Lauren Zalaznick: The conscience of television

Prevodilac: Sandrina Dimitrijevic Lektor: Ivana Korom

I want to say that really and truly,

Želim da kažem da sam zaista i iskreno,

after these incredible speeches

nakon ovih neverovatnih govora

and ideas that are being spread,

i ideja koje su proširene,

I am in the awkward position

u nezgodnoj situaciji

of being here to talk to you today

da sam danas ovde kako bih vam pričala

about television.

o televiziji.

So most everyone watches TV.

Skoro svi gledaju televiziju.

We like it. We like some parts of it.

Volimo je. Volimo neke određene delove.

Here in America, people actually love TV.

Ovde u Americi, ljudi naprosto obožavaju televiziju.

The average American watches TV

Prosečan amerikanac gleda televiziju

for almost 5 hours a day.

oko pet sati svakog dana.

Okay?

U redu?

Now I happen to make my living these days in television,

Dogodilo se da ja sada zarađujem za život na televiziji,

so for me, that's a good thing.

pa je to za mene dobra stvar.

But a lot of people don't love it so much.

Ali mnogi ljudi je ne vole toliko.

They, in fact, berate it.

U stvari, oni je kritikuju.

They call it stupid,

Zovu je glupom,

and worse, believe me.

i još gore, verujte mi.

My mother, growing up,

Dok sam odrastala, moja majka ju je

she called it the "idiot box."

zvala "kutija za idiote".

But my idea today is not to debate

Ali moja ideja danas nije da diskutujem

whether there's such a thing as good TV or bad TV;

o tome da li postoji dobra ili loša televizija;

my idea today

moja ideja danas

is to tell you that I believe

je da vam kažem da verujem da

television has a conscience.

televizija ima savest.

So why I believe that television has a conscience

Dakle, ja verujem da televizija ima savest

is that I actually believe

zato što zaista verujem

that television directly reflects

da televizija direktno odražava

the moral, political,

moralne, političke,

social and emotional need states of our nation --

društvene i emocionalne potrebe naše nacije -

that television is how we actually disseminate

da televizija u stvari pokazuje kako mi raspršujemo

our entire value system.

naš celokupni vrednosni sistem.

So all these things are uniquely human,

Dakle, sve ove stvari su jedinstvene ljudima,

and they all add up

i sve čine celinu

to our idea of conscience.

naše ideje o savesti.

Now today, we're not talking about good and bad TV.

Danas ne govorimo o lošoj ili dobroj televiziji.

We're talking about popular TV.

Govorimo o popularnoj televiziji.

We're talking about top-10 Nielsen-rated shows

Govorimo o prvih deset rangiranih emisija od strane Nielsen-a

over the course of 50 years.

u periodu od pedeset godina.

How do these Nielsen ratings

Kako ove Nielsen ocene

reflect not just what you've heard about,

odražavaju ne samo ono što smo čuli,

which is the idea of our social, collective unconscious,

a što je ideja našeg društvenog, kolektivnog nesvesnog,

but how do these top-10 Nielsen-rated shows

već kako ovih top deset Nielsen rangiranih emisija,

over 50 years

tokom pedeset godina

reflect the idea

odražavaju ideju

of our social conscience?

naše društvene savesti?

How does television evolve over time,

Kako televizija evoluira tokom vremena,

and what does this say about our society?

i šta to govori o našem društvu?

Now speaking of evolution,

Govoreći o evoluciji,

from basic biology, you probably remember

iz osnova biologije, verovatno se sećate

that the animal kingdom, including humans,

da životinjsko carstvo, uključujući i ljude,

have four basic primal instincts.

ima četiri osnovna instinkta.

You have hunger; you have sex; you have power;

Imate glad, imate seks, imate moć,

and you have the urge for acquisitiveness.

imate nagon za posedovanjem.

As humans, what's important to remember

Kao ljudi, ono što je važno da zapamtimo je

is that we've developed, we've evolved over time

da smo se mi vremenom razvijali, da smo evoluirali tokom vremena

to temper, or tame,

da ublažimo, da obuzdamo

these basic animal instincts.

ova četiri osnovna instinkta.

We have the capacity to laugh and cry.

Mi imamo sposobnost da se smejemo i plačemo.

We feel awe, we feel pity.

Osećamo strahopoštovanje, osećamo sažaljenje.

That is separate and apart

To je odvojeno i udaljeno

from the animal kingdom.

od životinjskog carstva.

The other thing about human beings

Druga stvar kod ljudskih bića

is that we love to be entertained.

je da mi volimo kada nas zabavljaju.

We love to watch TV.

Mi volimo da gledamo televiziju.

This is something that clearly separates us

Ovo je nešto što nas očigledno razdvaja

from the animal kingdom.

od životinjskog carstva.

Animals might love to play,

Životinje možda vole da se igraju,

but they don't love to watch.

ali ne vole da gledaju.

So I had an ambition

Zato sam imala ambiciju,

to discover what could be understood

da otkrijem šta bi se moglo razumeti

from this uniquely human relationship

iz ove jedinstvene ljudske veze

between television programs

između TV programa

and the human conscious.

i ljudske savesti.

Why has television entertainment evolved the way it has?

Zašto je zabava na televiziji evoluirala na način na koji jeste?

I kind of think of it

Nekako razmišljam o tome

as this cartoon devil or angel

kao da ovaj crtani đavo ili anđeo

sitting on our shoulders.

koji sede na našim ramenima.

Is television literally functioning

Da li televizija bukvalno funkcioniše

as our conscience,

kao naša savest,

tempting us and rewarding us at the same time?

stavljajući nas na iskušenje i nagrađujući nas u isto vreme?

So to begin to answer these questions,

Kako bismo počeli da odgovaramo na ova pitanja,

we did a research study.

uradili smo istraživanje.

We went back 50 years

Vratili smo se 50 godina unazad

to the 1959/1960 television season.

u 1959/1960 televizijsku sezonu.

We surveyed the top-20 Nielsen shows

Ispitali smo prvih 20 emisija sa Nielsen liste

every year for 50 years --

tokom svake godine u poslednjih pedest godina -

a thousand shows.

hiljadu emisija.

We talked to over 3,000 individuals --

Pričali smo sa preko 3000 osoba -

almost 3,600 --

oko 3600

aged 18 to 70,

između 18 - 70 godina

and we asked them how they felt emotionally.

i pitali ih kako su se osećali.

How did you feel

Kako ste se osećali

watching every single one of these shows?

gledajući svaku od ovih emisija?

Did you feel a sense of moral ambiguity?

Da li ste imali osećaj moralne dvosmislenosti?

Did you feel outrage? Did you laugh?

Da li ste osećali bes? Da li ste se smejali?

What did this mean for you?

Šta je to značilo za vas?

So to our global TED audiences,

Globalnoj TED publici,

I want to say that this was a U.S. sample.

želim da kažem da je uzorak bio iz SAD -a.

But as you can see,

Ali kao što možete videti,

these emotional need states are truly universal.

ova stanja emocionalnih potreba su istinski univerzalna.

And on a factual basis,

Ali i gledajući činjenično stanje,

over 80 percent of the U.S.'s most popular shows

preko osamdeset procenata američkih popularnih emisija

are exported around the world.

bude izvezeno širom sveta.

So I really hope our global audiences

Dakle, zaista se nadam da se i globalna publika

can relate.

može poistovetiti.

Two acknowledgments

Dva priznanja zasluga

before our first data slide:

pre našeg prvog slajda sa podacima:

For inspiring me

Za inspiraciju

to even think about the idea of conscience

da uopšte pomislim na ideju savesti

and the tricks that conscience can play on us on a daily basis,

i trikove koje savest igra sa nama svakodnevno

I thank legendary rabbi, Jack Stern.

zahvaljujem se legendarnom rabinu Džeku Sternu.

And for the way in which I'm going to present the data,

Dok za način na koji ću prezentovati svoje podatke,

I want to thank TED community superstar Hans Rosling,

želim da se zahvalim zvezdi TED zajednice, Hansu Roslingu,

who you may have just seen.

koga ste mogli upravo da vidite.

Okay, here we go.

U redu, krećemo.

So here you see,

Dakle, ovde vidite

from 1960 to 2010,

od 1960. do 2010.,

the 50 years of our study.

oko pedeset godina istraživanja.

Two things we're going to start with --

Dve stvari sa kojima ćemo početi -

the inspiration state and the moral ambiguity state,

stanje inspirisanosti i stanje moralne dvosmislenosti

which, for this purpose,

koja, za ovu svrhu,

we defined inspiration

mi definišemo inspirisanost

as television shows that uplift me,

kao televizijske emisije koje su me podigle,

that make me feel much more positive about the world.

koje su učinile da pozitivno gledam na svet.

Moral ambiguity are televisions shows

Moralna dvosmislenost su televizijske emisije

in which I don't understand

u kojima ja ne razumem

the difference between right and wrong.

razliku između dobrog i lošeg.

As we start, you see in 1960

Kako počinjemo, vidite da u 1960.

inspiration is holding steady.

inspirisanost stabilna.

That's what we're watching TV for.

To je razlog zašto gledamo televiziju.

Moral ambiguity starts to climb.

Moralna dvosmislenost počinje da raste.

Right at the end of the 60s,

Tačno na kraju šezdesetih

moral ambiguity is going up,

moralna dvosmislenost ide gore,

inspiration is kind of on the wane.

dok inspirisanost na neki način vene.

Why?

Zašto?

The Cuban Missile Crisis, JFK is shot,

Kubanska kriza, ubijen je Kenedi,

the Civil Rights movement,

Pokret za ljudska prava,

race riots, the Vietnam War,

rasni protesti, rat u Vijetnamu,

MLK is shot, Bobby Kennedy is shot,

Martin Luter King je ubijen, Bobi Kenedi je ubijen,

Watergate.

Votergej afera.

Look what happens.

Gledajte šta se događa.

In 1970, inspiration plummets.

u 1970., inspirisanost strmoglavo pada.

Moral ambiguity takes off.

Moralna dvosmislenost dobija uzlet.

They cross,

Presecaju se,

but Ronald Reagan, a telegenic president, is in office.

ali Ronald Regan, televizijski predsednik, je na vlasti.

It's trying to recover.

Pokušava da se oporavi.

But look, it can't:

Ali gledajte, ne može:

AIDS, Iran-Contra,

Sida, Iran Kontra afera,

the Challenger disaster, Chernobyl.

nesreća spejs šatla "Challenger", Černobilj.

Moral ambiguity becomes the dominant meme in television

Moralna dvosmislenost postaje dominantna tema u televiziji

from 1990 for the next 20 years.

od 1990. pa sledećih 20 godina.

Take a look at this.

Pogledajte ovo.

This chart is going to document a very similar trend.

Ovaj grafikon pokazuje sličan trend.

But in this case, we have comfort -- the bubble in red --

Ali u ovom slučaju imamo utehu, ovaj crveni mehurić,

social commentary and irreverence

a društveni komentar i nepoštovanje

in blue and green.

u plavom i zelenom.

Now this time on TV

U to vreme na televiziji

you have "Bonanza," don't forget, you have "Gunsmoke,"

imate seriju "Bonanza", ne zaboravite, imate "Gunsmoke",

you have "Andy Griffith,"

imate "Andy Griffith",

you have domestic shows all about comfort.

domaće emisije koje sve govore o utehi.

This is rising. Comfort stays whole.

Ovo raste. Uteha ostaje cela.

Irreverence starts to rise.

Nepoštovanje počinje da raste.

Social commentary is all of a sudden spiking up.

Društveni komentar iznenada počinje da raste.

You get to 1969, and look what happens.

Stižemo do 1969. i pogledajte šta se dešava.

You have comfort, irreverence, and social commentary,

Imate utehu, nepoštovanje i društveni komentar,

not only battling it out in our society,

koji se ne samo bore u našem društvu,

but you literally have two establishment shows --

ali bukvalno imate dve službene emisije

"Gunsmoke" and "Gomer Pyle" --

Gunsmoke i "Gomer Pyle" koje su

in 1969 are the number-two- and number-three-rated television shows.

u 1969. rangirane na drugom i trećem mestu.

What's number one?

Ko je na prvom mestu?

The socially irreverent hippie show,

Hipi emisija koja ne poštuje društvo.

"Rowan and Martin's Laugh-In."

"Rowan and Martin's Laugh-In".

They're all living together, right.

Oni svi žive zajedno, je l' tako.

Viewers had responded dramatically.

Gledaoci su dramatično odgovorili na to.

Look at this green spike in 1966

Pogledajte ovaj zeleni vrh u 1966.

to a bellwether show.

o emisiji o predvodniku.

When you guys hear this industry term, a breakout hit,

Kada čujete taj industrijski termin, hit,

what does that mean?

šta to znači?

It means in the 1966 television season,

To znači da su u televizijskoj sezoni 1966.,

The "Smothers Brothers" came out of nowhere.

Smoters Braća došla niotkuda.

This was the first show

To je bila prva emisija

that allowed viewers to say,

koje je omogućavala gledaocima da kažu,

"My God,

"Bože,

I can comment on how I feel about the Vietnam War,

mogu da komentarišem o tome šta osećam prema ratu u Vijetnamu,

about the presidency, through television?"

prema predsedniku, putem televizije?"

That's what we mean by a breakout show.

To je ono što podrazumevamo pod hit emisijom.

So then, just like the last chart, look what happens.

Dakle pogledajte šta se tada dešava, kao u poslednjem grafikonu.

In 1970,

u 1970.,

the dam bursts. The dam bursts.

brana popušta. Brana popušta.

Comfort is no longer why we watch television.

Uteha nije više razlog zašto gledamo televiziju.

Social commentary and irreverence

Društveni komentar i nepoštovanje

rise throughout the 70s.

rastu tokom sedamdesetih.

Now look at this.

Sada pogledajte ovo.

The 70s means who? Norman Lear.

Ko predstavlja sedamdesete? Norman Lir.

You have "All in the Family," "Sanford and Son,"

Imamo "Sve u porodici", "Sanford i sinovi,"

and the dominant show --

i glavna emisija koja je bila

in the top-10 for the entire 70s --

u prvih deset tokom celih sedamdesetih -

"MAS*H."

M.A.S.H.

In the entire 50 years

Tokom svih pedeset godina

of television that we studied,

televizije koje smo proučili,

seven of 10 shows

sedam od deset emisija

ranked most highly for irreverence

koje su najviše bile rangirane po nepoštovanju

appeared on air during the Vietnam War,

su se prikazivale tokom rata u Vijetnamu,

five of the top-10 during the Nixon administration.

pet od prvih deset tokom Niksonovog boravka na vlasti.

Only one generation, 20 years in,

Samo jedna generacija, dvadeset godina,

and we discovered,

i mi smo otkrili,

Wow! TV can do that?

Super! Televizija to može?

It can make me feel this?

Može da učini da se ovako osećam?

It can change us?

Može nas promeniti?

So to this very, very savvy crowd,

Dakle ovoj, veoma pametnoj publici,

I also want to note

želim da naglasim

the digital folks did not invent disruptive.

da digitalni mediji nisu izumeli poremećaje.

Archie Bunker was shoved out of his easy chair

Arči Banker je bio izbačen iz svoje udobne stolice

along with the rest of us

zajedno sa svima nama

40 years ago.

pre četrdeset godina.

This is a quick chart. Here's another attribute:

Ovo je kratak grafikon. Evo je još jedna karakteristika:

fantasy and imagination,

fantazija i mašta, koje predstavljaju

which are shows defined as,

emisije definisane kao one koje

"takes me out of my everyday realm"

odvode iz svakidašnjeg života

and "makes me feel better."

i "čine da se bolje osećam."

That's mapped against the red dot, unemployment,

To je na mapi pokazano naspram crvene tačke, nezaposlenosti,

which is a simple Bureau of Labor Department statistic.

koja predstavlja podatak Nacionalnog biroa za statistiku na tržištu rada.

You'll see

Videćete da svaki put

that every time fantasy and imagination shows rise,

kada raste gledanost emisija sa fantazijom i maštanjem,

it maps to a spike in unemployment.

istovremeno raste i nezaposlenost.

Do we want to see shows

Da li mi želimo da gledamo emisije

about people saving money and being unemployed?

o ljudima koji štede novac i nezaposleni su?

No. In the 70s

Ne. U sedamdesetim

you have the bellwether show "The Bionic Woman"

imamo predvodničku emisiju "Bionička žena"

that rocketed into the top-10 in 1973,

koja je strmoglavo dospela u prvih 10 u 1973.,

followed by the "Six Million-Dollar Man" and "Charlie's Angels."

i koja je bila praćena "Čovekom od šest miliona dolara" i "Čarlijevim anđelima."

Another spike in the 1980s --

Još jedan nagli porast u osamdesetim

another spike in shows about control and power.

imaju emisije o kontroli i moći.

What were those shows?

Koje su bile te emisije?

Glamorous and rich.

Glamurozni i bogati.

"Dallas," "Fantasy Island."

"Dalas", "Ostrvo snova."

Incredible mapping of our national psyche

Neverovatan prikaz nacionalne psihe

with some hard and fast facts:

propraćene s nekoliko čvrstih i brzih činjenica:

unemployment.

nezaposlenost.

So here you are, in my favorite chart,

Dakle, evo vas u mom omiljenom grafikonu,

because this is our last 20 years.

pošto on predstavlja poslednjih dvadeset godina.

Whether or not you're in my business,

Bilo da ste ili niste u mojoj industriji,

you have surely heard or read

sigurno ste čuli ili čitali

of the decline of the thing called the three-camera sitcom

o smanjenju programa zvanih komedija sa tri kamere,

and the rise of reality TV.

i porastu realiti televizije.

Well, as we say in the business,

Pa, kako mi to nazivamo u našem poslu,

X marks the spot.

X označava to mesto.

The 90s -- the big bubbles of humor --

Devedesete - veliki mehurići humora -

we're watching "Friends," "Frasier," "Cheers" and "Seinfeld."

gledamo "Prijatelje", "Frasier", "Cheers", "Sajnfelda".

Everything's good, low unemployment.

Sve je dobro, nezaposlenost je niska.

But look: X marks the spot.

Ali pogledajte: X označava mesto.

In 2001,

u 2001.,

the September 2001 television season,

u televizijskoj sezoni u septembru 2001.

humor succumbs to judgment once and for all.

humor podleže osuđivanju jednom i za svagda.

Why not?

Zašto da ne?

We had a 2000 presidential election

Na predsedničkim izborima 2000.

decided by the Supreme Court.

odlučio je Vrhovni Sud.

We had the bursting of the tech bubble.

Imali smo raspad tehnološke industrije.

We had 9/11.

Imali smo jedanaesti septembar.

Anthrax becomes part of the social lexicon.

Antraks je postao deo našeg društvenog rečnika.

Look what happens when we keep going.

Pogledajte šta se dešava kako nastavljamo dalje.

At the turn of the century, the Internet takes off,

Na prelazu u novi vek, Internet dobija uzlet,

reality television has taken hold.

realiti televizija učvršćuje svoju poziciju.

What do people want in their TV then?

Šta ljudi onda žele da vide na televiziji?

I would have thought revenge

Pomislila bih na osvetu

or nostalgia.

ili nostalgiju.

Give me some comfort; my world is falling apart.

Dajte mi utehu; moj svet se raspada.

No, they want judgment.

Ne, oni žele osuđivanje.

I can vote you off the island.

Mogu da glasam da odeš sa ostrva.

I can keep Sarah Palin's daughter dancing.

Mogu da ostavim ćerku Sare Pejlin da igra.

I can choose the next American Idol. You're fired.

Mogu da izaberem sledećeg američkog Idola. Otpušten si.

That's all great, right?

Sve je to super, zar ne?

So as dramatically different as these television shows,

Dakle, koliko god različite da su ove televizijske emisije,

pure entertainment, have been over the last 50 years --

čiste zabave, bile u poslednjih pedeset godina -

what did I start with? --

sa čime sam započela? -

one basic instinct remains.

ostaje jedan osnovni instinkt.

We're animals, we need our moms.

Mi smo životinje, potrebne su nam naše mame.

There has not been a decade of television

Nije protekla nijedna decenija u televiziji

without a definitive, dominant TV mom.

bez definitivne, dominantne televizijske mame.

The 1950s:

U pedesetim,

June Cleever in the original comfort show, "Leave it to Beaver."

Džun Kliver u prvoj emsiji utehe "Ostavi to Biveru"

Lucille Ball kept us laughing

Lusil Bol nas je zasmejavala

through the rise of social consciousness in the 60s.

tokom rasta društvene savesti u šezdesetim.

Maude Findlay,

Mod Findli,

the epitome of the irreverent 1970s,

prikaz sedamdesetih punih nepoštovanja,

who tackled abortion, divorce,

koje su načele teme kao što su, abortus, razvod,

even menopause on TV.

čak i menopauza na televiziji.

The 1980s,

Tokom osamdesetih

our first cougar was given to us

dobili smo prvu ženu kuguara,

in the form of Alexis Carrington.

u liku Aleksis Karington.

Murphy Brown took on a vice president

Marfi Braun je postala potpredsednik

when she took on the idea of single parenthood.

kada je preuzela na sebe ideju samohranog roditelja.

This era's mom,

Mame ovih vremena,

Bree Van de Kamp.

Bri Van de Kamp.

Now I don't know if this is the devil or the angel

Ne znam da li je taj koji nam sedi na savesti

sitting on our conscience,

i na ramenima televizije

sitting on television's shoulders,

đavo ili anđeo,

but I do know that I absolutely love this image.

ali znam da apsolutno obožavam ovu sliku.

So to you all,

Dakle svima vama,

the women of TEDWomen, the men of TEDWomen,

ženama iz TEDWomen ili muškarcima iz TEDWomen,

the global audiences of TEDWomen,

globalnoj publici TEDWomen,

thank you for letting me present my idea

hvala što ste mi dozvolili da prezentujem ideju

about the conscience of television.

o savesti televizije.

But let me also thank the incredible creators

Dozvolite mi da se takođe zahvalim neverovatnim stvaraocima

who get up everyday

koji ustaju svaki dan

to put their ideas on our television screens

kako bi stavili svoje ideje na naše televizijske ekrane

throughout all these ages of television.

tokom svih ovih godina televizije.

They give it life on television, for sure,

Ovi ulivaju život na televiziji, zasigurno,

but it's you as viewers,

ali vi, kao gledaoci,

through your collective social consciences,

kroz svoju kolektivnu društvenu savest,

that give it life, longevity,

njoj dajete život, dugovečnost,

power or not.

moć ili ne.

So thanks very much.

Mnogo se zahvaljujem.

(Applause)

(Aplauz)