°μ„œ, μ €λŠ” 지리적 결과에
04:50
of geography
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관심을 κ°€μ§€κ²Œ λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
04:52
and imagining how the world would be different
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그리고 λ§Œμ•½μ— μ΄μŠ€λΌμ—˜μ΄ μš°κ°„λ‹€μ— μžˆμ—ˆλ‹€λ©΄
04:54
if Israel were in Uganda,
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세계가 μ–΄λ–»κ²Œ λ°”λ€Œμ—ˆμ„κΉŒν•˜κ³  상상해 λ³΄μ•˜μ£ .
04:57
which is what these maps demonstrate.
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λ°”λ‘œ 이 지도가 보여주고 μžˆλŠ”κ²ƒμ²˜λŸΌμš”.
04:59
These archives in Jerusalem,
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μ˜ˆλ£¨μ‚΄λ ˜μ˜ 이 κΈ°λ‘λ³΄κ΄€μ†Œμ—λŠ”
05:01
they maintain a card index file
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1919λ…„λΆ€ν„° 1965λ…„κΉŒμ§€
05:03
of the earliest immigrants and applicants for immigration
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ν–₯ν›„μ—λŠ” μ΄μŠ€λΌμ—˜μ΄ 된 νŒ”λ ˆμŠ€νƒ€μΈ μ§€μ—­μœΌλ‘œ,
05:06
to Palestine, and later Israel,
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이민간 초창기 μ§€μ›μžμ™€ 이민 μ§€μ›μ„œλ₯˜λ“€μ— λŒ€ν•œ
05:08
from 1919 to 1965.
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색인 기둝을 λ³΄κ΄€ν•˜κ³  μžˆμŠ΅λ‹ˆλ‹€.
05:13
Chapter three:
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제3μž₯:
05:15
Joseph Nyamwanda Jura Ondijo
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μ£ μ…‰ λ‹ˆμ•”μ™„λ‹€ μ₯¬λΌ μ˜¨λ””μ‘°λŠ”
05:18
treated patients outside of Kisumu, Kenya
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μΌ€λƒμ˜ ν‚€μˆ˜λ¬΄ μ™Έκ³½μ—μ„œ ν™˜μžλ“€μ„ λŒλ΄€μŠ΅λ‹ˆλ‹€.
05:21
for AIDS, tuberculosis, infertility,
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주둜 μ—μ΄μ¦ˆ, κ²°ν•΅, λΆˆμž„,
05:24
mental illness, evil spirits.
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μ •μ‹ μ§ˆν™˜ 등을 μ•“κ³  μžˆλŠ” ν™˜μžλ“€μ΄μ—ˆμ£ .
05:26
He's most often paid for his services
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κ·ΈλŠ” 보톡 ν˜„κΈˆ, μ†Œ λ˜λŠ” μ—Όμ†Œλ‘œ
05:29
in cash, cows or goats.
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μΉ˜λ£ŒλΉ„λ₯Ό λ°›μ•˜μŠ΅λ‹ˆλ‹€.
05:32
But sometimes when his female patients
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ν•˜μ§€λ§Œ λ•Œλ‘œλŠ” μ—¬μ„± ν™˜μžλ“€μ΄
05:34
can't afford his services,
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μΉ˜λ£ŒλΉ„λ₯Ό μ§€λΆˆ ν•  수 μ—†λŠ” κ²½μš°μ—λŠ”
05:36
their families give the women to Jura
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μΉ˜λ£ŒλΉ„ λŒ€μ‹ μ— κ·Έ μ—¬μ„± ν™˜μžλ₯Ό
05:39
in exchange for medical treatment.
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κ·Έμ—κ²Œ μ£ΌλŠ” κ²½μš°λ„ μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
05:41
As a result of these transactions,
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이런 거래 λ•Œλ¬Έμ—,
05:43
Jura has nine wives,
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μ₯¬λΌλŠ” 9λͺ…μ˜ 뢀인이 있고,
05:45
32 children
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32λ³‘μ˜ μžμ‹λ“€κ³Ό
05:47
and 63 grandchildren.
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63λͺ…μ˜ 손주듀이 μžˆμŠ΅λ‹ˆλ‹€.
05:49
In his bloodline you see the children and grandchildren here.
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μ—¬κΈ° 그의 κ³„λ³΄μ—μ„œ μžμ‹λ“€κ³Ό 손주듀을 λ³΄μ‹€μˆ˜ μžˆμŠ΅λ‹ˆλ‹€.
05:54
Two of his wives were brought to him
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뢀인듀 쀑 두λͺ…은 λΆˆμž„μΈ μƒνƒœμ—μ„œ
05:56
suffering from infertility
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κ·Έμ—κ²Œ λ³΄λ‚΄μ‘ŒλŠ”λ°
05:58
and he cured them,
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μΉ˜λ£Œλ„ ν•΄μ£Όμ—ˆμŠ΅λ‹ˆλ‹€.
06:01
three for evil spirits,
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μ •μ‹  μ§ˆν™˜μ„ μ•“κ³  있던 μ„Έλͺ…μ˜ 뢀인도 μžˆμ—ˆκ΅¬μš”.
06:03
one for an asthmatic condition and severe chest pain
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그쀑 μ²œμ‹μ— μ‹¬ν•œ κ°€μŠ΄ 톡증을 μ•“λ˜ 뢀인 ν•œλͺ…κ³Ό
06:06
and two wives Ondijo claims he took for love,
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λ‹€λ₯Έ 두λͺ…μ˜ 뢀인은 μ₯¬λΌκ°€ μ‚¬λž‘ν•˜μ—¬
06:09
paying their families a total of 16 cows.
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μ‹ λΆ€μ˜ 가쑱에세 16마리의 μ†Œλ₯Ό μ£Όκ³  λ°λ €μ™”μŠ΅λ‹ˆλ‹€.
06:12
One wife deserted him
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ν•œλͺ…μ˜ 뢀인은 κ·Έλ₯Ό 버리고 λ„λ§κ°”κ΅¬μš”,
06:14
and another passed away during treatment for evil spirits.
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λ‹€λ₯Έ ν•œλͺ…은 μ •μ‹ μ§ˆν™˜ μΉ˜λ£Œμ€‘ 세상을 λ– λ‚¬μŠ΅λ‹ˆλ‹€.
06:18
Polygamy is widely practiced in Kenya.
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μΌ€λƒμ—μ„œ μΌλΆ€λ‹€μ²˜μ œλŠ” 보편적으둜 μ„±ν–‰ν•©λ‹ˆλ‹€.
06:21
It's common among a privileged class
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λ§Žμ€ μ§€μ°ΈκΈˆκ³Ό
06:23
capable of paying numerous dowries
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λ‹€μˆ˜μ˜ 집을 μœ μ§€ν•  λŠ₯λ ₯이 λ˜λŠ”
06:25
and keeping multiple homes.
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νŠΉκΆŒμΈ΅μ—κ²ŒλŠ” 일반적인 일이죠.
06:27
Instances of prominent social and political figures
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μΌλΆ€λ‹€μ²˜μ œ ν™˜κ²½μ—μ„œ μ‚¬νšŒ, μ •μΉ˜μ μœΌλ‘œ
06:30
in polygamous relationships
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유λͺ…ν•œ 인사듀이 뢀와, ꢌλ ₯의
06:32
has led to the perception of polygamy
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μƒμ§•μœΌλ‘œ 이런 μ œλ„λ₯Ό
06:35
as a symbol of wealth, status and power.
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이끌고 μžˆμŠ΅λ‹ˆλ‹€.
06:40
You may notice in several of the chapters that I photographed
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μ œκ°€ 찍은 사진듀 μ€‘μ—μ„œ 빈칸이
06:43
there are empty portraits.
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μžˆλŠ” 것을 λ³΄μ‹€μˆ˜λ„ μžˆλŠ”λ°μš”.
06:45
These empty portraits represent individuals,
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이런 λΉˆμΉΈλ“€μ€ ν˜„μž¬ 생쑴해 μžˆμœΌλ©΄μ„œ
06:47
living individuals, who couldn't be present.
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사진을 찍을 수 μ—†λŠ” λΆ„λ“€μž…λ‹ˆλ‹€.
06:50
And the reasons for their absence are given in my text panel.
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κ·Έ μ΄μœ λ“€μ΄ μ—¬κΈ° νŒ¨λ„μ— κΈ°λ‘λ˜μ–΄ μžˆμŠ΅λ‹ˆλ‹€.
06:53
They include dengue fever,
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λŽ…κΈ°μ—΄μ„ μ•“κ³  μžˆκ±°λ‚˜,
06:55
imprisonment, army service,
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투μ˜₯μ€‘μΌμˆ˜ μžˆκ΅¬μš”, κ΅°λŒ€μ— κ°„ κ²½μš°λ„ 있고,
06:57
women not allowed to be photographed
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μ’…κ΅λ‚˜ 문화적인 이유둜
06:59
for religious and cultural reasons.
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사진 촬영이 ν—ˆλ½λ˜μ§€ μ•Šμ€ κ²½μš°λ„ μžˆμŠ΅λ‹ˆλ‹€.
07:02
And in this particular chapter,
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특히 이번 μž₯μ—λŠ”μš”,
07:04
it's children whose mothers
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μ•„μ΄μ˜ 아버지가 λ‚©μΉ˜ν• κΉŒλ΄μ„œ
07:06
wouldn't allow them to travel to the photographic shoot
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μ—„λ§ˆκ°€ 사진을 찍지 λͺ»ν•˜κ²Œ
07:08
for fear that their fathers would kidnap them during it.
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ν•œ 아이도 μžˆμŠ΅λ‹ˆλ‹€.
07:14
Twenty-four European rabbits
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제4μž₯: 24마리의 유럽 토끼듀이
07:16
were brought to Australia in 1859
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1859년에 영ꡭ인 μ΄μ£Όμžλ“€μ— μ˜ν•΄
07:18
by a British settler
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슀포츠인 사λƒ₯의 λͺ©μ μœΌλ‘œ
07:20
for sporting purposes, for hunting.
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ν˜Έμ£Όμ— λ“€μ–΄μ™”μŠ΅λ‹ˆλ‹€.
07:23
And within a hundred years,
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그리고 100λ…„λ§Œμ—
07:25
that population of 24 had exploded to half a billion.
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24λ§ˆλ¦¬μ˜€λ˜ κ°œμ²΄μˆ˜κ°€ 5μ–΅ 마리둜 폭발적으둜 λŠ˜μ—ˆμŠ΅λ‹ˆλ‹€.
07:29
The European rabbit has no natural predators in Australia,
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ν˜Έμ£Όμ—λŠ” 이 ν† λΌμ˜ μžμ—°μ μΈ 천적이 μ—†μ—ˆμŠ΅λ‹ˆλ‹€.
07:32
and it competes with native wildlife
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μ•Όμƒμ—μ„œ μ‚΄λ©΄μ„œ
07:34
and damages native plants
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ν† μ’… 식물듀과
07:36
and degrades the land.
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토양을 ν›Όμ†ν•˜κ²Œ λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
07:38
Since the 1950s,
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1950λ…„λŒ€ μ΄ν›„λ‘œ,
07:40
Australia has been introducing lethal diseases
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호주 μ •λΆ€λŠ”
07:43
into the wild rabbit population
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야생 ν† λΌμ˜ 개체수 μ‘°μ ˆμ„ μœ„ν•΄
07:45
to control growth.
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치λͺ…적인 병원균을 λ„μž…ν–ˆμŠ΅λ‹ˆλ‹€.
07:47
These rabbits were bred at a government facility,
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이런 보균 토끼듀은 ν€Έμ¦ˆλžœλ“œμ˜ μƒμ²΄λ³΄ν˜Έκ΅­μ—μ„œ
07:50
Biosecurity Queensland,
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μ‚¬μœ‘λ˜μ—ˆλŠ”λ°μš”,
07:52
where they bred three bloodlines of rabbits
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3가지 ν˜ˆν†΅μ˜ ν† λΌμ’…μ—κ²Œ
07:54
and have infected them with a lethal disease
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치λͺ…적인 병원균을 κ°μ—Όμ‹œν‚¨ ν›„
07:56
and are monitoring their progress
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효과적으둜 야생 토끼듀을 μ£½μ΄λŠ”μ§€
07:58
to see if it will effectively kill them.
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μ‹€ν—˜μ„ ν–ˆμŠ΅λ‹ˆλ‹€.
08:01
So they're testing its virulence.
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λ°œλ³‘ 유발λ ₯을 μ‹€ν—˜ν•œ 것이죠.
08:03
During the course of this trial, all of the rabbits died,
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이런 μ‹€ν—˜μ—μ„œ λͺ‡λͺ‡ μ•ˆλ½μ‚¬ μ‹œν‚¨ 토끼λ₯Ό μ œμ™Έν•˜κ³ λŠ”
08:06
except for a few, which were euthanized.
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κ°μ—Όλœλͺ¨λ“  토끼가 μ£½μ—ˆμŠ΅λ‹ˆλ‹€.
08:09
Haigh's Chocolate,
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호주의 토끼 λ°•λ©Έ μž¬λ‹¨κ³Όμ˜
08:11
in collaboration
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ν˜‘λ ₯을 ν†΅ν•΄μ„œ
08:13
with the Foundation for Rabbit-Free Australia,
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ν—€μ΄μŠ€ μ΄ˆμ½œλ ›μ˜ λΆ€ν™œμ ˆ 토끼 λͺ¨μ–‘
08:16
stopped all production of the Easter Bunny in chocolate
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μ΄ˆμ½œλ › 생산을 μ€‘λ‹¨ν•˜κ³ 
08:19
and has replaced it with the Easter Bilby.
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λΆ€ν™œμ ˆ λΉŒλΉ„(Easter Bilby, 토끼λͺ¨μ–‘ 동물)둜 λŒ€μ²΄ν–ˆμŠ΅λ‹ˆλ‹€.
08:22
Now this was done to counter
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이런 μ‘°μΉ˜λŠ”
08:24
the annual celebration of rabbits
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μ‚¬λžŒλ“€μ΄ 토끼λ₯Ό 톡해 맀년 μΆ•μ œλ₯Ό λ²Œμ΄λŠ” 것에 λŒ€μ‘ν•˜κ³ 
08:26
and presumably make the public more comfortable
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야생 토끼λ₯Ό μ£½μ΄λŠ” 것에 μ’€ 더 μ΅μˆ™ν•΄μ Έμ„œ
08:28
with the killing of rabbits
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ν˜Έμ£Όμ— μ‚¬λŠ” ν† μ’… λ™λ¬Όμ˜ 수λ₯Ό
08:30
and promote an animal that's native to Australia,
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λŠ˜λ¦¬λ €λŠ” μ‹œλ„μ˜€μ§€μš”.
08:32
and actually an animal that is threatened
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μ‹€μ œλ‘œ ν† μ’… 동물이
08:34
by the European rabbit.
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유렡 토끼듀에 μ˜ν•΄ μœ„ν˜‘μ„ λ°›μ•˜κ±°λ“ μš”.
08:38
In chapter seven, I focus on the effects
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일곱번째 μž₯μ—μ„œλŠ”
08:40
of a genocidal act
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ν•œ ν˜ˆμ‘±μ—κ²Œ μΌμ–΄λ‚œ
08:42
on one bloodline.
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λŒ€λŸ‰ 학살을 닀루고 μžˆμŠ΅λ‹ˆλ‹€.
08:44
So over a two-day period,
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μ΄ν‹€μ΄λΌλŠ” κΈ°κ°„λ™μ•ˆμ—
08:46
six individuals from this bloodline
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이 κ°€μ‘±μ˜ 6λͺ…이
08:48
were killed in the Srebrenica massacre.
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μŠ€λ ˆλΈŒλ ˆλ‹ˆμ°¨(λ³΄μŠ€λ‹ˆμ•„μ˜ ν•œ 지역) λŒ€ν•™μ‚΄λ‘œ μ£½μ—ˆμŠ΅λ‹ˆλ‹€.
08:50
This is the only work
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제 μž‘μ—…λ“€ μ€‘μ—μ„œ
08:52
in which I visually represent the dead.
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μœ μΌν•˜κ²Œ 고인을 ν‘œν˜„ν•œ λΆ€λΆ„μž…λ‹ˆλ‹€.
08:54
But I only represent those
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μŠ€λ ˆλΈŒλ ˆλ‹ˆμ°¨(λ³΄μŠ€λ‹ˆμ•„) λŒ€ν•™μ‚΄μ—μ„œ
08:56
that were killed in the Srebrenica massacre,
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μ‚¬μ‚΄λœ μ‚¬λžŒλ“€λ§Œ ν‘œν˜„ν–ˆμŠ΅λ‹ˆλ‹€.
08:58
which is recorded as the largest mass murder in Europe
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μŠ€λ ˆλΈŒλ ˆλ‹ˆμ°¨(λ³΄μŠ€λ‹ˆμ•„) λŒ€ν•™μ‚΄μ€ 2μ°¨ μ„Έκ³„λŒ€μ „ 이후
09:01
since the Second World War.
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μœ λŸ½μ—μ„œ λ²Œμ–΄μ§„ μ΅œλŒ€μ˜ ν•™μ‚΄λ‘œ 기둝되고 μžˆμŠ΅λ‹ˆλ‹€.
09:04
And during this massacre,
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이 ν•™μ‚΄ κΈ°κ°„ λ™μ•ˆμ—,
09:06
8,000 Bosnian Muslim men and boys
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8,000λͺ…μ˜ λ³΄μŠ€λ‹ˆμ•„ 무슬림과 아이듀이
09:08
were systematically executed.
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쑰직적으둜 μ²˜ν˜• λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
09:11
So when you look at a detail of this work,
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이 μž‘μ—…μ„ μžμ„Ένžˆ 보면,
09:14
you can see, the man on the upper-left
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상단 μ™Όμͺ½μ— μžˆλŠ” μ‚¬λžŒμ΄
09:16
is the father of the woman sitting next to him.
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μ˜†μ— 앉아 μžˆλŠ” μ—¬μ„±μ˜ μ•„λ²„μ§€μž…λ‹ˆλ‹€.
09:18
Her name is Zumra.
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κ·Έλ…€μ˜ 이름은 μ£Όλ¬΄λΌμž…λ‹ˆλ‹€.
09:20
She is followed by her four children,
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λ„€ λͺ…μ˜ μžμ‹λ“€ 사진이 μžˆλŠ”λ°μš”,
09:23
all of whom were killed in the Srebrenica massacre.
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λ„€ λͺ… λͺ¨λ‘ μŠ€λ ˆλΈŒλ ˆλ‹ˆμ°¨ λŒ€ν•™μ‚΄μ—μ„œ μ£½μ—ˆμŠ΅λ‹ˆλ‹€.
09:26
Following those four children is Zumra's younger sister
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κ·Έ λ‹€μŒμ— λ‚˜μ˜€λŠ” 사진은 주무라의 μ—¬λ™μƒμž…λ‹ˆλ‹€.
09:29
who is then followed by her children
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κ·Έλ…€μ˜ 아이듀과 ν•¨κ»˜ λ‚˜μ˜€λŠ”λ°μš”,
09:31
who were killed as well.
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κ·Έ 아이듀도 λͺ¨λ‘ μ‚΄ν•΄λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
09:34
During the time I was in Bosnia,
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μ œκ°€ λ³΄μŠ€λ‹ˆμ•„μ— 체λ₯˜ν–ˆλ˜ κΈ°κ°„ λ™μ•ˆμ—,
09:36
the mortal remains of Zumra's eldest son
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주무라의 μž₯남 μ‹œμ‹ μ΄
09:38
were exhumed from a mass grave.
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κ³΅λ™λ¬˜μ§€μ—μ„œ λ°œκ΅΄λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
09:40
And I was therefore able to photograph
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κ·Έλž˜μ„œ μ €λŠ” 그의 μ˜¨μ „ν•œ μœ ν•΄λ₯Ό
09:42
the fully assembled remains.
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사진 찍을 수 μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
09:44
However, the other individuals
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ν•˜μ§€λ§Œ μ—¬κΈ° νŒŒλž€μƒ‰ μŠ¬λΌμ΄λ“œμ—
09:46
are represented by these blue slides,
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λ‚˜μ˜€λŠ” μΉ˜μ•„μ™€ μœ κ³¨μ€
09:48
which show tooth and bone samples
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μœ ν•΄κ°€ 주무라의 κ°€μ‘±μ˜ κ²ƒμ΄λΌλŠ” 사싀을
09:50
that were matched to DNA evidence collected from family members
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증λͺ…ν•˜λ €κ³ 
09:53
to prove they were the identities
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μœ μ „μžλ₯Ό μΆ”μΆœν•˜λŠ”λ° μ‚¬μš©ν•œ
09:55
of those individuals.
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μƒ˜ν”Œλ“€ μž…λ‹ˆλ‹€.
09:57
They've all been given a proper burial,
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그듀은 λͺ¨λ‘ μž₯λ‘€κ°€ μΉ˜λ£¨μ–΄μ‘Œκ³ ,
09:59
so what remains are these blue slides
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이 νŒŒλž€ μŠ€λΌμ΄λ“œ 사진은 ꡭ제 μ‹€μ’…μž μœ„μ›νšŒμ—
10:01
at the International Commission for Missing Persons.
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남겨진 λ‹€λ₯Έ μœ ν•΄λ“€ μž…λ‹ˆλ‹€.
10:06
These are personal effects
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이 μœ ν’ˆλ“€μ€
10:08
dug up from a mass grave
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κ³΅λ™λ¬˜μ§€μ—μ„œ 파온 것인데
10:10
that are awaiting identification from family members
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κ°€μ‘±λ“€μ˜ 신원 확인을 기닀리고 μžˆμŠ΅λ‹ˆλ‹€.
10:13
and graffiti at the Potochari battery factory,
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그리고 κ·Έλž˜ν”Όν‹° λ‚™μ„œκ°€ μžˆλŠ” 포토차리 배터리 곡μž₯은
10:16
which was where the Dutch U.N. soldiers were staying,
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λ„€λΈλž€λ“œ μœ μ—”κ΅°μ΄ μ£Όλ‘”ν–ˆλ˜ κ³³μΈλ°μš”,
10:19
and also the Serbian soldiers later
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ν•™μ‚΄κΈ°κ°„ λ™μ•ˆ
10:21
during the times of the executions.
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μ„Έλ₯΄λΉ„μ•„ ꡰ인듀이 μ£Όλ‘”ν•˜κΈ°λ„ ν–ˆμ—ˆμŠ΅λ‹ˆλ‹€.
10:25
This is video footage used at the Milosevic trial,
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μ—¬κΈ° μœ„μ—μ„œ μ•„λž˜κΉŒμ§€λŠ”
10:27
which from top to bottom
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λΉŒλ‘œμ„ΈλΉ„μΉ˜ μž¬νŒμ— μ‚¬μš©λœ μ˜μƒμΈλ°μš”,
10:29
shows a Serbian scorpion unit
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μ„Έλ₯΄λΉ„μ•„ λΆ€λŒ€κ°€ μ„Έλ‘€λ₯Ό λ°›λŠ” μž₯λ©΄μž…λ‹ˆλ‹€.
10:31
being blessed by an Orthodox priest
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μ–΄λ¦° 아이듀과 μ‚¬λžŒλ“€μ„
10:34
before rounding up the boys and men
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묢어놓고 죽이기 전에 μ •κ΅νšŒ λͺ©μ‚¬μ—κ²Œμ„œ
10:36
and killing them.
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μ…°λ‘€λ₯Ό 받은 것이죠.
10:40
Chapter 15 is more of a performance piece.
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제15μž₯은 더 λ§Žμ€ νΌν¬λ¨ΌμŠ€λ“€μ΄ μžˆμŠ΅λ‹ˆλ‹€.
10:44
I solicited China's State Council Information Office in 2009
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2009년에 이 ν”„λ‘œμ νŠΈλ₯Ό μœ„ν•΄μ„œ
10:48
to select a multi-generational bloodline
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쀑ꡭ을 λŒ€ν‘œν•  λ§Œν•œ λ‹€μ„ΈλŒ€ 계보λ₯Ό 선정해달라고
10:51
to represent China for this project.
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쀑ꡭ 정보ꡭ에 μš”μ²­ν•œμ μ΄ μžˆμŠ΅λ‹ˆλ‹€.
10:54
They chose a large family from Beijing for its size,
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그리고 λΆκ²½μ—μ„œ ν•œ λŒ€κ°€μ‘±μ„ μ„ μ •ν•΄μ£Όμ—ˆλŠ”λ°μš”,
10:57
and they declined to give me
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κ°€μ‘±μ˜ 크기 이외에 μ™œ κ·Έ 가쑱을 μ„ μ •ν–ˆλŠ”μ§€μ—
10:59
any further reasoning for their choice.
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더 μ΄μƒμ˜ 이유λ₯Ό λ°νžˆλŠ” 것은 κ±°μ ˆν–ˆμŠ΅λ‹ˆλ‹€.
11:01
This is one of the rare situations
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이 κ²½μš°λŠ” 빈칸이 μ—†λŠ”
11:03
where I have no empty portraits.
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λͺ‡ μ•ˆλ˜λŠ” λ“œλ¬Έ μ‚¬λ‘€μ˜€μŠ΅λ‹ˆλ‹€.
11:05
Everyone showed up.
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κ°€μ‘± λͺ¨λ‘κ°€ μΆœν˜„ν–ˆμŠ΅λ‹ˆλ‹€.
11:07
You can also see the evolution of the one-child-only policy
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이 계보λ₯Ό λ³΄μ‹œλ©΄μ„œ μ€‘κ΅­μ˜ ν•œμžλ…€ μ •μ±…μ˜
11:10
as it travels through the bloodline.
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진화 과정을 보싀 수 μžˆμŠ΅λ‹ˆλ‹€.
11:14
Previously known as the Department of Foreign Propaganda,
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이전에 μ™Έκ΅κ³΅μ•ˆκ΅­μœΌλ‘œ μ•Œλ €μ‘Œλ˜
11:17
the State Council Information Office
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쀑ꡭ 정보ꡭ은
11:20
is responsible for all of China's external publicity operations.
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μ€‘κ΅­μ˜ 외ꡐ업무λ₯Ό λ‹΄λ‹Ήν•˜κ³  μžˆμŠ΅λ‹ˆλ‹€.
11:24
It controls all foreign media and image production
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이 곳은 쀑ꡭ λ°–μ—μ„œ ν˜Ήμ€ 쀑ꡭ과 ν•¨κ»˜ μ œμž‘ν•˜λŠ”
11:27
outside of China
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λͺ¨λ“  λ―Έλ””μ–΄λ‚˜ 사진에 λŒ€ν•΄μ„œ
11:29
from foreign media working within China.
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관리 감독을 ν•˜κ³  μžˆμŠ΅λ‹ˆλ‹€.
11:31
It also monitors the Internet
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λ˜ν•œ μΈν„°λ„·μ˜ 정보도 κ°μ‹œν•΄μ„œ
11:33
and instructs local media
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지역 μ–Έλ‘ μ—κ²Œ 잠재적인 κ΅­κ°€ λ¬Έμ œμ— λŒ€ν•΄
11:35
on how to handle any potentially controversial issues,
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μ–΄λ–»κ²Œ λŒ€μ²˜ν•΄μ•Όν•˜λŠ”μ§€ μ£Όλ¬Έν•˜κ³  있죠.
11:38
including Tibet, ethnic minorities,
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주둜 ν‹°λ²³ μ‚¬νƒœ, μ†Œμˆ˜λ―Όμ‘± 문제,
11:41
Human Rights, religion,
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인ꢌ, 쒅ꡐ,
11:43
democracy movements and terrorism.
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λ―Όμ£Όν™” μš΄λ™μ΄λ‚˜ ν…ŒλŸ¬μ™€ 같은 μ‚¬μ•ˆλ“€μž…λ‹ˆλ‹€.
11:46
For the footnote panel in this work,
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이 μ •λ³΄κ΅­μ—μ„œλŠ” 제 μž‘μ—…μ˜
11:49
this office instructed me
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λ§ˆμ§€λ§‰μ— 뢁경의 쀑앙 ν…”λ ˆλΉ„μ Ό νƒ€μ›Œμ˜ 사진을
11:51
to photograph their central television tower in Beijing.
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넣도둝 μ§€μ‹œν•˜κΈ°λ„ ν–ˆμŠ΅λ‹ˆλ‹€.
11:54
And I also photographed the gift bag they gave me
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그리고 μ œκ°€ 쀑ꡭ을 λ– λ‚  λ•Œ 그듀이 μ€€
11:56
when I left.
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μ„ λ¬Ό κ°€λ°© 사진도 찍으라고 ν•˜λ”κ΅°μš”.
12:02
These are the descendants of Hans Frank
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이 μ‚¬λžŒλ“€μ€ νžˆν‹€λŸ¬μ˜ 개인 λ³€ν˜Έμ‚¬μ˜€κ³ 
12:04
who was Hitler's personal legal advisor
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점령 ν΄λž€λ“œ 주지사λ₯Ό μ§€λƒˆλ˜
12:07
and governor general of occupied Poland.
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ν•œμŠ€ ν”„λž­ν¬μ˜ μžμ†λ“€μž…λ‹ˆλ‹€.
12:10
Now this bloodline includes numerous empty portraits,
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이 κ³„λ³΄μ—λŠ” 수 λ§Žμ€ 빈칸이 μžˆμŠ΅λ‹ˆλ‹€.
12:13
highlighting a complex relationship
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κ°€μ‘±μ˜ 역사가 λ³΅μž‘ν•˜λ‹€λŠ” 것을
12:15
to one's family history.
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보여주고 있죠.
12:18
The reasons for these absences
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빈칸 μ€‘μ—λŠ” 이 μž‘μ—…μ— μ°Έμ—¬λ₯Ό
12:20
include people who declined participation.
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μ›ν•˜μ§€ μ•Šμ€ μ‚¬λžŒλ„ μžˆμŠ΅λ‹ˆλ‹€.
12:23
There's also parents who participated
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또 μžμ‹ λ“€μ€ μ°Έμ—¬ν•˜μ§€λ§Œ
12:26
who wouldn't let their children participate
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아이듀은 λ„ˆλ¬΄ μ–΄λ € λ­”κ°€λ₯Ό κ²°μ •ν•  λ‚˜μ΄κ°€
12:28
because they thought they were too young to decide for themselves.
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μ•„λ‹ˆκΈ° λ•Œλ¬Έμ— μ°Έμ—¬μ‹œν‚€μ§€ μ•Šμ€ λΆ€λͺ¨λ“€λ„ μžˆμŠ΅λ‹ˆλ‹€.
12:31
Another section of the family
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λ‹€λ₯Έ μΉΈμ—λŠ” μ‹€λ¬Ό 사진 λŒ€μ‹ μ—
12:33
presented their clothing, as opposed to their physical presence,
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κ°€μ‘±λ“€μ˜ μ˜·μ„ μ°μ—ˆμŠ΅λ‹ˆλ‹€.
12:36
because they didn't want to be identified
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μ œκ°€ κ°•μ‘°ν•˜λŠ” 과거사에
12:38
with the past that I was highlighting.
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μžμ‹ λ“€μ„ 보여주고 μ‹Άμ–΄ν•˜μ§€ μ•Šμ•˜μŠ΅λ‹ˆλ‹€.
12:40
And finally, another individual
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λ§ˆμ§€λ§‰μœΌλ‘œ 또 λ‹€λ₯Έ μ‚¬λžŒμ€
12:42
sat for me from behind
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등을 돌리고 μ•‰μ•˜λ‹€κ°€
12:44
and later rescinded his participation,
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λ‚˜μ€‘μ— μ°Έμ—¬ν•˜λŠ”κ²ƒμ„ μ·¨μ†Œν•˜κΈ°λ„ ν–ˆμŠ΅λ‹ˆλ‹€.
12:46
so I had to pixelate him out so he's unrecognizable.
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κ·Έλž˜μ„œ 잘 λͺ» μ•Œμ•„λ³΄λ„λ‘ 사진을 흐리게 ν•΄μ•Ό ν–ˆμŠ΅λ‹ˆλ‹€.
12:52
In the footnote panel that accompanies this work
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꼬리말 뢀뢄에
12:54
I photographed an official Adolph Hitler postage stamp
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μ•„λŒν”„ νžˆν‹€λŸ¬μ˜ 곡식 μš°ν‘œλ₯Ό μ°μ—ˆμŠ΅λ‹ˆλ‹€.
12:58
and an imitation of that stamp
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그리고 영ꡭ μ •λ³΄κ΅­μ—μ„œ
13:00
produced by British Intelligence
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ν•œμŠ€ ν”„λž­ν¬μ˜ 사진을 νžˆν‹€λŸ¬ 사진 μœ„μ— 올렀 λ§Œλ“ 
13:02
with Hans Frank's image on it.
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λͺ¨μ‘°ν’ˆλ„ 같이 μ‹€μ—ˆμŠ΅λ‹ˆλ‹€
13:04
It was released in Poland
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이 μš°ν‘œλŠ” ν”„λž­ν¬μ™€ νžˆν‹€λŸ¬μ˜
13:06
to create friction between Frank and Hitler,
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λ§ˆμ°°μ„ μœ λ°œν•˜λ €κ³  ν΄λžœλ“œμ—μ„œ μΆœνŒλ˜μ—ˆμŠ΅λ‹ˆλ‹€.
13:08
so that Hitler would imagine
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κ·Έλž˜μ„œ ν”„λž­ν¬κ°€ νžˆν‹€λŸ¬μ˜ ꢌλ ₯을
13:10
Frank was trying to usurp his power.
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λΊμ•—μœΌλ €κ³  ν•œλ‹€κ³  νžˆν‹€λŸ¬κ°€ μƒκ°ν•˜λ„λ‘ μ‹œλ„ν–ˆλ˜ κ²ƒμ΄μ§€μš”.
13:14
Again, talking about fate,
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λ‹€μ‹œ 운λͺ…에 λŒ€ν•΄μ„œ μ΄μ•ΌκΈ°ν•˜λ©΄μš”,
13:16
I was interested in the stories and fate
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μ €λŠ” νŠΉλ³„νžˆ 이야기와 운λͺ…μ΄λΌλŠ”
13:18
of particular works of art.
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예술 μž‘μ—…μ— 관심을 가지고 μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
13:20
These paintings were taken by Hans Frank
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이 그림듀은 νžˆν‹€λŸ¬ ν†΅μΉ˜ μ‹œλŒ€μ—
13:23
during the time of the Third Reich.
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ν•œμŠ€ ν”„λž­ν¬κ°€ κ°•νƒˆν–ˆλ˜ κ²ƒλ“€μž…λ‹ˆλ‹€.
13:25
And I'm interested in the impact of their absence and presence through time.
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그리고 μ €λŠ” μ‹œκ°„μ΄ μ§€λ‚˜λ©΄μ„œ 이런 그림듀이 사라지고 μΆœν˜„ν•˜λŠ”κ²ƒμ— 관심을 κ°€μ‘ŒμŠ΅λ‹ˆλ‹€.
13:29
They are Leonardo da Vinci's "Lady With an Ermine,"
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이 그림은 λ ˆμ˜€λ‚˜λ₯΄λ„ λ‹€λΉˆμΉ˜μ˜ "λ‹΄λΉ„λ₯Ό μ•ˆκ³  μžˆλŠ” 여인" ,
13:32
Rembrandt's "Landscape With Good Samaritan"
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λž¨λΈŒλž€νŠΈμ˜ "μ°©ν•œ μ‚¬λ§ˆλ¦¬μ•„μΈμ˜ 풍경" κ³Ό
13:35
and Raphael's "Portrait of a Youth,"
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λΌνŒŒμ—˜μ˜ "μ²­λ…„μ˜ μ΄ˆμƒν™”" μž…λ‹ˆλ‹€.
13:37
which has never been found.
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이 그림듀은 발견된 적이 μ—†μ—ˆμ£ .
13:41
Chapter 12 highlights
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제12μž₯은 μžμ‹ λ“€μ΄
13:43
people being born into a battle that is not of their making,
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직접 μ „μŸμ„ μΌμœΌν‚€μ§€λŠ” μ•Šμ•˜μ§€λ§Œ κ·Έ μ•ˆμ—μ„œ νƒœμ–΄λ‚˜ μ „μŸμ΄ μžμ‹ μ˜ 것이 λ˜μ–΄λ²„λ¦°
13:46
but becomes their own.
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μ‚¬λžŒλ“€μ„ μ‘°λͺ…ν•©λ‹ˆλ‹€.
13:48
So this is the Ferraz family
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이 사진은 페라즈 κ°€μ‘±κ³Ό
13:50
and the Novaes family.
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λ…Έλ°”μ—μ¦ˆ κ°€μ‘±λ“€μž…λ‹ˆλ‹€.
13:52
And they are in an active blood feud.
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이 가쑱듀은 ν˜„μž¬λ„ μ„œλ‘œ μ•™μˆ™μΈ κ΄€κ³„μž…λ‹ˆλ‹€.
13:55
This feud has been going on since 1991
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이 μ•™μˆ™ κ΄€κ³„λŠ” 1991λ…„ λΆ€ν„°
13:58
in Northeast Brazil in Pernambuco,
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브라질 뢁동μͺ½μ˜ νŽ˜λ‚¨λΆ€κ³ μ—μ„œ μ‹œμž‘λ˜μ–΄ μ§€κΈˆλ„ 계속 되고 μžˆμŠ΅λ‹ˆλ‹€.
14:01
and it involved the deaths
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이둜 인해 가쑱쀑 20λͺ…μ΄λ‚˜
14:03
of 20 members of the families
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μ‚¬λ§ν–ˆκ³ ,
14:05
and 40 others associated with the feud,
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40μ—¬λͺ…μ΄λ‚˜ 이런 μ•™μˆ™ 관계와 κ΄€λ ¨λ˜μ–΄ μžˆλŠ”λ°μš”,
14:07
including hired hit men, innocent bystanders
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고용된 해결사, μ£„μ—†λŠ” ꡬ경꾼
14:10
and friends.
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그리고 μΉœκ΅¬λ“€μ΄ κ΄€λ ¨λ˜μ–΄ μžˆμŠ΅λ‹ˆλ‹€.
14:13
Tensions between these two families date back to 1913
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μ–‘μͺ½ μ§‘μ•ˆμ˜ κΈ΄μž₯은 μ§€μ—­μ˜ μ •μΉ˜ ꢌλ ₯κ³Ό κ΄€λ ¨λœ λ…ΌμŸμ΄ 있던
14:16
when there was a dispute over local political power.
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1913λ…„μœΌλ‘œ 거슬러 μ˜¬λΌκ°‘λ‹ˆλ‹€.
14:19
But it got violent in the last two decades
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κ·ΈλŸ¬λ‹€κ°€ μ§€λ‚œ 20μ—¬λ…„ λ™μ•ˆμ— 폭λ ₯적으둜 λ³€ν–ˆλŠ”λ°μš”,
14:22
and includes decapitation
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살인 사건과 두λͺ…μ˜ μ‹œμž₯이
14:24
and the death of two mayors.
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μ£½μŒμ„ λ§žμ΄ν•˜κΈ°λ„ ν–ˆμŠ΅λ‹ˆλ‹€.
14:26
Installed into a protective wall
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ꡐ외에 μžˆλŠ” 루이슀 λ…Έλ°”μ—μ¦ˆμ˜ 집
14:28
surrounding the suburban home of Louis Novaes,
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μ£Όλ³€μ—λŠ” 보호벽이 μ„€μΉ˜λ˜μ–΄ μžˆμŠ΅λ‹ˆλ‹€.
14:31
who's the head of the Novaes family,
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μ—¬κΈ°μ—λŠ” λ…Έλ°”μ—μ¦ˆ κ°€μ˜ μš°λ‘λ¨Έλ¦¬κ°€ μ‚΄κ³  μžˆλŠ”λ°μš”.
14:33
are these turret holes,
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κ·Έ λ³΄ν˜Έλ²½μ—λŠ” 총을 μ˜κ±°λ‚˜ 밖을 λ°”λΌλ³΄λŠ”
14:35
which were used for shooting and looking.
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이런 μ‚¬κ²©μš©κ΅¬λ©μ΄ μžˆμŠ΅λ‹ˆλ‹€.
14:38
Brazil's northeast state of Pernambuco
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브라질 뢁동μͺ½μ— μžˆλŠ” νŽ˜λ‚¨λΆ€κ³ λŠ”
14:41
is one of the nation's most violent regions.
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κ°€μž₯ 폭λ ₯적인 지역쀑에 ν•œ κ³³ μž…λ‹ˆλ‹€.
14:44
It's rooted in a principle of retributive justice,
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λˆˆμ—λŠ” λˆˆμ΄λΌλŠ” μ‹μ˜ 인과응보와 같은
14:46
or an eye for an eye,
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μ›μΉ™μ—μ„œ 기원을 찾을 수 μžˆμŠ΅λ‹ˆλ‹€.
14:48
so retaliatory killings
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κ·Έλž˜μ„œ 보볡 살인이
14:50
have led to several deaths in the area.
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이 μ§€μ—­μ—μ„œλŠ” μ—¬λŸ¬κ±΄ λ°œμƒν–ˆμŠ΅λ‹ˆλ‹€.
14:53
This story, like many of the stories in my chapters,
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이런 μ΄μ•ΌκΈ°λŠ” 제 μ±…μ˜ λ‹€λ₯Έ μž₯μ—μ„œ λ‚˜μ˜¨
14:56
reads almost as an archetypal episode,
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μ΄μ•ΌκΈ°λ“€μ²˜λŸΌ μ „ν˜•μ μΈ μ΄μ•ΌκΈ°μž…λ‹ˆλ‹€.
14:59
like something out of Shakespeare,
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마치 μ§€κΈˆ μΌμ–΄λ‚˜κ³  λ―Έλž˜μ—λ„ λ‹€μ‹œ λ°œμƒν•  것 같은
15:01
that's happening now and will happen again in the future.
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μ…°μ΅μŠ€ν”Όμ–΄μ˜ μ†Œμ„€ 이야기 κ°™μŠ΅λ‹ˆλ‹€.
15:04
I'm interested in these ideas of repetition.
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μ €λŠ” 이런 반볡적인 아이디어에 관심이 λ§ŽμŠ΅λ‹ˆλ‹€.
15:09
So after I returned home, I received word
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μ œκ°€ 고ꡭ으둜 λŒμ•„μ˜¨ 후에,
15:11
that one member of the family
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이 가쑱쀑 ν•œλͺ…이 얼꡴에 30번의
15:13
had been shot 30 times in the face.
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총상을 λ‹Ήν–ˆλ‹€λŠ” μ†Œμ‹μ„ λ“€μ—ˆμŠ΅λ‹ˆλ‹€.
15:18
Chapter 17
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제17μž₯은
15:20
is an exploration of the absence of a bloodline
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계보와 μ—­μ‚¬μ˜ λΆ€μž¬λ₯Ό
15:23
and the absence of a history.
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μ°Ύμ•„λ‚˜μ„  이야기 μž…λ‹ˆλ‹€.
15:25
Children at this Ukrainian orphanage
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μš°ν¬λΌμ΄λ‚˜ κ³ μ•„μ›μ˜ 이 아이듀은
15:27
are between the ages of six and 16.
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6 ~ 16μ„Έ μ •λ„μ˜ λ‚˜μ΄μž…λ‹ˆλ‹€.
15:30
This piece is ordered by age
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이 뢀뢄은 λ‚˜μ΄λ³„λ‘œ λ‚˜μ—΄ν–ˆλŠ”λ°μš”
15:32
because it can't be ordered by blood.
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ν˜ˆν†΅λ³„λ‘œ λ‚˜μ—΄ ν•  수 μ—†κΈ° λ•Œλ¬Έμž…λ‹ˆλ‹€.
15:34
In a 12-month period when I was at the orphanage,
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μ œκ°€ 고아원에 μžˆμ—ˆλ˜ 12κ°œμ›” λ™μ•ˆμ—,
15:37
only one child had been adopted.
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단지 ν•œ μ•„μ΄λ§Œ μž…μ–‘λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
15:40
Children have to leave the orphanage at age 16,
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아이듀은 고아원을 λ‚˜κ°€λ©΄ 갈곳이 없더라도
15:43
despite the fact that there's often nowhere for them to go.
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16μ„Έκ°€ 되면 고아원을 λ– λ‚˜μ•Όλ§Œ ν•©λ‹ˆλ‹€.
15:48
It's commonly reported in Ukraine
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μš°ν¬λΌμ΄λ‚˜μ—μ„œλŠ” 아이듀이
15:50
that children, when leaving the orphanage
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고아원을 λ– λ‚˜λ©΄ 인신맀맀,
15:52
are targeted for human trafficking,
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λ―Έμ„±λ…„μž 포λ₯΄λ…Έ μ‚¬μ§„μ΄λ‚˜ 맀좘의
15:54
child pornography and prostitution.
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ν‘œμ μ΄ λœλ‹€κ³  보고되고 μžˆμŠ΅λ‹ˆλ‹€.
15:57
Many have to turn to criminal activity for their survival,
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λ§Žμ€ 아이듀이 생쑴을 μœ„ν•΄ 범죄λ₯Ό 저지λ₯΄κ³ 
16:00
and high rates of suicide are recorded.
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높은 μžμ‚΄μœ¨μ„ κΈ°λ‘ν•˜κ³  μžˆμŠ΅λ‹ˆλ‹€.
16:05
This is a boys' bedroom.
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이 사진은 μ†Œλ…„λ“€μ˜ μΉ¨μ‹€μž…λ‹ˆλ‹€.
16:07
There's an insufficient supply of beds at the orphanage
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κ³ μ•„μ›μ—λŠ” μΉ¨μ‹€κ³Ό λ”°λœ»ν•œ μ˜·λ“€μ΄
16:09
and not enough warm clothing.
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λΆ€μ‘±ν•œ μ‹€μ •μž…λ‹ˆλ‹€.
16:11
Children bathe infrequently
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뜨거운 물이 10μ›”κΉŒμ§€λŠ” λ‚˜μ˜€μ§€ μ•ŠκΈ° λ•Œλ¬Έμ—
16:13
because the hot water isn't turned on until October.
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아이듀은 자주 씻지도 λͺ»ν•©λ‹ˆλ‹€.
16:16
This is a girls' bedroom.
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μ—¬κΈ°λŠ” μ—¬μžμ• λ“€μ˜ μΉ¨μ‹€μž…λ‹ˆλ‹€.
16:18
And the director listed the orphanage's most urgent needs
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고아원 원μž₯은 κ³ μ•„μ›μ—μ„œ κ°€μž₯ κΈ΄κΈ‰ν•˜κ²Œ
16:22
as an industrial size washing machine and dryer,
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ν•„μš”ν•œ λͺ©λ‘μ„ μΌλŠ”λ°μš”, λŒ€ν˜• 세탁기과 건쑰기,
16:25
four vacuum cleaners, two computers,
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4개의 μ§„κ³΅μ²­μ†ŒκΈ°, 컴퓨터 2λŒ€,
16:27
a video projector, a copy machine,
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λΉ„λ””μ˜€ ν”„λ‘œμ ν„°, 볡사기,
16:30
winter shoes and a dentist's drill.
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겨울용 μ‹ λ°œ, 치과용 λ“œλ¦΄ λ“±μž…λ‹ˆλ‹€.
16:33
This photograph, which I took at the orphanage of one of the classrooms,
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κ³ μ•„μ›μ˜ ν•œ κ΅μ‹€μ—μ„œ 찍은 이사진은
16:37
shows a sign which I had translated when I got home.
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μ œκ°€ 집에 λŒμ•„μ™€μ„œ λ²ˆμ—­μ„ ν–ˆλ˜ ν‘œμ‹œμΈλ°μš”.
16:40
And it reads: "Those who do not know their past
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"μžμ‹ μ˜ κ³Όκ±°λ₯Ό λͺ¨λ₯΄λŠ” μ‚¬λžŒλ“€μ€
16:43
are not worthy of their future."
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미래λ₯Ό κ°€μ§ˆ μžκ²©λ„ μ—†λ‹€. "라고 μΌμŠ΅λ‹ˆλ‹€.
16:47
There are many more chapters in this project.
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이 ν”„λ‘œμ νŠΈμ—λŠ” 더 λ§Žμ€ μž₯듀이 μžˆμŠ΅λ‹ˆλ‹€.
16:49
This is just an abridged rendering
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μ§€κΈˆ λ³΄μ—¬λ“œλ¦° 것듀은 수천 μž₯의 사진쀑
16:51
of over a thousand images.
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μš”μ•½ν•œ λΆ€λΆ„λ“€μž…λ‹ˆλ‹€.
16:53
And this mass pile of images and stories
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이 λŒ€λŸ‰μ˜ 이미지와 이야기듀은
16:56
forms an archive.
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κΈ°λ‘λ³΄κ΄€μ†Œμ— λ³΄κ΄€μ€‘μž…λ‹ˆλ‹€.
16:58
And within this accumulation of images and texts,
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이 λ§Žμ€ 이미지와 μžλ£Œλ“€μ—μ„œ
17:01
I'm struggling to find patterns
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μ €λŠ” νŒ¨ν„΄μ„ 찾으렀고 ν•˜κ³  μžˆμŠ΅λ‹ˆλ‹€.
17:03
and imagine that the narratives that surround the lives we lead
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그리고 인물듀 주변에 써놓은 이야기듀이
17:07
are just as coded as blood itself.
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마치 ν”Όμ²˜λŸΌ λ…Ήμ•„λ“€μ–΄ μžˆμŠ΅λ‹ˆλ‹€.
17:11
But archives exist
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ν•˜μ§€λ§Œ λ…Όλ¦¬μ μœΌλ‘œ λͺ…ν™•ν•˜κ²Œ ν‘œν˜„ν•  수 μ—†λŠ”
17:13
because there's something that can't necessarily be articulated.
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무엇인가 λ•Œλ¬Έμ— 이런 기둝듀이 μ‘΄μž¬ν•©λ‹ˆλ‹€.
17:16
Something is said in the gaps
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μˆ˜μ§‘λœ 이 λͺ¨λ“  정보듀 사이에
17:18
between all the information that's collected.
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λ­”κ°€κ°€ μžˆλ‹€κ³  μƒκ°ν•©λ‹ˆλ‹€.
17:21
And there's this relentless persistence
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탄생과 μ£½μŒμ€
17:24
of birth and death
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κ°€ν˜Ήν•˜λ¦¬ 만큼 κ³„μ†λ˜κ³ 
17:26
and an unending collection of stories in between.
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κ·Έ μ‚¬μ΄μ—λŠ” λλ‚˜μ§€ μ•ŠλŠ” λ§Žμ€ 이야기듀이 μžˆμŠ΅λ‹ˆλ‹€.
17:29
It's almost machine-like
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μ‚¬λžŒμ΄ νƒœμ–΄λ‚˜κ³  μ£½κ³ ,
17:31
the way people are born and people die,
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이야기가 계속 μ΄μ–΄μ§€λŠ” 과정은
17:33
and the stories keep coming and coming.
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마치 κΈ°κ³„μ²˜λŸΌ μ΄λ£¨μ–΄μ§‘λ‹ˆλ‹€.
17:36
And in this, I'm considering,
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이런 κ²ƒλ“€μ—μ„œ, μ €κ²Œ λ“œλŠ” 생각은,
17:39
is this actual accumulation
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이런 μ‚¬μ‹€λ“€μ˜ λͺ¨μž„이
17:41
leading to some sort of evolution,
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μΌμ’…μ˜ 진화λ₯Ό μ΄λŒμ–΄λ‚΄κΈ°λ„ ν•˜κ³ ,
17:44
or are we on repeat
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λ˜λŠ” κ³„μ†ν•΄μ„œ
17:46
over and over again?
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λ°˜λ³΅λ˜λŠ” 것이기도 ν•˜κ² μ£ ?
17:49
Thank you.
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κ°μ‚¬ν•©λ‹ˆλ‹€.
17:51
(Applause)
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(λ°•μˆ˜)
이 μ›Ήμ‚¬μ΄νŠΈ 정보

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

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