The data behind Hollywood's sexism | Stacy Smith

Prevodilac: Milenka Okuka Lektor: Mile Živković

Today, I want to tell you about a pressing social issue.

Danas želim da vam govorim o gorućem društvenom pitanju.

Now, it's not nuclear arms,

Ne, ne radi se o nuklearnom oružju,

it's not immigration,

ne radi se o imigraciji

and it's not malaria.

i ne radi se o malariji.

I'm here to talk about movies.

Ovde sam da bih vam govorila o filmovima.

Now, in all seriousness, movies are actually really important.

Sad, skroz ozbiljno, filmovi su zapravo veoma važni.

In film, we can be wildly entertained,

Film može da nas ludo zabavi

and we can also be transported through storytelling.

i takođe putem pripovedanja možemo da se transportujemo.

Storytelling is so important.

Pripovedanje je veoma važno.

Stories tell us what societies value,

Priče nam saopštavaju društvene vrednosti,

they offer us lessons,

nude nam pouke

and they share and preserve our history.

i dele i čuvaju našu istoriju.

Stories are amazing.

Priče su izuzetne.

But stories don't give everyone

Međutim, priče ne pružaju svima

the same opportunity to appear within them,

istu mogućnost da se pojave u njima,

particularly not stories

naročito ne priče

compartmentalized in the form of American movies.

žanrovski oblikovane u vidu američkog filma.

In film, interestingly enough,

U filmu, što je naročito zanimljivo,

females are still erased and marginalized

žene su i dalje izbrisane i marginalizovane

in a lot of our stories.

u mnogim našim pričama.

And I learned this for the first time about 10 years ago

A ovo sam saznala prvi put pre oko deset godina

when I did my first study on gender role in G-rated films.

kada sam uradila moju prvu studiju o ulozi rodova u filmovima sa G oznakom.

Since then, we've conducted more than 30 investigations.

Od tada smo sproveli preko 30 istraživanja.

My team is tired.

Moja ekipa je umorna.

And I've committed my life

I ja sam posvetila moj život

as researcher and activist

kao istraživačica i aktivistkinja

to fighting the inclusion crisis

da bih se borila protiv krize inkluzivnosti

in Hollywood.

u Holivudu.

So today, what I'd like to do is tell you about that crisis.

Pa bih danas želela da vam govorim o toj krizi.

I want to talk about gender inequality in film.

Želim da govorim o rodnoj nejednakosti na filmu.

I want to tell you how it is perpetuated,

Želim da vam govorim o tome kako opstaje,

and then I'm going to tell you how we're going to fix it.

a potom ću da vam kažem kako ćemo to da ispravimo.

However, one caveat before I begin:

Međutim, jedno upozorenje pre nego što počnem:

my data are really depressing.

moji podaci su zaista depresivni.

So I want to apologize in advance,

Stoga, želim unapred da se izvinim

because I'm going to put you all in a really bad mood.

jer ću vas sve veoma oneraspoložiti.

But I'm going to bring it up at the end,

Ali ću na kraju da podignem loptu

and I'm going to present a silver lining

i da predstavim svetlu stranu,

to fix this mess that we've been in

kako bismo ispravili nered u kome smo

for a very, very long time.

već dugo, dugo vremena.

So, let's start with the gravity of the situation.

Započnimo ozbiljnošću situacije.

Each year, my research team examines the top 100 grossing films

Svake godine moja istraživačka ekipa pregleda 100 filmova s najvišom zaradom

in the United States.

u Sjedinjenim Državama.

What we do is we look at every speaking or named character on-screen.

Mi posmatramo svakog lika koji govori ili je imenovan na ekranu.

Now, to count in one of my investigations,

Sad, kako bi bio uvršćen u moje istraživanje,

all a character has to do is say one word.

sve što lik treba da uradi je da kaže jednu reč.

This is a very low bar.

Ovo je veoma nizak standard.

(Laughter)

(Smeh)

Thus far, we've looked at 800 movies,

Do sad smo pogledali 800 filmova,

from 2007 to 2015,

od 2007 do 2015,

cataloguing every speaking character on-screen for gender, race, ethnicity,

razvrstavajući svakog govornog lika na ekranu prema rodu, rasi, narodnosti,

LGBT and characters with a disability.

LGBT i likovi sa invaliditetom.

Let's take a look at really some problematic trends.

Pogledajmo neke veoma problematične trendove.

First, females are still noticeably absent on-screen in film.

Prvo: žene su i dalje vidno odsutne na filmskom platnu.

Across 800 movies and 35,205 speaking characters,

Kroz 800 filmova i 35.205 likova koji govore,

less than a third of all roles go to girls and women.

manje od trećine svih uloga pripadaju devojkama i ženama.

Less than a third!

Manje od trećine!

There's been no change from 2007 to 2015,

Nije bilo promene od 2007. do 2015,

and if you compare our results

a ako uporedite naše rezultate

to a small sample of films from 1946 to 1955,

sa malim uzorkom filmova od 1946. do 1955,

there's been no change in over a half of a century.

nije bilo promene više od pola veka.

Over half of a century!

Više od polovine veka!

But we're half of the population.

Međutim, mi činimo polovinu populacije.

Now, if we look at this data intersectionally,

Sad, ako posmatramo ove podatke prema ukrštanju,

which has been a focus of today,

a to je bio današnji fokus,

the picture becomes even more problematic.

slika postaje još problematičnija.

Across the top 100 films of just last year,

Kroz 100 najvećih filmova samo iz prošle godine,

48 films didn't feature one black or African-American speaking character,

48 nije sadržalo jednog crnog ili afričko-američkog lika koji govori,

not one.

baš nijednog.

70 films were devoid of Asian or Asian-American speaking characters

70 filmova je bilo lišeno azijskog ili azijsko-američkog lika koji govori,

that were girls or women.

a da je to devojka ili žena.

None.

Nijedna.

Eighty-four films didn't feature one female character that had a disability.

84 filma nisu uključivala ženskog lika sa invaliditetom.

And 93 were devoid of lesbian, bisexual or transgender female speaking characters.

A 93 su bila lišena lezbejki, biseksualaca ili transrodnih ženskih likova koji govore.

This is not underrepresentation.

Ovde se ne radi o manjoj zastupljenosti.

This is erasure,

Ovo je brisanje,

and I call this the epidemic of invisibility.

a ja to nazivam epidemijom nevidljivosti.

Now, when we move from prevalence to protagonist,

Sad, kad se pomerimo sa onog što preovlađuje na glavne likove,

the story is still problematic.

priča je i dalje problematična.

Out of a hundred films last year,

Od 100 filmova prošle godine,

only 32 featured a female lead or colead driving the action.

svega 32 su sadržala ženu u glavnoj ulozi ili sporednoj ulozi koja pokreće radnju.

Only three out of a hundred films

Svega tri od stotinu filmova

featured an underrepresented female driving the story,

su sadržala pripadnicu manjina koja pokreće prču

and only one diverse woman

i samo jednu ženu

that was 45 years of age or older at the time of theatrical release.

koja je imala 45 ili više godina u vreme prikazivanja u bioskopu.

Now let's look at portrayal.

Sad, pogledajmo portretisanja.

In addition to the numbers you just saw,

Uz brojeve koje ste upravo videli,

females are far more likely to be sexualized in film

žene su daleko češće seksualizovane na filmu

than their male counterparts.

od svojih kolega muškaraca.

Matter of fact, they're about three times as likely

Zapravo, otprilike tri puta češće

to be shown in sexually revealing clothing,

ih prikazuju u izazovnoj oskudnoj odeći,

partially naked,

delimično gole

and they're far more likely to be thin.

i daleko češće su mršave.

Now, sometimes, in animation, females are so thin

Sad, ponekad u crtaćima, žene su toliko mršave

that their waist size approximates the circumference of their upper arm.

da im obim struka otprilike odgovara obimu nadlaktice.

(Laughter)

(Smeh)

We like to say that these gals have no room for a womb

Volimo da kažemo da ove deve nemaju prostora za utrobu,

or any other internal organ.

niti bilo koji unutrašnji organ.

(Laughter)

(Smeh)

Now, all joking aside,

Sad, šalu na stranu,

theories suggest, research confirms,

teorije nagoveštavaju, istraživanja potvrđuju

exposure to thin ideals and objectifying content

izloženost mršavim idealima i sadržaju koji objektifikuje

can lead to body dissatisfaction, internalization of the thin ideal

može da dovede do nezadovoljstva telom, internalizacije ideala mršavosti

and self-objectification among some female viewers.

i doživljaja sebe kao objekta, kod nekih gledateljki.

Obviously, what we see on-screen

Očigledno, ono što gledamo na ekranu

and what we see in the world,

i ono što vidimo u svetu

they do not match.

se ne poklapa.

They do not match!

Ne poklapa se!

Matter of fact, if we lived in the screen world,

Zapravo, kad bismo živeli na filmskom platnu,

we would have a population crisis on our hands.

borili bismo se sa populacionom krizom.

So, as soon as I recognized these patterns,

Dakle, čim sam prepoznala ove obrasce,

I wanted to find out why,

želela sam da znam zašto

and it turns out that there are two drivers to inequality on-screen:

i ispostavilo se da postoje dva pokretača nejednakosti na filmu:

content creator gender and misperceptions of the audience.

rod tvoraca sadržaja i pogrešan doživljaj publike.

Let's unpack them really quick.

Razložimo ih na brzinu.

If you want to change any of the patterns I just talked about,

Ako želite da promenite neki obrazac o kom sam upravo govorila,

all you have to do is hire female directors.

sve što je potrebno je da zaposlite rediteljke.

Turns out, the female directors

Ispostavlja se da rediteljke

are associated with, in terms of short films and indie films,

povezuju sa, u smislu kratkih filmova i nezavisnih filmova,

more girls and women on-screen,

više devojaka i žena na ekranu,

more stories with women in the center,

više priča u čijem su središtu žene,

more stories with women 40 years of age or older on-screen,

više priča na filmu sa ženama koje imaju 40 i više godina,

which I think is good news for this crowd.

mislim da je to dobra vest za ovu pubiku.

More underrepresented --

Više manjina -

(Laughter)

(Smeh)

Sorry.

Žao mi je.

(Laughter)

(Smeh)

Sorry but not sorry.

Žalim, ali mi nije žao.

More underrepresented characters in terms of race and ethnicity,

Više manjinskih likova u smislu rase i narodnosti,

and most importantly,

i što je najvažnije,

more women working behind the camera

više žena koje rade iza kamere

in key production roles.

na ključnim produkcijskim ulogama.

Easy answer to the problems that we just talked about.

Lak odgovor na probleme o kojima smo upravo govorili.

Or is it?

Da li je?

It's actually not.

Zapravo nije.

800 films, 2007-2015,

800 filmova, 2007-2015,

886 directors.

886 reditelja.

Only 4.1 percent are women.

Svega 4,1 procenat su žene.

Only three are African-American or black,

Svega tri su afričko-amerikanke ili crnkinje,

and only one woman was Asian.

a samo jedna je Azijka.

So why is it so difficult

Pa, zašto je toliko teško

to have female directors

da imamo rediteljke,

if they're part of the solution?

ako su one deo rešenja?

Well, to answer this question,

Pa, da bih odgovorila na ovo pitanje,

we conducted a study.

sproveli smo istraživanje.

We interviewed dozens of industry insiders

Intervjuisali smo desetine insajdera iz industrije

and asked them about directors.

i pitali smo ih o rediteljima.

Turns out, both male and female executives,

Ispostavilo se da i muškarci i žene rukovodioci,

when they think director,

kada razmišljaju o reditelju,

they think male.

zamišljaju muškarca.

They perceive the traits of leadership

Doživljavaju osobine predvodništva

to be masculine in nature.

kao po prirodi muške.

So when they're going to hire a director

Pa, kad zapošljavaju reditelja

to command a crew, lead a ship,

da rukovodi ekipom, vodi brod,

be a visionary or be General Patton,

bude vizionar ili general Paton,

all the things that we've heard --

sve o čemu smo slušali -

their thoughts and ideations pull male.

njihove misli i zamisli izvlače muškarca.

The perception of director or a leader

Viđenje reditelja ili vođe

is inconsistent with the perception of a woman.

se ne podudara sa viđenjem žene.

The roles are incongruous,

Ove uloge se ne podudaraju,

which is consistent with a lot of research in the psychological arena.

a to se poklapa sa mnogo istraživanja iz oblasti psihologije.

Second factor contributing to inequality on-screen

Drugi faktor koji doprinosi nejednakosti na platnu

is misperceptions of the audience.

je pogrešno viđenje publike.

I don't need to tell this crowd:

Ne moram to da govorim ovoj publici:

50 percent of the people that go to the box office and buy tickets

50 procenata ljudi koji odlaze na blagajne i kupuju ulaznice

are girls and women in this country.

u ovoj zemlji su devojke i žene.

Right?

Je li tako?

But we're not perceived to be a viable or financially lucrative target audience.

Ali nas ne doživljavaju kao održivu ili finansijski unosnu ciljnu publiku.

Further, there's some misperceptions

Štaviše, postoje neke zablude

about whether females can open a film.

o tome da li žena može da otvori film.

Open a film means that if you place a female at the center,

Otvoriti film znači da ako smestite ženu u središte,

it doesn't have the return on investment

film neće povratiti uloženi novac

that if you place a male at the center of a story does.

kao onda kada smestite muškarca u središte priče.

This misperception is actually costly.

Ova zabluda je zapravo skupa.

Right?

Je li tako?

Especially in the wake of franchise successes

Naročito u svetlu uspeha franšiza,

like "The Hunger Games,"

poput "Igara gladi",

"Pitch Perfect"

"Savršenog koraka"

or that small little indie film, "Star Wars: The Force Awakens."

ili onog malog nezavisnog filma "Ratovi zvezda: Buđenje sile".

Our own economic analyses show that gender of the lead character

Naše sopstvene ekonomske analize pokazuju da rod glavnog lika

doesn't play a role in economic success in the United States.

ne igra ulogu u ekonomskom uspehu u Sjedinjenim Državama.

But what does?

Međutim, šta igra?

Production costs alone

Sami troškovi produkcije

or in conjunction with how widely a film is distributed in this country.

ili u vezi s tim koliko je široko film distribuiran u ovoj državi.

It's not the gender of the lead character.

Nije u pitanju rod glavnog lika.

So at this point, we should all be sufficiently depressed.

Pa bi u ovom momentu svi trebalo da budemo prilično depresivni.

No change in 50 years,

Bez promene u 50 godina,

few female directors working behind the camera

nekolicina rediteljki koje rade iza kamere,

and the entertainment industry does not trust us as an audience.

a industrija zabave nam ne veruje kao publici.

Well, I told you there would be a silver lining,

Pa, rekla sam vam da ima i svetla strana,

and there is.

i ima je.

There are actually simple and tangible solutions

Zapravo postoje jednostavna i opipljiva rešenja

to fixing this problem

da se ovaj problem popravi

that involve content creators,

koja uključuju tvorce sadržaja,

executives and consumers

direktore i potrošače,

like the individuals in this room.

poput pojedinaca u ovoj prostoriji.

Let's talk about a few of them.

Razgovarajmo o nekoliko rešenja.

The first is what I call "just add five."

Prvo nazivam "samo dodajte pet".

Da li znate da ako bismo pogledali 100 najvećih filmova sledeće godine

Did you know if we looked at the top 100 films next year

and simply added five female speaking characters on-screen

i prosto dodali pet ženskih likova koji govore na ekranu

to each of those films,

u svaki od ovih filmova,

it would create a new norm.

to bi stvorilo novu normu.

If we were to do this for three contiguous years,

Ako bismo ovo uradili tri uzastopne godine,

we would be at gender parity

dostigli bismo rodnu jednakost

for the first time in over a half of a century.

prvi put u preko vek i po.

Now, this approach is advantageous for a variety of reasons.

Sad, ovaj pristup ima prednosti iz raznih razloga.

One? It doesn't take away jobs for male actors.

Prvi? Ne uzima poslove muškim glumcima.

Heaven forbid.

Ne daj bože.

(Laughter)

(Smeh)

Two, it's actually cost-effective. It doesn't cost that much.

Drugi, zapravo je isplativ. Ne košta toliko mnogo.

Three, it builds a pipeline for talent.

Treći, gradi se platforma za talente.

And four, it humanizes the production process.

I četvrti, očovečuje proces produkcije.

Why? Because it makes sure that there's women on set.

Zašto? Jer se stara da žene budu na mestu snimanja.

Second solution is for A-list talent.

Drugo rešenje je za talente sa spiska A.

A-listers, as we all know, can make demands in their contracts,

Oni sa spiska A, kao što svi znamo, mogu da imaju zahteve u ugovorima,

particularly the ones that work on the biggest Hollywood films.

naročito oni koji rade na najvećim holivudskim filmovima.

What if those A-listers

Šta kad bi ti sa spiska A

simply added an equity clause or an inclusion rider

prosto dodali klauzulu o jednakosti ili inkluziju kao dopunsku klauzulu

into their contract?

u svoje ugovore?

Now, what does that mean?

Sad, šta to znači?

Well, you probably don't know

Pa, verovatno ne znate,

but the typical feature film

ali tipični dugometražni film

has about 40 to 45 speaking characters in it.

sadrži oko 40 do 45 likova koji govore.

I would argue that only 8 to 10 of those characters

Rekla bih da je svega osam do deset tih likova

are actually relevant to the story.

bitno za priču.

Except maybe "Avengers." Right?

Osim možda kod "Osvetnika". Je li tako?

A few more in "Avengers."

Nekoliko više u "Osvetnicima".

The remaining 30 or so roles,

Ostalih 30 i više uloga,

there's no reason why those minor roles

ne postoji razloga zašto te manje uloge

can't match or reflect the demography

se ne bi poklapale ili odražavale demografiju

of where the story is taking place.

mesta na kom se radnja odvija.

An equity rider by an A-lister in their contract

Dopunska klauzula o jednakosti u ugovoru onih sa spiska A

can stipulate that those roles

može da zahteva da te uloge

reflect the world in which we actually live.

odražavaju svet u kom zapravo živimo.

Now, there's no reason why a network,

Sad, ne postoji razlog zašto mreža,

a studio or a production company

studio ili produkcijska firma

cannot adopt the same contractual language

ne bi usvojili isti ugovorni jezik

in their negotiation processes.

u svoje procese pregovaranja.

Third solution:

Treće rešenje:

this would be for the entertainment industry,

ono je za industriju zabave,

Hollywood in particular,

naročito za Holivud,

to adopt the Rooney Rule

da se usvoji Runijev zakon

when it comes to hiring practices around directors.

kada se radi o praksi zapošljavanja reditelja.

Now, in the NFL, the Rooney Rule stipulates

Sad, u NFL-u, Runijev zakon zahteva

that if a team wants to hire a coach from outside the organization,

da ako ekipa želi da unajmi trenera koji je van organizacije,

what they have to do is interview an underrepresented candidate.

moraju da intervjuišu manjinskog kandidata.

The exact same principle can apply to Hollywood films.

Isti princip je primenjiv na holivudske filmove.

How?

Kako?

Well, on these top films,

Pa, u slučaju najvećih filmova,

executives and agents can make sure

direktori i agenti mogu da se postaraju

that women and people of color are not only on the consideration list,

da žene i obojeni ljudi nisu samo na spisku za razmatranje,

but they're actually interviewed for the job.

već da ih zapravo intervjuišu za posao.

Now, one might say,

Sad, neko bi rekao:

why is this important?

zašto je ovo važno?

Because it exposes or introduces executives to female directors

Zato što izlaže ili upoznaje direktore sa ženskim rediteljima

who otherwise fall prey to exclusionary hiring practices.

koje su inače žrtve isključivih praksi zapošljavanja.

The fourth solution

Četvrto rešenje

is for consumers like me and you.

se tiče potrošača, poput mene i vas.

If we want to see more films by, for and about women,

Ako želimo da gledamo više filmova od strane, za i o ženama,

we have to support them.

moramo da ih podržimo.

It may mean going to the independent theater chain

To možda znači odlazak u lanac nezavisnih bioskopa

instead of the multiplex.

umesto u multipleks.

Or it might mean scrolling down a little further online

Ili može da znači malo duže pretraživanje na internetu

to find a film by a female director.

kako bi se našli filmovi ženskih reditelja.

Or it may be writing a check and funding a film,

Ili može da bude ispisivanje čeka i finansiranje filma,

particularly by a female director from an underrepresented background.

naročito ako je u pitanju rediteljka iz manjinske sredine.

Right?

Je li tako?

We need to write, call and email companies

Moramo da pišemo, pozivamo i šaljemo imejle firmama

that are making and distributing films,

koje prave i distribuiraju filmove

and we need to post on our social media accounts

i moramo da objavljujemo na nalozima na društvenim mrežama

when we want to see inclusive representation,

kada želimo da vidimo inkluzivnu zastupljenost,

women on-screen,

žene na ekranu

and most importantly, women behind the camera.

i, najvažnije od svega, žene iza kamere.

We need to make our voices heard and our dollars count.

Moramo se postarati da se naši glasovi čuju, a da naši dolari vrede.

Now, we actually have the ability to change the world on this one.

Sad, zapravo imamo mogućnost da ovim promenimo svet.

The US and its content,

SAD i njen sadržaj,

films in particular,

naročito filmovi,

have captured the imaginations of audiences worldwide.

zarobili su maštu publike širom sveta.

Worldwide.

Širom sveta.

So that means that the film industry has unprecedented access

To znači da filmska industrija ima pristup bez premca

to be able to distribute stories about equality

da bude u stanju da širi priče o jednakosti

all around the world.

širom sveta.

Imagine what would happen

Zamislite šta bi se desilo

if the film industry aligned its values

kad bi filmska industrija izjednačila svoje vrednosti

with what it shows on-screen.

sa onim što prikazuje na ekranu.

It could foster inclusion

Mogli bi da gaje inkluziju

and acceptance for girls and women,

i prihvatanje za devojke i žene,

people of color,

obojene ljude,

the LGBT community,

LGBT zajednicu,

individuals with disabilities,

pojedince sa invaliditetom

and so many more around the world.

i mnoge druge širom sveta.

The only thing that the film industry has to do is unleash its secret weapon,

Jedino što filmska industrija mora da uradi je da oslobodi tajno oružje,

and that's storytelling.

a to je pripovedanje.

Now, at the beginning of this talk,

Sad, na početku ovog govora,

I said that films --

rekla sam da filmovi -

that they can actually transport us,

da nas zapravo mogu da transportuju,

but I would like to argue that films, they can transform us.

ali bih volela da tvrdim da filmovi mogu da nas transformišu.

None of us in this room

Niko od nas u ovoj prostoriji

have grown up or experienced a storytelling landscape

nije odrastao ili iskusio pripovedni pejzaž

with fully realized female characters,

u kom su potpuno razvijeni ženski likovi,

none of us,

niko od nas

because the numbers haven't changed.

jer se cifre nisu promenile.

What would happen if the next generation of audiences

Šta bi se desilo kad bi sledeća generacija publike

grew up with a whole different screen reality?

odrasla sa potpuno različitom stvarnošću na ekranu?

What would happen?

Šta bi se desilo?

Well I'm here to tell you today

Pa, ovde sam da vam danas kažem

that it's not only possible to change what we see on-screen

da ne samo da je moguće promeniti ono što vidimo na ekranu,

but I am impatient for it to get here.

već sam nestrpljiva da se to desi.

So let's agree to take action today

Zato složimo se da već danas nešto preduzmemo

to eradicate the epidemic of invisibility.

da iskorenimo epidemiju nevidljivosti.

And let's agree to take action today

I složimo se da danas nešto preduzmemo

to agree that US audiences and global viewers

da se dogovorimo da publika u SAD-u i globalni gledaoci

demand and deserve more.

zahtevaju i zaslužuju više.

And let's agree today

I složimo se danas

that the next generation of viewers and audiences,

da sledeća generacija gledalaca i publike

that they deserve to see the stories

zaslužuje da vidi priče

we were never able to see.

koje nikad nismo mogli da vidimo.

Thank you.

Havala vam.

(Applause)

(Aplauz)