Beeban Kidron: The shared wonder of film

50,155 views ・ 2012-06-13

TED


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00:00
Translator: Timothy Covell Reviewer: Morton Bast
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翻译人员: Jia Zeng 校对人员: Yuguo Zhang
00:15
Evidence suggests that humans in all ages and from all cultures
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有证据表明不同年龄和有不同文化背景的人们
00:20
create their identity in some kind of narrative form.
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从不同叙事方式中创造个人特色
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From mother to daughter, preacher to congregant,
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从母亲到女儿,牧师到会众
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teacher to pupil, storyteller to audience.
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老师到学生,说书人到听众
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Whether in cave paintings
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不论在岩壁绘画
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or the latest uses of the Internet,
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还是最新的互联网应用
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human beings have always told their histories and truths
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人类总是通过寓言或者故事
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through parable and fable.
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来讲述他们的历史和真理
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We are inveterate storytellers.
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我们是骨子里的说书人
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But where, in our increasingly secular and fragmented world,
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但是在我们日渐世俗和破碎的世界中
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do we offer communality of experience,
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我们是否在分享共通的经验
00:53
unmediated by our own furious consumerism?
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而不受我们冲动的消费主义影响?
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And what narrative, what history,
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而哪种叙事,哪种历史
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what identity, what moral code
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哪种身份,哪种道德规范
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are we imparting to our young?
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我们正在传输给年轻一代?
01:07
Cinema is arguably
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电影可以说是
01:09
the 20th century's most influential art form.
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20世纪最有影响力的艺术形式
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Its artists told stories
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电影艺术家通过电影讲故事
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across national boundaries,
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跨越国界
01:15
in as many languages, genres and philosophies
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用不同语言,形式和哲学
01:18
as one can imagine.
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应有尽有
01:20
Indeed, it is hard to find a subject
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事实上,没有一个主题
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that film has yet to tackle.
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电影不曾涉及
01:24
During the last decade
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在过去的十年中
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we've seen a vast integration of global media,
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我们见证了全球媒体被大量整合
01:28
now dominated by a culture of the Hollywood blockbuster.
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现在由好莱坞商业大片文化为主导
01:32
We are increasingly offered a diet
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呈现在我们面前的电影大餐逐渐有这样的趋势
01:34
in which sensation, not story, is king.
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感官刺激,而并故事本身,才是王道
01:38
What was common to us all 40 years ago --
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而四十年前我们常见的——
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the telling of stories between generations --
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世代间讲述故事的方式——
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is now rarified.
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在当今几乎难以见到
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As a filmmaker, it worried me.
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身为电影制作者,我深感忧虑
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As a human being, it puts the fear of God in me.
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身为人类的一员,我深感恐惧
01:51
What future could the young build
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我们的年轻人将如何创造未来?
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with so little grasp
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他们如此缺乏
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of where they've come from
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了解过去的机会
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and so few narratives of what's possible?
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以及可供参照未来可能性的叙述
02:00
The irony is palpable;
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这真有讽刺意味
02:01
technical access has never been greater,
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技术正取得史无前例的发展
02:05
cultural access never weaker.
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文化却变得前所未有的贫瘠
02:08
And so in 2006 we set up FILMCLUB,
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所以在2006年我们创立了“电影俱乐部”组织
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an organization that ran weekly film screenings in schools
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它每周在学校放映电影
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followed by discussions.
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并在放映后组织讨论
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If we could raid the annals of 100 years of film,
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如果我们可以获得一百年来的电影资料
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maybe we could build a narrative
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或许我们可以创建一个讲述系统
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that would deliver meaning
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让它把内涵
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to the fragmented and restless world of the young.
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传输给这个支离破碎、不安躁动世界中的年轻人
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Given the access to technology,
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随着技术的普及
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even a school in a tiny rural hamlet
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一个偏远小村庄的学校
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could project a DVD onto a white board.
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也可以在白板上投影DVD
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In the first nine months
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在刚开始的九个月中
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we ran 25 clubs across the U.K.,
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我们在英国举行了25个俱乐部活动
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with kids in age groups between five and 18
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让五到十八岁的孩子
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watching a film uninterrupted for 90 minutes.
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不间断地看完了一部90分钟的电影
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The films were curated and contextualized.
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这些电影放映都经过策划,并与情境相结合
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But the choice was theirs,
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但最终选择权在孩子们手上
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and our audience quickly grew
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我们的观众成长迅速
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to choose the richest and most varied diet that we could provide.
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选出的片子是我们提供的电影中最有价值和最多元的
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The outcome, immediate.
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成果立竿见影
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It was an education of the most profound and transformative kind.
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这是最有深远影响的教育方式
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In groups as large as 150 and as small as three,
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我们的俱乐部小组多达150人,少至3人
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these young people discovered new places,
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这些年轻人发现新事物
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new thoughts, new perspectives.
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新思想和新观点
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By the time the pilot had finished,
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当第一轮试验活动结束时
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we had the names of a thousand schools
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有1000多个学校
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that wished to join.
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想加入这个俱乐部
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The film that changed my life
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改变我一生的电影
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is a 1951 film by Vittorio De Sica, "Miracle in Milan."
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是1951年维托里奥·德·西卡导演的《米兰奇迹》
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It's a remarkable comment
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它对一些事物提出了真知灼见
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on slums, poverty and aspiration.
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包括贫民窟、贫穷和梦想
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I had seen the film on the occasion of my father's 50th birthday.
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在我父亲五十岁生日上我看到了这部影片
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Technology then meant we had to hire a viewing cinema,
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当时的技术要求我们租用放映厅
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find and pay for the print and the projectionist.
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雇佣放映师并支付冲洗胶片的费用
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But for my father,
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但对我父亲来说
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the emotional and artistic importance of De Sica's vision was so great
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德·西卡在情感和艺术上表现的情境对他如此重要
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that he chose to celebrate his half-century
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以致他选择在半百生日这天
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with his three teenage children and 30 of their friends,
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与他三个十几岁的孩子,以及孩子的30个朋友一起观看
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"In order," he said,
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他说:“这是为了
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"to pass the baton of concern and hope
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把关怀和希望的接力棒
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on to the next generation."
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传递给下一代。”
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In the last shot of "Miracle in Milan,"
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《米兰奇迹》的最后一幕里
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slum-dwellers float skyward on flying brooms.
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贫民窟里的人们坐着扫帚飞向天空
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Sixty years after the film was made
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在这部电影拍摄60年后
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and 30 years after I first saw it,
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我第一次看到它的30年后
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I see young faces tilt up in awe,
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我看到年轻人仰幕地看着它们升起
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their incredulity matching mine.
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他们和我当时一样感到难以置信
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And the speed with which they associate it
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他们很快地将它与《贫民窟的百万富翁》
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with "Slumdog Millionaire" or the favelas in Rio
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或者里约热内卢的贫民窟联系起来
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speaks to the enduring nature.
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说明电影的主题经久不衰
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In a FILMCLUB season about democracy and government,
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在一季有关民主与政府的电影季
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we screened "Mr. Smith Goes to Washington."
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我们放映了《史密斯先生到华盛顿 》
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Made in 1939, the film is older than most of our members' grandparents.
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这部电影在1939年摄制,比大部分成员的祖父母年龄都大
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Frank Capra's classic values independence and propriety.
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这部由弗兰克·卡普拉执导的经典作品颂扬了独立和礼节
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It shows how to do right,
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它传达了如何做对的事
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how to be heroically awkward.
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如何做不羁的英雄
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It is also an expression of faith
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它也宣扬了在政治机器中
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in the political machine as a force of honor.
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怀抱信仰并以此为荣
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Shortly after "Mr. Smith" became a FILMCLUB classic,
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在这部电影成为电影俱乐部经典之后不久
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there was a week of all-night filibustering in the House of Lords.
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在英国议会上院上演了一次长达一周的彻夜议事阻挠
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And it was with great delight
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我们欣慰地发现
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that we found young people up and down the country
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国内的年轻人
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explaining with authority
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正在权威地解释
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what filibustering was
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议事阻挠是什么
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and why the Lords might defy their bedtime on a point of principle.
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为什么上院议员们要牺牲睡眠来捍卫原则
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After all, Jimmy Stewart filibustered for two entire reels.
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詹姆斯·史都华毕竟在电影里阻挠了两轮议事
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In choosing "Hotel Rwanda,"
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我们放映《卢旺达饭店》时
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they explored genocide of the most brutal kind.
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年轻人看到了最残酷的种族屠杀
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It provoked tears as well as incisive questions
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它让年轻人流泪,也提出了尖锐的问题
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about unarmed peace-keeping forces
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关于没有武装的维和部队
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and the double-dealing of a Western society
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和两面三刀的西方社会
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that picks its moral fights with commodities in mind.
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表面上为理想而战,内心里却藏着商业利益
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And when "Schindler's List" demanded that they never forget,
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当《辛德勒的名单》提到人们永远不会忘记历史的教训
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one child, full of the pain of consciousness, remarked,
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一个心中充满觉醒后的悲痛的孩子说
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"We already forgot,
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“我们已经忘记了
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otherwise how did 'Hotel Rwanda' happen?"
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不然为什么《卢旺达饭店》这样的事会发生?”
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As they watch more films their lives got palpably richer.
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当他们看到更多的电影, 他们的生活明显更加丰富
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"Pickpocket" started a debate about criminality disenfranchisement.
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《扒手》引发了关于罪犯是否应被剥夺公民权利的讨论
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"To Sir, with Love" ignited its teen audience.
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《念师恩》激励了年青人
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They celebrated a change in attitude
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弘扬了人们对于非白人英国人的
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towards non-white Britons,
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态度转变
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but railed against our restless school system
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却也表达了对学校制度的不满
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that does not value collective identity,
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现有的制度并不看重集体认同
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unlike that offered by Sidney Poitier's careful tutelage.
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不像西德尼·波蒂埃那样悉心教导
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By now, these thoughtful, opinionated, curious young people
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现在, 这些有思想, 有主见, 有好奇心的年轻人
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thought nothing of tackling films of all forms --
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毫无顾忌地涉猎各种类型的电影——
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black and white, subtitled,
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黑白片, 外语片
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documentary, non-narrative, fantasy --
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记录片, 非叙事性电影, 奇幻片——
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and thought nothing of writing detailed reviews
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毫无顾忌地写出详细的影评
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that competed to favor one film over another
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用热情和日渐复杂的笔调
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in passionate and increasingly sophisticated prose.
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来比较不同的电影
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Six thousand reviews each school week
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每周都有六千篇影评投稿
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vying for the honor of being review of the week.
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来竞争“本周影评”的荣誉称号
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From 25 clubs, we became hundreds, then thousands,
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我们的俱乐部从25个, 发展到成百上千个
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until we were nearly a quarter of a million kids
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直到我们拥有了近25万的儿童
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in 7,000 clubs right across the country.
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分布在全国7000个俱乐部中
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And although the numbers were, and continue to be, extraordinary,
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虽然这个数目正在并继续在以卓越的速度增长
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what became more extraordinary
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但最为卓越的是
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was how the experience of critical and curious questioning
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他们将这种批判思考和好奇提问的经历
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translated into life.
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转化到日常生活中
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Some of our kids started talking with their parents,
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一些孩子开始与父母沟通交流
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others with their teachers,
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一些和老师
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or with their friends.
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还有一些和朋友
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And those without friends
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那些没有朋友的孩子
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started making them.
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开始结交朋友
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The films provided communality across all manner of divide.
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这些电影为各种分界提供了共通性
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And the stories they held provided a shared experience.
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它们讲述的故事提供了共通的经历
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"Persepolis" brought a daughter closer to her Iranian mother,
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《我在伊朗长大》拉近了女儿和她伊朗母亲的距离
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and "Jaws" became the way in which one young boy
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《大白鲨》使一个年轻男孩能够讲述
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was able to articulate the fear he'd experienced
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他从一场暴力中逃脱的经历
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in flight from violence
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他父母相继在这个事件中
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that killed first his father then his mother,
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被夺去了生命
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the latter thrown overboard on a boat journey.
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后来他母亲被从船上抛下
07:55
Who was right, who wrong?
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谁是对的, 谁是错的?
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What would they do under the same conditions?
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在相同的情景中他们会怎么做?
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Was the tale told well?
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故事讲得好不好?
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Was there a hidden message?
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有没有隐藏的话语?
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How has the world changed? How could it be different?
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这世界会怎么改变? 它将如何变得不同?
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A tsunami of questions flew out of the mouths of children
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许多问题从孩子们口中海啸般喷涌而出
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who the world didn't think were interested.
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这世界原以为他们对这些并不感兴趣
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And they themselves had not known they cared.
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连他们自己过去也不知道他们在乎这些
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And as they wrote and debated,
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当他们书写和辩论的时候
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rather than seeing the films as artifacts,
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而不把电影当作人造物品
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they began to see themselves.
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他们开始看到了他们自己
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I have an aunt who is a wonderful storyteller.
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我有一个很会说故事的姑姑
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In a moment she can invoke images
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在很短的时间她可以让
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of running barefoot on Table Mountain and playing cops and robbers.
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赤脚在桌山(南非)赤脚奔跑玩警匪游戏的场景重现
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Quite recently she told me
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最近她和我说
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that in 1948, two of her sisters and my father
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在1948年她的两个姐妹和我父亲
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traveled on a boat to Israel without my grandparents.
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一起乘船到以色列而没有和我祖父母同行
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When the sailors mutinied at sea in a demand for humane conditions,
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当船员们为了得到人道待遇而造反时
08:46
it was these teenagers that fed the crew.
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是这些少年们喂饱了船员
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I was past 40 when my father died.
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我父母去世时我已过40岁
08:52
He never mentioned that journey.
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他从没和我提及这段经历
08:54
My mother's mother left Europe in a hurry
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我外祖母离开欧洲时很匆忙
08:58
without her husband, but with her three-year-old daughter
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丈夫没在身边, 却带着她三岁的女儿
09:01
and diamonds sewn into the hem of her skirt.
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和缝在裙子褶边上的钻石
09:05
After two years in hiding,
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在躲藏两年过后
09:07
my grandfather appeared in London.
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我外祖父在伦敦出现了
09:09
He was never right again.
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他的人生再也没有上过正道
09:12
And his story was hushed as he assimilated.
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他的故事也随着他被同化而尘封
09:16
My story started in England
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我的故事从英国开始
09:20
with a clean slate and the silence of immigrant parents.
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背景清白, 双亲是沉默的移民
09:25
I had "Anne Frank," "The Great Escape,"
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我看过《安妮日记》,《大逃亡》
09:27
"Shoah," "Triumph of the Will."
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《大屠杀》,《意志的胜利》
09:29
It was Leni Riefenstahl
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莱尼·里芬斯塔尔(演员, 导演兼电影制作人)
09:31
in her elegant Nazi propaganda
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制作的亲纳粹宣传
09:34
who gave context to what the family had to endure.
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让我更加了解我的家庭经历的苦难
09:38
These films held what was too hurtful to say out loud,
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这些电影里有太多无法言说的沉痛的故事
09:44
and they became more useful to me
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它们对我的帮助
09:46
than the whispers of survivors
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比幸存者的低语
09:49
and the occasional glimpse of a tattoo
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和我偶然看到的单身阿姨腕上的刺青
09:52
on a maiden aunt's wrist.
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都要多
09:54
Purists may feel that fiction dissipates
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纯粹主义者也许认为虚构的故事
09:57
the quest of real human understanding,
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弱化了对真实感知的探索
10:00
that film is too crude
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认为电影太粗糙
10:02
to tell a complex and detailed history,
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无法讲述复杂又详细的历史
10:04
or that filmmakers always serve drama over truth.
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或是电影制作人常常更着重戏剧性而非真相
10:08
But within the reels lie purpose and meaning.
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但电影的核心存在着目的和意义
10:12
As one 12-year-old said after watching "Wizard of Oz,"
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正如一个十二岁的孩子看完《绿野仙踪》后说
10:15
"Every person should watch this,
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"每个人都应该看这部电影
10:17
because unless you do
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因为如果你不看的话
10:19
you may not know that you too have a heart."
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你可能永远也不知道你也有一颗心"
10:24
We honor reading, why not honor watching with the same passion?
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我们尊重阅读, 我们为什么不用同样的热情来尊重看电影?
10:28
Consider "Citizen Kane" as valuable as Jane Austen.
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认为《公民凯恩》和简·奥斯汀一样有价值
10:31
Agree that "Boyz n the Hood," like Tennyson,
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同意《街区男孩》和丁尼生一样
10:35
offers an emotional landscape and a heightened understanding
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将情感印象和加深的理性了解
10:39
that work together.
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融会贯通
10:40
Each a piece of memorable art,
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每一件给人记忆深刻的艺术品
10:42
each a brick in the wall of who we are.
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都是建筑我们人生的一块砖
10:45
And it's okay if we remember Tom Hanks
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如果我们记得汤姆·汉克斯
10:48
better than astronaut Jim Lovell
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多过宇航员吉姆·洛弗尔
10:50
or have Ben Kingsley's face superimposed onto that of Gandhi's.
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或是把甘地想象成本·金斯利的样子都没有关系
10:55
And though not real, Eve Harrington, Howard Beale, Mildred Pierce
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虽然都不是真的, 伊芙·哈林顿(《彗星美人》角色), 霍华德·比尔(《电视网》角色), 米尔德丽德·皮尔斯(《幻世浮生》角色)
10:58
are an opportunity to discover
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都是探索的机会
11:01
what it is to be human,
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去发现人生的各种可能
11:03
and no less helpful to understanding our life and times
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电影对理解人生和时代的帮助
11:08
as Shakespeare is in illuminating the world of Elizabethan England.
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不亚于莎士比亚帮助理解伊莉莎白时期的英国
11:13
We guessed that film,
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我们认为电影
11:15
whose stories are a meeting place
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提供了一个交会之处
11:17
of drama, music, literature and human experience,
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戏剧, 音乐, 文学和人类经验会聚在此
11:19
would engage and inspire the young people participating in FILMCLUB.
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电影吸引和启发参加电影俱乐部的年轻人
11:24
What we could not have foreseen
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我们过去不曾预见的方面
11:25
was the measurable improvements
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都取得了显著的进展
11:27
in behavior, confidence and academic achievement.
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包括行为, 信心, 还有学业成绩
11:30
Once-reluctant students now race to school, talk to their teachers,
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一个不爱上学的学生现在跑到学校和老师谈天
11:35
fight, not on the playground,
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争吵, 但不是为了玩
11:36
but to choose next week's film --
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而是为了选择下周的电影——
11:38
young people who have found self-definition, ambition
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年轻人找到了自我认同, 抱负
11:42
and an appetite for education and social engagement
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对教育和参与社会活动的渴望
11:46
from the stories they have witnessed.
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这些都来自于他们见证过的故事
11:49
Our members defy the binary description
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我们的成员挑战社会传统
11:53
of how we so often describe our young.
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对于年轻人的二分法描述
11:55
They are neither feral nor myopically self-absorbed.
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他们既不野蛮也不短视自私
12:00
They are, like other young people,
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他们就像其他年轻人一样
12:02
negotiating a world with infinite choice,
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和这个世界打交道, 这世界有着无限的选择
12:06
but little culture of how to find meaningful experience.
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却几乎没有可以让他们参考, 来找寻有意义人生的文化
12:10
We appeared surprised at the behaviors
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我们对那些不费力气
12:13
of those who define themselves
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便找到自我认同感的年轻人
12:15
by the size of the tick on their shoes,
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感到惊奇
12:17
yet acquisition has been the narrative we have offered.
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虽然他们这种能力来自于我们提供的叙事文本
12:21
If we want different values
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如果我们希望有不同的价值观
12:23
we have to tell a different story,
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我们就需要讲述不同的故事
12:27
a story that understands that an individual narrative
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这样的故事了解个人的叙事
12:31
is an essential component of a person's identity,
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是形成个人认同的重要元素
12:34
that a collective narrative
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而群体的叙事
12:36
is an essential component of a cultural identity,
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是形成文化认同的重要元素
12:40
and without it it is impossible to imagine yourself
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如果没有这种集体叙事, 我们难以想象
12:44
as part of a group.
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自己是集体的一部分
12:45
Because when these people get home
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因为当这些年轻人
12:48
after a screening of "Rear Window"
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看完《后窗》回家后
12:51
and raise their gaze to the building next door,
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他们将目光投向隔壁的楼房
12:54
they have the tools to wonder who, apart from them,
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他们想知道除了他们
12:57
is out there
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外面的世界还有谁
12:59
and what is their story.
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他们有怎样的故事
13:01
Thank you.
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谢谢
13:03
(Applause)
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(掌声)
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