The data behind Hollywood's sexism | Stacy Smith

譯者: 绮丽 罗 審譯者: Melody Tang

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

今天，我要談一個很急迫的社會問題，

Now, it's not nuclear arms,

不是核武，

it's not immigration,

不是移民，

and it's not malaria.

也不是大麻，

I'm here to talk about movies.

我是來談有關電影的問題。

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

認真的來說，電影其實很重要的。

In film, we can be wildly entertained,

在電影裡，我們能感到極大的娛樂，

and we can also be transported through storytelling.

也能在故事裡身臨其境。

Storytelling is so important.

講故事是很重要的。

Stories tell us what societies value,

故事教我們社會價值觀，

they offer us lessons,

教人生課程，

and they share and preserve our history.

還分享和保存我們的歷史。

Stories are amazing.

故事是驚人的，

But stories don't give everyone

但故事不給每個人

the same opportunity to appear within them,

同等的出場機會，

particularly not stories

特別是在美國電影裡

compartmentalized in the form of American movies.

給予男女不同待遇的故事裡。

In film, interestingly enough,

有趣的是在電影裡

females are still erased and marginalized

女性在許多我們的故事中，

in a lot of our stories.

仍然被消除和邊緣化。

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

我在十年前第一次發現，

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

當我在 G 等級（普遍級）電影中 第一次研究關於性別的角色時。

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

從那時起，我們已經做了 超過 30 個調查。

My team is tired.

我的隊員們都覺得累了。

And I've committed my life

我投入了我的生命，

as researcher and activist

以一個研究者和活動家的身份，

to fighting the inclusion crisis

來抗爭好萊塢的性別歧視危機。

in Hollywood.

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

所以今天我想要告訴你這個危機。

I want to talk about gender inequality in film.

我想談談電影中的性別不平等。

I want to tell you how it is perpetuated,

我想告訴你它如何持續至今，

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

然後我要告訴你 我們將如何解決它。

However, one caveat before I begin:

但是，我先提前預警：

my data are really depressing.

我帶來的數據很讓人沮喪。

So I want to apologize in advance,

所以我想先向你們道歉，

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

因為我會讓你們情緒低落。

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

但在最後我會提升你們的心情，

and I'm going to present a silver lining

我要提出一個撥雲見日的方案，

to fix this mess that we've been in

來修復這個已經存在

for a very, very long time.

非常非常久的亂象。

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

好，讓我們從頭來講這個問題的重心。

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

每一年，我的研究團隊會 檢查排名前 100 部

in the United States.

最賣座的美國電影。

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

我們關注每一個在銀幕上出現的人， 說話的或被提到名字的。

Now, to count in one of my investigations,

這裡，要能算到我的記錄裡面的角色，

all a character has to do is say one word.

至少要有一字台詞。

This is a very low bar.

這個要求夠低吧。

(Laughter)

（笑聲）

Thus far, we've looked at 800 movies,

到目前為止， 我們看了 800 部電影，

from 2007 to 2015,

從 2007 年到 2015 年，

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

將每一個銀幕上說過話的角色，

按性別、種族、民族、性別取向

LGBT and characters with a disability.

以及是否殘疾來分類。

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

讓我們來看看 真的有一些問題的趨勢。

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

首先，女性在銀幕上的出場比率 很明顯的比男性少很多。

Across 800 movies and 35,205 speaking characters,

在 800 部電影中， 只有 35,205 個有台詞的演員，

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

只有不到三分之一的角色是女性。

Less than a third!

少於三分之一啊！

There's been no change from 2007 to 2015,

從 2007 到 2015，基本沒變。

and if you compare our results

如果你拿我們的結果

to a small sample of films from 1946 to 1955,

和 1945 到 1955 年的 一小部分電影裡的結果相比，

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

半個多世紀以來都任何沒有改變。

Over half of a century!

半個多世紀啊！

But we're half of the population.

我們可是人口的一半呀。

Now, if we look at this data intersectionally,

現在，如果我們看交叉數據，

which has been a focus of today,

這是我們今天關注的重點,

the picture becomes even more problematic.

這個圖展示出更多的問題。

Across the top 100 films of just last year,

去年（2015年）最賣座的 100 部電影中，

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

48 部影片沒出現一個 有台詞的黑人女性演員，

not one.

一個都沒有。

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

70 部電影沒一個有台詞的

亞洲女性或亞裔美國女性的面孔，

that were girls or women.

None.

完全沒有。

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

84 部電影沒有一個有殘疾的女性。

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

93 部電影中沒有有台詞的 女同性戀、雙性戀或變性女性的角色。

This is not underrepresentation.

這不只是少數族群的 見光率不足的問題。

This is erasure,

這是刻意隱藏。

and I call this the epidemic of invisibility.

我稱做隱形的流行病。

Now, when we move from prevalence to protagonist,

我們來看一下主角，

the story is still problematic.

這方面也是很有問題。

Out of a hundred films last year,

去年的一百部電影中，

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

僅僅有 32 個是女性領導 或共同領導了影片裡的行動。

Only three out of a hundred films

一百部中僅僅只有 3 部，

featured an underrepresented female driving the story,

這凸顯了女性 主導故事情節的嚴重不足。

and only one diverse woman

只有一部電影上映時

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

是有關 45 歲以上的 少數族群女性的。

Now let's look at portrayal.

現在看一下人物描寫。

In addition to the numbers you just saw,

females are far more likely to be sexualized in film

女性在電影中更容易被性感化，

than their male counterparts.

相對於他她們對手的男性。

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

事實上她們有三倍的可能性

to be shown in sexually revealing clothing,

穿著性感的衣服，

partially naked,

半裸，

and they're far more likely to be thin.

以及她們特別可能是纖瘦的。

Now, sometimes, in animation, females are so thin

有時在動畫裡

女性瘦到她們的腰圍就像胳膊一樣細。

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

(Laughter)

（笑聲）

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

我們覺得這些女孩子的身體裡 應該沒有子宮

or any other internal organ.

或其他內臟的空間吧。

(Laughter)

（笑聲）

Now, all joking aside,

好，先不開玩笑了。

theories suggest, research confirms,

根據理論，研究也證明，

exposure to thin ideals and objectifying content

當人們被這種空想的纖瘦 和物化的理念包圍時，

can lead to body dissatisfaction, internalization of the thin ideal

可導致不滿自己的身體，

內化這種瘦子理念和自我物化，

and self-objectification among some female viewers.

表現在一些女性觀眾中。

Obviously, what we see on-screen

很明顯，我們在銀幕上看到的，

and what we see in the world,

和我們在現實中看到的

they do not match.

不一樣啊。

They do not match!

不一樣啊！

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

事實上，如果我們生活在電影世界裡，

we would have a population crisis on our hands.

我們手上會有人口危機。

So, as soon as I recognized these patterns,

所以一旦我發現這些趨勢，

I wanted to find out why,

我想探討為什麼。

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

結果我發現有兩個因素 驅動銀幕上的性別不平等：

content creator gender and misperceptions of the audience.

內容創作者的性別和觀眾的錯誤解讀。

Let's unpack them really quick.

讓我們快速地解秘。

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

如果你想改變 任何我剛才談到的模式，

all you have to do is hire female directors.

你只要聘用女導演。

Turns out, the female directors

然後，女導演

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

與短片和獨立電影相關。

more girls and women on-screen,

更多的女孩和女人上鏡頭，

more stories with women in the center,

更多女人出現在故事的中心，

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

在銀幕上呈現更多 40 歲以上女人的故事。

which I think is good news for this crowd.

我認為這對在座的聽眾是個好消息。

More underrepresented --

詮釋更多代表性不足的少數族群──

(Laughter)

（笑）

Sorry.

不好意思

(Laughter)

（笑）

Sorry but not sorry.

沒事，繼續，

More underrepresented characters in terms of race and ethnicity,

詮釋更多代表性不足的少數族群，

and most importantly,

最重要的是

more women working behind the camera

讓更多的女性在相機後面擔任

in key production roles.

關鍵性的製作角色。

Easy answer to the problems that we just talked about.

對於我們剛才的問題， 這是一個簡單的解決方案。

Or is it?

真的是嗎？

It's actually not.

實際上，不是。

800 films, 2007-2015,

800 部電影， 2007 到 2015 年，

886 directors.

886 個導演中，

Only 4.1 percent are women.

只有 4.1% 是女性，

Only three are African-American or black,

只有三位非裔美人，

and only one woman was Asian.

只有一位女性是亞洲人。

So why is it so difficult

為什麼啟用女導演這麼困難，

to have female directors

if they're part of the solution?

如果她們是部分的解決方案？

Well, to answer this question,

為了回答這個問題，

we conducted a study.

我們做了一個研究、

We interviewed dozens of industry insiders

我們採訪了幾十個行業內部人士，

and asked them about directors.

問他們有關導演。

Turns out, both male and female executives,

結果，男性和女性高管

when they think director,

當他們考慮導演的時候，

they think male.

他們想到的就是男性。

They perceive the traits of leadership

他們認為領導的特質

to be masculine in nature.

是男性與生俱來的。

So when they're going to hire a director

所以，當他們要雇一個導演

to command a crew, lead a ship,

指揮一船的船員，領導一艘船，

be a visionary or be General Patton,

必須是一個遠見的人， 或是像是巴頓將軍。

all the things that we've heard --

根據我們所聽到的一切──

their thoughts and ideations pull male.

他們的腦子裡和想法 會自然出現男性。

The perception of director or a leader

對於導演或者領導者的概念，

is inconsistent with the perception of a woman.

與對於女性的概念是不一致的。

The roles are incongruous,

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

大量心理學的研究證實了這一點。

Second factor contributing to inequality on-screen

第二個致使在銀幕上不平等的因素

is misperceptions of the audience.

是觀眾的錯誤解讀。

I don't need to tell this crowd:

我不用說你們就心知肚明：

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

一半的去買電影票的人

are girls and women in this country.

是這個國家的女性。

Right?

對吧？

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

但我們並不被視為是能成功帶來 豐厚利潤的目標觀眾群。

Further, there's some misperceptions

此外，對於女性是否可以帶動票房

about whether females can open a film.

還是有一些誤解。

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

帶動票房的意思是

置女性於中心無法取得投資回報，

it doesn't have the return on investment

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

而以男性為故事的中心就能。

This misperception is actually costly.

這種誤解實際上傷害極大，對吧？

Right?

特別是在連鎖電影成功之後，

Especially in the wake of franchise successes

like "The Hunger Games,"

像是 「飢餓遊戲」、

"Pitch Perfect"

「完美音調」

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

或那個小小的獨立電影， 「星球大戰：力量覺醒」。

Our own economic analyses show that gender of the lead character

我們自己的經濟分析顯示：

主角的性別與電影在美國 是否賺錢沒有關聯。

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

But what does?

但是什麼會有呢？

Production costs alone

光是生產成本，

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

或是結合一部電影在這個國家 是否廣泛的發行就很有關聯。

It's not the gender of the lead character.

不是主角的性別。

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

所以到目前為止， 我們應該已相當沮喪了。

No change in 50 years,

50 年都沒變，

few female directors working behind the camera

鏡頭後少有女導演，

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

以及娛樂業並不把女性 當成真正的觀眾。

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

好，我告訴過你們會有一線曙光，

and there is.

的確有的。

There are actually simple and tangible solutions

我們有簡單而可行的方案

to fixing this problem

來解決這個問題，

that involve content creators,

包括了內容的創作者、

executives and consumers

高管和消費者，

like the individuals in this room.

就像在座的你們一樣。

Let's talk about a few of them.

讓我們談談其中的幾個。

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

第一個是我所說的「只是添加五個」。

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

你可知道，如果我們明年 約一百部的賣座電影裡，

and simply added five female speaking characters on-screen

每部只要添加五位有台詞的女性，

to each of those films,

it would create a new norm.

就會產生新的常態。

If we were to do this for three contiguous years,

如果我們這樣連續做三年，

we would be at gender parity

我們將在這半個多世紀以來

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

首次達到性別平等。

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

這個方法有利的原因有好幾樣：

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

一，它不減少男演員的工作機會。

Heaven forbid.

天理不容。

(Laughter)

（笑聲）

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

二， 它很合算，花不了多少錢。

Three, it builds a pipeline for talent.

三，它會構建人才管道。

And four, it humanizes the production process.

四，它將生產過程人性化。

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

為什麼？因為它確保有女人在場。

Second solution is for A-list talent.

第二個解決方案是為了 A 級人才。

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

大家都知道 A 級人才 可以在合同中要求，

particularly the ones that work on the biggest Hollywood films.

特別是參與好萊塢超級大片的那些人。

What if those A-listers

如果這些 A 級人員，

simply added an equity clause or an inclusion rider

只是添加了一個對等條件 或一個要求，

into their contract?

到他們的合同呢？

Now, what does that mean?

這是什麼意思呢？

Well, you probably don't know

好吧，你可能不知道

but the typical feature film

但典型的電影

has about 40 to 45 speaking characters in it.

會有約 40 至 45 個 有台詞的角色。

I would argue that only 8 to 10 of those characters

我認為只有 8 到 10 個人

are actually relevant to the story.

與故事有關。

Except maybe "Avengers." Right?

除了「復仇者」，對吧？

A few more in "Avengers."

「復仇者」多了幾個。

The remaining 30 or so roles,

剩下的 30 個角色，

there's no reason why those minor roles

沒有理由為什麼這些小角色，

can't match or reflect the demography

不能匹配或反映

故事發生地點的人口比例。

of where the story is taking place.

An equity rider by an A-lister in their contract

A 級人員能在他們的合同中

can stipulate that those roles

規定這些角色反映 我們實際生存的世界。

reflect the world in which we actually live.

Now, there's no reason why a network,

沒有理由廣播公司、

a studio or a production company

工作室或製作公司

cannot adopt the same contractual language

不能在他們的談判過程中，

in their negotiation processes.

採用相同的合同條款。

Third solution:

第三個解決方案，

this would be for the entertainment industry,

是為娛樂業

Hollywood in particular,

──特別是好萊塢──

to adopt the Rooney Rule

採用魯尼規則

when it comes to hiring practices around directors.

來處理招聘導演的相關事宜。

Now, in the NFL, the Rooney Rule stipulates

目前在 NFL（國家美式足球聯盟） 魯尼規則規定

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

如果某隊想僱一個組織外的教練，

what they have to do is interview an underrepresented candidate.

他們要必須面試少數族群的候選人。

The exact same principle can apply to Hollywood films.

完全相同的原則 可以應用到好萊塢電影。

How?

如何做？

Well, on these top films,

嗯，在那些頂級的電影中，

executives and agents can make sure

高管和代理可以確保

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

婦女和有色人種， 不僅在考慮清單上，

but they're actually interviewed for the job.

並且被面试。

Now, one might say,

或許有人會問這何以重要呢？

why is this important?

Because it exposes or introduces executives to female directors

因為這讓高管看見女導演，

who otherwise fall prey to exclusionary hiring practices.

否則她們仍會被排斥在雇用圈外。

The fourth solution

第四個解決方案

is for consumers like me and you.

是對於像你我這樣的消費者。

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

如果我們想看到更多由女性製作 或關於女性的電影，

we have to support them.

我們必須支持她們。

It may mean going to the independent theater chain

這會意味著到獨立影片的 連鎖劇院去看電影，

instead of the multiplex.

而不是影視城。

Or it might mean scrolling down a little further online

或者意味你要多滾動幾下鼠標，

to find a film by a female director.

去找一個女導演的電影。

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

或者是寫一張支票資助一部電影，

particularly by a female director from an underrepresented background.

特別是少數族群背景女導演的電影。

Right?

是麼？

We need to write, call and email companies

我們需要寫信、打電話和電郵給

that are making and distributing films,

製作和傳播電影的公司，

and we need to post on our social media accounts

我們要在社交媒體帳戶發言，

when we want to see inclusive representation,

如果我們想看到包容性代表

women on-screen,

和女性上銀幕，

and most importantly, women behind the camera.

最重要的是在攝影機後的婦女。

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

我們必須讓我們的聲音被聽到，

讓我們的購票金額具有影響力。

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

實際上在這方面我們能夠改變世界。

The US and its content,

美國及其內容，

films in particular,

特別是電影，

have captured the imaginations of audiences worldwide.

已捕獲了全世界觀眾想像力。

Worldwide.

全世界。

So that means that the film industry has unprecedented access

所以這意味著電影業 擁有前所未有的機會，

to be able to distribute stories about equality

能夠散播有關性別平等的故事

all around the world.

到世界各地。

Imagine what would happen

想像一下將會發生什麼，

if the film industry aligned its values

如果電影行業將其價值

with what it shows on-screen.

與銀幕上顯示的價值觀相一致。

It could foster inclusion

它可以促進包容

and acceptance for girls and women,

和接受女孩和婦女，

people of color,

有色人種，

the LGBT community,

LGBT（同性戀者）社群，

individuals with disabilities,

殘疾人，

and so many more around the world.

和世界各地更多的人。

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

電影業唯一必須做的是 釋放其秘密武器，

and that's storytelling.

那就是講故事。

Now, at the beginning of this talk,

在這次演講的開始，

I said that films --

我說電影

that they can actually transport us,

實際上可以讓我們身歷其境，

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

但我想表明的是電影能改變我們。

None of us in this room

我們在場沒有人成長或體驗過

have grown up or experienced a storytelling landscape

充分實現了女性特性的故事的場景。

with fully realized female characters,

none of us,

沒有人有。

because the numbers haven't changed.

因為數字還沒有改變。

What would happen if the next generation of audiences

如果下一代觀眾

grew up with a whole different screen reality?

在完全不同的銀幕現實中長大，

What would happen?

會發生什麼？

Well I'm here to tell you today

今天我在這裡告訴大家，

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

我們不只能夠改變在銀幕上所見，

but I am impatient for it to get here.

而且我不耐煩那緩慢的進展速度。

So let's agree to take action today

因此，讓我們同意今天就採取行動，

to eradicate the epidemic of invisibility.

根除隱形的流行病。

And let's agree to take action today

讓我們同意今天採取行動，

to agree that US audiences and global viewers

同意美國觀眾和全球觀眾

demand and deserve more.

應該要求和值得更多。

And let's agree today

今天讓我們說好

that the next generation of viewers and audiences,

下一代觀眾和聽眾，

that they deserve to see the stories

他們應該看得到

we were never able to see.

我們過去未能看到的故事。

Thank you.

謝謝大家。

(Applause)

（掌聲）