Beeban Kidron: The shared wonder of film

Translator: Timothy Covell Reviewer: Morton Bast

Prevodilac: Maša Novković Lektor: Mile Živković

Evidence suggests that humans in all ages and from all cultures

Dokazano je da ljudi svih uzrasta i kultura,

create their identity in some kind of narrative form.

svoj identitet stvaraju u nekom vidu narativne forme.

From mother to daughter, preacher to congregant,

Sa majke na kćerku, od sveštenika verniku,

teacher to pupil, storyteller to audience.

od učitelja ka učeniku, od pripovedača slušateljima.

Whether in cave paintings

Bilo da su u pitanju crteži u pećinama

or the latest uses of the Internet,

ili najskorija upotreba interneta,

human beings have always told their histories and truths

ljudi su oduvek svoje istorije i istine

through parable and fable.

izlagali preko parabola i priča.

We are inveterate storytellers.

Mi smo okoreli pripovedači.

But where, in our increasingly secular and fragmented world,

Ali gde možemo, u našem sve više podvojenom i podeljenom svetu,

do we offer communality of experience,

ponuditi iskustvenu zajednicu,

unmediated by our own furious consumerism?

bez posredovanja naše pobesnele potrošačke snage?

And what narrative, what history,

Koju priču, koju istoriju,

what identity, what moral code

koji identitet, koji moralni kodeks

are we imparting to our young?

saopštavamo našim mladima?

Cinema is arguably

Kinematografija je, diskutabilno,

the 20th century's most influential art form.

najuticajnija forma umetnosti 20. veka.

Its artists told stories

Umetnici pričaju priče

across national boundaries,

van nacionalnih granica,

in as many languages, genres and philosophies

na onoliko jezika, žanrova i filozofija

as one can imagine.

koliko samo možemo zamisliti.

Indeed, it is hard to find a subject

Zaista, teško je naći temu

that film has yet to tackle.

koju film još nije obrađivao.

During the last decade

Tokom poslednje decenije

we've seen a vast integration of global media,

videli smo široku integraciju globalnih medija,

now dominated by a culture of the Hollywood blockbuster.

kojom sada dominira kultura holivudskih blok-bastera.

We are increasingly offered a diet

Učestalo nam se nudi dijeta

in which sensation, not story, is king.

u kojoj je poslastica senzacija, a ne priča.

What was common to us all 40 years ago --

Ono što je bilo uobičajeno za nas pre 40 godina -

the telling of stories between generations --

prenošenje priča preko generacija -

is now rarified.

sada je retkost.

As a filmmaker, it worried me.

Mene, kao režisera, to brine.

As a human being, it puts the fear of God in me.

Kao čovek, osećam strah od boga.

What future could the young build

Kakvu budućnost mladi mogu da sagrade

with so little grasp

kada nemaju spoznaju o tome

of where they've come from

odakle potiču

and so few narratives of what's possible?

i sa tako malo pripovesti o tome šta je sve moguće?

The irony is palpable;

Ironija je opipljiva.

technical access has never been greater,

tehnologija nikada nije bila ovako veličanstvena,

cultural access never weaker.

kultura nikada slabija.

And so in 2006 we set up FILMCLUB,

Oformili smo Filmski klub 2006. godine,

an organization that ran weekly film screenings in schools

organizaciju koja je jednom nedeljno prikazivala filmove u školama

followed by discussions.

nakon koje bi sledile diskusije.

If we could raid the annals of 100 years of film,

Ako bismo prikupili stogodišnje filmske anale,

maybe we could build a narrative

možda bismo tako sagradili priču

that would deliver meaning

koja bi nosila značenje

to the fragmented and restless world of the young.

podeljenom i nemirnom svetu mladih.

Given the access to technology,

S obzirom na dostupnost tehnologije,

even a school in a tiny rural hamlet

čak i u malom, ruralnom seocetu

could project a DVD onto a white board.

može se na beloj pozadini, uz projektor, prikazati DVD snimak.

In the first nine months

Tokom prvih devet meseci

we ran 25 clubs across the U.K.,

vodili smo 25 klubova širom Ujedinjenog Kraljevstva,

with kids in age groups between five and 18

gde su deca u grupama između 5 i 18 godina

watching a film uninterrupted for 90 minutes.

gledala filmove neometano tokom 90 minuta.

The films were curated and contextualized.

Projekcije su bile nadgledane i sadržajne.

But the choice was theirs,

Izbor je bio njihov,

and our audience quickly grew

publika je brzo rasla

to choose the richest and most varied diet that we could provide.

i birala bogatu i najraznovrsniju dijetu koju smo mogli da im omogućimo.

The outcome, immediate.

Rezultat je bio odmah očigledan.

It was an education of the most profound and transformative kind.

To je bila sveprožimajuća edukacija i transformisala je.

In groups as large as 150 and as small as three,

I u velikim grupama od 150 članova, kao i u malim od 3 člana,

these young people discovered new places,

mladi ljudi otkrivali su nova mesta,

new thoughts, new perspectives.

nove misli, nove perspektive.

By the time the pilot had finished,

Kada se probni program završio,

we had the names of a thousand schools

dobili smo spisak hiljada škola

that wished to join.

koje su želele da se uključe.

The film that changed my life

Film koji je promenio moj život bio je

is a 1951 film by Vittorio De Sica, "Miracle in Milan."

film iz 1951. godine Vitorija de Sika, ''Čudo u Milanu''.

It's a remarkable comment

Film prikazuje

on slums, poverty and aspiration.

straćare, siromaštvo i težnje.

I had seen the film on the occasion of my father's 50th birthday.

Ovaj film pogledala sam tokom proslave 50. rođendana moga oca.

Technology then meant we had to hire a viewing cinema,

Tada smo morali da iznajmimo bioskop,

find and pay for the print and the projectionist.

da nađemo i iznajmimo platno i projektora.

But for my father,

Ali za moga oca,

the emotional and artistic importance of De Sica's vision was so great

značaj De Sikine vizije, emotivne i umetničke, bio je tako veliki

that he chose to celebrate his half-century

da je izabrao da proslavi svoju polovinu veka

with his three teenage children and 30 of their friends,

sa svoje troje dece tinejdžera i sa njihovih 30 prijatelja,

"In order," he said,

rekao je: ''Zato da bih

"to pass the baton of concern and hope

predao štafetu brige i nade

on to the next generation."

sledećoj generaciji''.

In the last shot of "Miracle in Milan,"

U poslednjoj sceni ''Čuda u Milanu'',

slum-dwellers float skyward on flying brooms.

stanovnici straćara lebde ka nebu na letećim metlama.

Sixty years after the film was made

60 godina nakon što je film snimljen

and 30 years after I first saw it,

i 30 godina nakon što sam ga prvi put pogledala,

I see young faces tilt up in awe,

vidim lica mladih kako zadivljeno dižu pogled,

their incredulity matching mine.

u istoj neverici kao što je moja bila.

And the speed with which they associate it

Oni brzo povezuju film

with "Slumdog Millionaire" or the favelas in Rio

sa ''Milionerom iz blata'' ili sa favelama u Rio de Žaneiru

speaks to the enduring nature.

što govori mnogo o izdržljivosti.

In a FILMCLUB season about democracy and government,

Tokom sezone Filmskog kluba o demokratiji i upravljanju,

we screened "Mr. Smith Goes to Washington."

prikazali smo ''Gospodin Smit ide u Vašington''.

Made in 1939, the film is older than most of our members' grandparents.

Snimljen je 1939. godine, stariji je od većine deka i baka naših članova kluba.

Frank Capra's classic values independence and propriety.

Klasik Frenka Kapre uzdiže vrednosti kao što su nezavisnost i svojina.

It shows how to do right,

Pokazuje kako postupiti ispravno,

how to be heroically awkward.

kako biti herojski neobičan.

It is also an expression of faith

Film izražava i veru u

in the political machine as a force of honor.

političku mašinu koju pokreće čast.

Shortly after "Mr. Smith" became a FILMCLUB classic,

Ubrzo nakon što je ''Gospodin Smit'' postao klasik Filmskog kluba,

there was a week of all-night filibustering in the House of Lords.

u Domu lordova vršene su celonedeljne opstrukcije.

And it was with great delight

Sa mnogo radosti shvatili smo

that we found young people up and down the country

da mladi ljudi širom zemlje

explaining with authority

objašnjavaju autoritativno

what filibustering was

šta je opstrukcija

and why the Lords might defy their bedtime on a point of principle.

i zašto bi Lordovi mogli da se bune protiv njihovog vremena odlaska u krevet.

After all, Jimmy Stewart filibustered for two entire reels.

Ipak je Džimi Stjuart vršio opstrukciju tokom dve cele filmske trake.

In choosing "Hotel Rwanda,"

''Hotel Ruanda'' izabran je

they explored genocide of the most brutal kind.

zbog prikazivanja najbrutalnije moguće vrste genocida.

It provoked tears as well as incisive questions

Izazvao je i suze, kao i britka pitanja

about unarmed peace-keeping forces

o nenaoružanim mirovnim snagama

and the double-dealing of a Western society

i dvoličnosti zapadnjačkog društva

that picks its moral fights with commodities in mind.

koje svoje moralne bitke bira na osnovu prihoda koje može izvući.

And when "Schindler's List" demanded that they never forget,

''Šindlerova lista'' zahteva da se nikad ne zaboravi,

one child, full of the pain of consciousness, remarked,

a jedno dete, bolno spoznajući izjavilo je:

"We already forgot,

''Već smo zaboravili,

otherwise how did 'Hotel Rwanda' happen?"

kako bi se inače ''Hotel Ruanda'' dogodio?''

As they watch more films their lives got palpably richer.

Što više filmova odgledaju njihovi životi postaju opipljivo bogatiji.

"Pickpocket" started a debate about criminality disenfranchisement.

''Džeparoš'' je pokrenuo debatu o oduzimanju prava glasa.

"To Sir, with Love" ignited its teen audience.

''Siru, s ljubavlju'' pokrenuo je tinejdžersku publiku.

They celebrated a change in attitude

Slavili su promenu u držanju

towards non-white Britons,

prema ne-belim Britancima,

but railed against our restless school system

ali su se pobunili protiv školskog sistema

that does not value collective identity,

koji ne ceni kolektivni identitet,

unlike that offered by Sidney Poitier's careful tutelage.

drugačiji od onog koji Sindi Poatije nudi.

By now, these thoughtful, opinionated, curious young people

Do sada, ovi promišljeni, radoznali, mladi ljudi sa stavovima

thought nothing of tackling films of all forms --

nisu ništa znali o raznovrsnosti filmskih formi -

black and white, subtitled,

crno-beli, sa prevodima,

documentary, non-narrative, fantasy --

dokumentarni, nenarativni, fantastični -

and thought nothing of writing detailed reviews

nisu ništa znali o pisanju detaljnih prikaza

that competed to favor one film over another

koji favorizuju jedan film pre nego drugi

in passionate and increasingly sophisticated prose.

pasioniranom i sofisticiranom prozom.

Six thousand reviews each school week

6000 prikaza svake školske nedelje

vying for the honor of being review of the week.

bori se za čast da bude najbolji nedeljni prikaz.

From 25 clubs, we became hundreds, then thousands,

Od 25 klubova, proširili smo se na stotine, zatim na hiljade,

until we were nearly a quarter of a million kids

sve dok nismo obuhvatili 250 000 dece

in 7,000 clubs right across the country.

u 7 000 klubova širom zemlje.

And although the numbers were, and continue to be, extraordinary,

Iako brojevi jesu i nastavljaju da budu izvanredni,

what became more extraordinary

ono što je još fascinantnije

was how the experience of critical and curious questioning

jeste kako iskustvo kritičkog ispitivanja i radoznalost

translated into life.

može da se prenese na život.

Some of our kids started talking with their parents,

Neka od naše dece počela su da razgovaraju sa roditeljima,

others with their teachers,

neka sa svojim nastavnicima,

or with their friends.

neka sa prijateljima.

And those without friends

Oni koji nisu imali prijatelje

started making them.

počeli su tako da ih stiču.

The films provided communality across all manner of divide.

Filmovi su obrazovali zajednicu koja prevazilazi sve razlike.

And the stories they held provided a shared experience.

Priče koje sadrže filmovi obezbedili su zajednička iskustva.

"Persepolis" brought a daughter closer to her Iranian mother,

''Persepolis'' zbližava kćerku i njenu majku Iranku,

and "Jaws" became the way in which one young boy

''Ajkula'' prikazuje način na koji dečak

was able to articulate the fear he'd experienced

postaje sposoban da artikuliše strah koji je proživeo

in flight from violence

u bekstvu od nasilja

that killed first his father then his mother,

koje je prvo ubilo oca, a zatim i njegovu majku,

the latter thrown overboard on a boat journey.

koja je pala sa broda tokom krstarenja.

Who was right, who wrong?

Ko je bio u pravu, ko ne?

What would they do under the same conditions?

Šta bi uradili u istim okolnostima?

Was the tale told well?

Da li je priča lepo ispričana?

Was there a hidden message?

Da li je postojala skrivena poruka?

How has the world changed? How could it be different?

Kako se svet promenio? Može li biti drugačiji?

A tsunami of questions flew out of the mouths of children

Deca su postavljala ogroman broj pitanja

who the world didn't think were interested.

za koja je svet mislio da su nezainteresovana.

And they themselves had not known they cared.

I oni sami nisu znali da im je stalo.

And as they wrote and debated,

Dok su pisali i debatovali,

rather than seeing the films as artifacts,

umesto da vide filmove kao artefakte,

they began to see themselves.

počeli su sebe da spoznaju.

I have an aunt who is a wonderful storyteller.

Imam tetku koja je divan pripovedač.

In a moment she can invoke images

U jednom trenutku ona može da dočara slike

of running barefoot on Table Mountain and playing cops and robbers.

bosog trčanja po planini Tejbl i igranja ''policije i lopova''.

Quite recently she told me

Skoro mi je rekla

that in 1948, two of her sisters and my father

da su 1948. godine dve njene sestre i moj otac

traveled on a boat to Israel without my grandparents.

putovali brodom do Izraela bez mojih bake i deke.

When the sailors mutinied at sea in a demand for humane conditions,

Kada su se na brodu mornari pobunili i zahtevali humanije uslove,

it was these teenagers that fed the crew.

tinejdžeri su onda hranili posadu.

I was past 40 when my father died.

Imala sam preko 40 godina kada mi je otac umro.

He never mentioned that journey.

Nikada nije pomenuo taj put.

My mother's mother left Europe in a hurry

Baka mi je napustila Evropu u žurbi

without her husband, but with her three-year-old daughter

bez svog muža, ali sa svojom trogodišnjom kćerkom,

and diamonds sewn into the hem of her skirt.

sa dijamantima ušivenim u porub jedne od suknji.

After two years in hiding,

Nakon dve godine skrivanja,

my grandfather appeared in London.

deda se pojavio u Londonu.

He was never right again.

Nikada se nije oporavio.

And his story was hushed as he assimilated.

A njegova priča bila je umrtvljena njegovim prilagođavanjem.

My story started in England

Moja priča počinje u Engleskoj

with a clean slate and the silence of immigrant parents.

bez ''repova'' i uz ćutnju mojih roditelja imigranata.

I had "Anne Frank," "The Great Escape,"

Imala sam ''Anu Frank'', ''Veliko bekstvo'',

"Shoah," "Triumph of the Will."

''Šoa'', ''Trijumf volje''.

It was Leni Riefenstahl

Leni Rifenštal je bila ta

in her elegant Nazi propaganda

sa svojom elegantnom, nacističkom propagandom

who gave context to what the family had to endure.

koja je dala kontekst onoga što je moja porodica morala da istrpi.

These films held what was too hurtful to say out loud,

Ovi filmovi sadržali su ono što je bilo suviše bolno za priču.

and they became more useful to me

i postali su za mene korisniji

than the whispers of survivors

nego šapati preživelih

and the occasional glimpse of a tattoo

ili povremeni prizori tetovaža

on a maiden aunt's wrist.

na zglobu moje tetke usedelice.

Purists may feel that fiction dissipates

Puristi možda misle da će fikcija proćerdati

the quest of real human understanding,

potragu za realnošću ljudskog razumevanja,

that film is too crude

da je film isuviše banalan

to tell a complex and detailed history,

da bi ispričao kompleksnu i detaljnu istoriju

or that filmmakers always serve drama over truth.

ili da režiseri uvek prezentuju dramu, ne istinu.

But within the reels lie purpose and meaning.

Ali među filmskim trakama leže namera i značenje.

As one 12-year-old said after watching "Wizard of Oz,"

Kao što je jedna 12-godišnjakinja rekla, gledajući ''Čarobnjaka iz Oza'':

"Every person should watch this,

''Svako treba da pogleda ovo,

because unless you do

jer ako to ne učiniš

you may not know that you too have a heart."

možda nećeš znati da i ti imaš srce''.

We honor reading, why not honor watching with the same passion?

Cenimo čitanje, zašto ne cenimo gledanje sa istom strašću?

Consider "Citizen Kane" as valuable as Jane Austen.

Smatrajmo ''Građanina Kejna'' jednako vrednim kao Džejn Ostin.

Agree that "Boyz n the Hood," like Tennyson,

Složimo se da ''Momci iz kraja'', kao Tenison,

offers an emotional landscape and a heightened understanding

nude emocionalni uvid i uzvišeno razumevanje

that work together.

koji se prepliću.

Each a piece of memorable art,

Svako delo je upečatljiva umetnost,

each a brick in the wall of who we are.

svako je cigla u zidu onoga što jesmo.

And it's okay if we remember Tom Hanks

U redu je da pamtimo Toma Henksa

better than astronaut Jim Lovell

bolje nego astronauta Džima Lovela

or have Ben Kingsley's face superimposed onto that of Gandhi's.

ili lice Bena Kingslija dok glumi Gandija.

And though not real, Eve Harrington, Howard Beale, Mildred Pierce

Iako nisu stvarni, Eva Harington, Hauard Bil, Mildred Pirs -

are an opportunity to discover

oni su mogućnost otkrivanja

what it is to be human,

kako je biti čovek,

and no less helpful to understanding our life and times

i ništa manje nisu važni za shvatanje našeg života i doba

as Shakespeare is in illuminating the world of Elizabethan England.

kao što je Šekspir bio otkrovenje za svet elizabetanske Engleske.

We guessed that film,

Znali smo da će film,

whose stories are a meeting place

čije priče su okrilje pod kojim se sastaju

of drama, music, literature and human experience,

drama, muzika, literatura i ljudsko iskustvo,

would engage and inspire the young people participating in FILMCLUB.

inspirisati mlade ljude koji učestvuju u Filmskom klubu.

What we could not have foreseen

Ono što nismo mogli da predvidimo

was the measurable improvements

jesu važna unapređenja

in behavior, confidence and academic achievement.

u ponašanju, samopouzdanju i akademskim postignućima.

Once-reluctant students now race to school, talk to their teachers,

Jednom suzdržani učenici sada jure u školu, razgovaraju sa nastavnicima,

fight, not on the playground,

bore se, ne na igralištu,

but to choose next week's film --

nego oko izbora filma za sledeću nedelju -

young people who have found self-definition, ambition

mladi ljudi koji su našli definiciju sebe, ambiciju,

and an appetite for education and social engagement

apetit za obrazovanjem i društvenim uključenjem

from the stories they have witnessed.

iz priča kojima su pristustvovali.

Our members defy the binary description

Naši članovi se bore protiv binarnog opisa

of how we so often describe our young.

koji je najčešći opis naših mladih.

They are neither feral nor myopically self-absorbed.

Oni nisu divlji niti kratkovido orijentisani ka sebi.

They are, like other young people,

Oni, kao i mnogi mladi ljudi,

negotiating a world with infinite choice,

pregovaraju sa svetom u kome imaju nebrojeno mnogo opcija,

but little culture of how to find meaningful experience.

ali imaju malo kulture o tome kako naći značajno iskustvo.

We appeared surprised at the behaviors

Iznenađeni smo ponašanjem

of those who define themselves

onih koji sebe definišu

by the size of the tick on their shoes,

po marki cipela koje nose,

yet acquisition has been the narrative we have offered.

a opet takve su vrednosti koje se nude.

If we want different values

Ako želimo da im ponudimo druge vrednosti,

we have to tell a different story,

moramo da ispričamo drugu priču,

a story that understands that an individual narrative

priču gde se razume da individualni narativ

is an essential component of a person's identity,

jeste esencijalna komponenta identiteta jedne osobe,

that a collective narrative

da kolektivni narativ

is an essential component of a cultural identity,

jeste esencijalna komponenta kulturnog identiteta,

and without it it is impossible to imagine yourself

bez kojih je nemoguće da zamislimo

as part of a group.

sebe kao deo grupe.

Because when these people get home

Zato što kada ovi mladi ljudi odu kući

after a screening of "Rear Window"

nakon prikazivanja ''Skrivenog prozora''

and raise their gaze to the building next door,

i pogledaju u zgradu preko puta,

they have the tools to wonder who, apart from them,

oni počinju da se pitanju ko, pored njih,

is out there

postoji tamo

and what is their story.

i koja je njihova priča.

Thank you.

Hvala vam.

(Applause)

(Aplauz)