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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譯者: Gina Wang 審譯者: Joyce Chou
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Evidence suggests that humans in all ages and from all cultures
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研究顯示不同年紀與文化的人們
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create their identity in some kind of narrative form.
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從不同的敘事文本創造自我認同
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From mother to daughter, preacher to congregant,
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從母親到女兒,牧師到會眾
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teacher to pupil, storyteller to audience.
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老師到學生,說書人到聽眾
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Whether in cave paintings
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不管在洞穴壁畫
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or the latest uses of the Internet,
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或近來的網路使用
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human beings have always told their histories and truths
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人類不斷傳頌他們的歷史與真理
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through parable and fable.
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透過寓言或故事
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We are inveterate storytellers.
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我們都是本能的說故事者
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But where, in our increasingly secular and fragmented world,
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但在日漸世俗、破碎無條理的世界中
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do we offer communality of experience,
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我們要在哪裡分享共通的經驗
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unmediated by our own furious consumerism?
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且不受到浮誇消費主義的影響?
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And what narrative, what history,
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而哪種敘事、歷史
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what identity, what moral code
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身份、道德規範
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are we imparting to our young?
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我們正在灌輸給我們的年輕人?
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Cinema is arguably
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電影可以說是
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the 20th century's most influential art form.
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20世紀以來最有影響力的藝術形式
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Its artists told stories
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藝術家藉由電影說故事
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across national boundaries,
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跨越國際疆界
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in as many languages, genres and philosophies
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語言隔閡、類型和思潮
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as one can imagine.
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你想的到電影就做得到
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Indeed, it is hard to find a subject
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是的,沒有主題
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that film has yet to tackle.
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是電影仍未涉及的
01:24
During the last decade
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過去十年
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we've seen a vast integration of global media,
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我們看見大量結合的全球媒體
01:28
now dominated by a culture of the Hollywood blockbuster.
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被現今好萊塢的商業大片文化所占據
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We are increasingly offered a diet
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我們不斷被賦予這樣的胃口
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in which sensation, not story, is king.
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讓感官刺激,非故事本身,重於一切
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What was common to us all 40 years ago --
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40年前我們視為普及的
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the telling of stories between generations --
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世代間故事傳頌的方式
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is now rarified.
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現今已不復存在
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As a filmmaker, it worried me.
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身為電影工作者,這使我憂慮
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As a human being, it puts the fear of God in me.
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身為人類,它使我感到恐懼
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What future could the young build
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我們的年輕人要如何創造未來?
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with so little grasp
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他們如此缺乏
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of where they've come from
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對自身背景的了解
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and so few narratives of what's possible?
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對未來的可能性,也幾乎沒有文本可參照
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The irony is palpable;
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這十分諷刺
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technical access has never been greater,
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當科技史無前例的發達
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cultural access never weaker.
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接觸文化的機會卻前所未有的貧乏
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And so in 2006 we set up FILMCLUB,
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在2006年我們創立「電影俱樂部」組織
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an organization that ran weekly film screenings in schools
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每週在學校放映電影
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followed by discussions.
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並舉辦映後座談
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If we could raid the annals of 100 years of film,
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如果我們能取得這100年來的電影資料
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maybe we could build a narrative
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也許我們能建立一套論述
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that would deliver meaning
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能賦予意義
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to the fragmented and restless world of the young.
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給這些生活在片斷、浮躁社會中的年輕人
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Given the access to technology,
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因為科技的發達與便利
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even a school in a tiny rural hamlet
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即使在小鄉村的偏遠學校
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could project a DVD onto a white board.
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也能在白牆上投影DVD
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In the first nine months
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在剛開始的9個月中
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we ran 25 clubs across the U.K.,
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我們在英國設立25個俱樂部
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with kids in age groups between five and 18
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讓5到18歲的小孩
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watching a film uninterrupted for 90 minutes.
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不間斷的看完一部90分鐘的電影
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The films were curated and contextualized.
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這些電影都經過篩選和考量
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But the choice was theirs,
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但孩童有最終的電影選擇
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and our audience quickly grew
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我們的觀眾很快的
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to choose the richest and most varied diet that we could provide.
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選擇我們提供影片中 最有價值跟多元性的片子
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The outcome, immediate.
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很快的,成果顯示
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It was an education of the most profound and transformative kind.
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這是最影響深遠的教育方式
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In groups as large as 150 and as small as three,
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我們的俱樂部大至150人,小至3人
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these young people discovered new places,
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這些年輕人發掘新的事物
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new thoughts, new perspectives.
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新的想法和觀點
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By the time the pilot had finished,
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當我們的組織結束試驗階段
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we had the names of a thousand schools
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有1000多個學校
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that wished to join.
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都希望能加入俱樂部
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The film that changed my life
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改變我人生的電影
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is a 1951 film by Vittorio De Sica, "Miracle in Milan."
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是1951年狄西嘉導演的《慈航普渡》
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It's a remarkable comment
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這部電影深入的探討
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on slums, poverty and aspiration.
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和貧民窟、貧窮和夢想有關的主題
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I had seen the film on the occasion of my father's 50th birthday.
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我在我父親50歲生日的那天看了這部片
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Technology then meant we had to hire a viewing cinema,
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現今的科技迫使我們須租用放映廳
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find and pay for the print and the projectionist.
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影片、並支付沖洗膠卷和放映師的費用
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But for my father,
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但對我父親而言
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the emotional and artistic importance of De Sica's vision was so great
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狄西嘉在情感和藝術上的著墨對他如此重要
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that he chose to celebrate his half-century
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他選擇在半百生日這天
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with his three teenage children and 30 of their friends,
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與他3個青少年的孩子和其他30位朋友一同觀賞
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"In order," he said,
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他說:"這是為了
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"to pass the baton of concern and hope
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將關懷與期望的火棒
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on to the next generation."
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傳遞給下一代"
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In the last shot of "Miracle in Milan,"
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《慈航普渡》的最後一幕
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slum-dwellers float skyward on flying brooms.
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貧民窟的人們乘著掃帚向上飛翔
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Sixty years after the film was made
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這部電影上映60年後
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and 30 years after I first saw it,
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也是我第一次看這部片的30年後
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I see young faces tilt up in awe,
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我看到年輕人臉上著迷的神情
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their incredulity matching mine.
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和不可置信的樣子與我當時相同
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And the speed with which they associate it
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他們很快的將之與《貧民百萬富翁》
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with "Slumdog Millionaire" or the favelas in Rio
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或里約貧民區產生聯結
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speaks to the enduring nature.
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證明電影內容能歷久不衰
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In a FILMCLUB season about democracy and government,
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某一季,俱樂部的主題是民主與政府
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we screened "Mr. Smith Goes to Washington."
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我們放映《史密斯遊美京》
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Made in 1939, the film is older than most of our members' grandparents.
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本片於1939年上映 比大部分成員的祖父母都還要老
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Frank Capra's classic values independence and propriety.
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這部導演法蘭克‧卡普拉的經典電影 看重獨立與禮節
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It shows how to do right,
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這部電影傳達如何做對的事
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how to be heroically awkward.
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如何見義勇為不畏特立獨行
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It is also an expression of faith
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電影也宣揚在政治機器中
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in the political machine as a force of honor.
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如何抱持信念並引以為榮
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Shortly after "Mr. Smith" became a FILMCLUB classic,
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《史密斯遊美京》成為俱樂部的經典影片 不久之後
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there was a week of all-night filibustering in the House of Lords.
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英國上議院中正徹夜上演著議事阻撓
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And it was with great delight
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而我們感到十分欣慰
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that we found young people up and down the country
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我們發現國內的年輕人
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explaining with authority
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能帶有權威的解釋
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what filibustering was
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「議事阻撓」是什麼
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and why the Lords might defy their bedtime on a point of principle.
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而為什麼議員們必須犧牲睡眠來捍衛原則
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After all, Jimmy Stewart filibustered for two entire reels.
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畢竟,這是演員Jimmy Stewart在整部電影裡所做的事
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In choosing "Hotel Rwanda,"
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當我們放映《盧安達飯店》
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they explored genocide of the most brutal kind.
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年輕人從最殘酷的方式了解種族屠殺
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It provoked tears as well as incisive questions
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電影讓年輕人流淚 也激發他們提出尖銳的問題
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about unarmed peace-keeping forces
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關於沒有武裝的維和部隊
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and the double-dealing of a Western society
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和西方社會的偽善
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that picks its moral fights with commodities in mind.
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我們表面上為理念而戰 心裡卻盤算著商業利益
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And when "Schindler's List" demanded that they never forget,
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而當《辛德勒的名單》中提到 人們將不會忘記這場歷史教訓
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one child, full of the pain of consciousness, remarked,
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一位感到痛心與自覺的小孩說:
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"We already forgot,
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"我們已經忘記過去的歷史教訓
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otherwise how did 'Hotel Rwanda' happen?"
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不然《盧安達飯店》事件怎會重演?"
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As they watch more films their lives got palpably richer.
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當他們看更多影片時, 他們的生命明顯的更加豐富
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"Pickpocket" started a debate about criminality disenfranchisement.
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《扒手》激起罪犯是否需被剝奪公民權的思辨
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"To Sir, with Love" ignited its teen audience.
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《吾愛吾師》激勵青年學子
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They celebrated a change in attitude
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頌揚人們對於非白人的英國人
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towards non-white Britons,
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態度的轉變
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but railed against our restless school system
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但也抱怨我們的學校制度
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that does not value collective identity,
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因它並不看重集體認同
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unlike that offered by Sidney Poitier's careful tutelage.
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一點都不像演員Sidney Poitoer的悉心教導
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By now, these thoughtful, opinionated, curious young people
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現在,這些很有想法、好奇的年輕人
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thought nothing of tackling films of all forms --
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毫不畏懼的涉獵各種型式的電影
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black and white, subtitled,
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黑白片、外語片
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documentary, non-narrative, fantasy --
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記錄片、非敘事性影片、奇幻片
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and thought nothing of writing detailed reviews
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他們也能輕易的寫出詳細的影評
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that competed to favor one film over another
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熱情的爭相寫出日益複雜的文章
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in passionate and increasingly sophisticated prose.
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來比較不同的電影
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Six thousand reviews each school week
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每個星期,有6000篇的影評投稿
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vying for the honor of being review of the week.
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競爭以得到「當周影評」的榮耀
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From 25 clubs, we became hundreds, then thousands,
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一開始只有25個俱樂部,接著成百、上千
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until we were nearly a quarter of a million kids
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直到我們有將近25萬名學童
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in 7,000 clubs right across the country.
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分佈於全英國7000個俱樂部中
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And although the numbers were, and continue to be, extraordinary,
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雖然,這個數目從以前到現在都持續卓越的成長
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what became more extraordinary
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最特別的是
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was how the experience of critical and curious questioning
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他們將批判和好奇提問的經驗
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translated into life.
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帶到日常生活中
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Some of our kids started talking with their parents,
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許多孩童開始與父母親展開溝通
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others with their teachers,
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有些與老師
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or with their friends.
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或跟朋友
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And those without friends
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而那些沒有朋友的孩童
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started making them.
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也開始結交新朋友
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The films provided communality across all manner of divide.
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電影跨越各種分界而帶來共通性
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And the stories they held provided a shared experience.
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用故事以提供共通經驗
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"Persepolis" brought a daughter closer to her Iranian mother,
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《茉莉人生》讓一位女兒與伊朗籍母親更加親近
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and "Jaws" became the way in which one young boy
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《大白鯊》讓一位年輕男孩有辦法
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was able to articulate the fear he'd experienced
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說出他害怕的感受和經驗
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in flight from violence
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當他逃離一場暴力事件
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that killed first his father then his mother,
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在這場事件裡 他的父親與母親被殺害
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the latter thrown overboard on a boat journey.
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接著母親在途中被丟下船
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Who was right, who wrong?
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誰對、誰錯?
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What would they do under the same conditions?
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在同樣的狀況下他們該怎麼做?
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Was the tale told well?
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故事有沒有說明白?
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Was there a hidden message?
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有沒有隱藏含義?
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How has the world changed? How could it be different?
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這世界怎麼改變?如何變得不一樣?
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A tsunami of questions flew out of the mouths of children
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許多問題從孩童口中如海嘯般的湧來
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who the world didn't think were interested.
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我們過去以為他們不會關心這些事
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And they themselves had not known they cared.
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他們自己過去也不曉得自己對這些議題有興趣
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And as they wrote and debated,
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當他們書寫、辨論
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rather than seeing the films as artifacts,
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不將電影看成藝術品
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they began to see themselves.
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他們開始看見、認識自己
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I have an aunt who is a wonderful storyteller.
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我有一位很會說故事的阿姨
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In a moment she can invoke images
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在很短的時間,她便能營造出
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of running barefoot on Table Mountain and playing cops and robbers.
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在桌山赤足奔跑和扮演警匪的情景
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Quite recently she told me
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最近,她告訴我
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that in 1948, two of her sisters and my father
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1948年,她的兩個姊姊和我爸
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traveled on a boat to Israel without my grandparents.
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一起乘船去以色列 沒有與我祖父母同行
08:41
When the sailors mutinied at sea in a demand for humane conditions,
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當水手在海上叛變希望得到人道待遇
08:46
it was these teenagers that fed the crew.
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當時是這些青少年餵飽了船員
08:50
I was past 40 when my father died.
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我父親去世時我已超過40歲
08:52
He never mentioned that journey.
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他從來沒告訴我這段故事
08:54
My mother's mother left Europe in a hurry
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我祖母在緊急狀況下離開歐洲
08:58
without her husband, but with her three-year-old daughter
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丈夫沒在身邊 但帶著三歲大的女兒
09:01
and diamonds sewn into the hem of her skirt.
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並把鑽石縫在裙子褶縫
09:05
After two years in hiding,
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躲藏兩年之後
09:07
my grandfather appeared in London.
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我祖父到倫敦
09:09
He was never right again.
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但他整個人從此不對勁
09:12
And his story was hushed as he assimilated.
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我祖父的故事隨著他被同化而從此塵封
09:16
My story started in England
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我的故事始於英國
09:20
with a clean slate and the silence of immigrant parents.
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與開始嶄新人生並沉默的移民雙親一起
09:25
I had "Anne Frank," "The Great Escape,"
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我看過《安妮日記》、《第三集中營》
09:27
"Shoah," "Triumph of the Will."
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《大屠殺》、《德意志的勝利》
09:29
It was Leni Riefenstahl
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是Leni Riefenstahl(舞者、演員)
09:31
in her elegant Nazi propaganda
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她跟親納粹友好的意識形態
09:34
who gave context to what the family had to endure.
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讓我更加了解祖父母所歷經的苦難
09:38
These films held what was too hurtful to say out loud,
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這些電影包含太沉痛而無法說出的故事
09:44
and they became more useful to me
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對我十分有幫助
09:46
than the whispers of survivors
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比倖存者的耳語、
09:49
and the occasional glimpse of a tattoo
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我單身的阿姨手腕上
09:52
on a maiden aunt's wrist.
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偶爾被我瞧見的刺青都還要多
09:54
Purists may feel that fiction dissipates
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純粹主義者也許認為虛構故事會消滅
09:57
the quest of real human understanding,
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對人類知識的探索
10:00
that film is too crude
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認為電影太粗糙
10:02
to tell a complex and detailed history,
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無法交代複雜又詳細的歷史
10:04
or that filmmakers always serve drama over truth.
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或認為電影導演或製作人會著重戲劇性而非真相
10:08
But within the reels lie purpose and meaning.
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但電影中其實存在著目的與意義
10:12
As one 12-year-old said after watching "Wizard of Oz,"
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當一位12歲的小孩看了《綠野仙蹤》後,他說:
10:15
"Every person should watch this,
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"每個人都應該看這部電影
10:17
because unless you do
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因為如果你沒看
10:19
you may not know that you too have a heart."
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你永遠不知道你也有一顆心"
10:24
We honor reading, why not honor watching with the same passion?
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我們看重閱讀 為什麼我們不也同樣熱切的看重觀影
10:28
Consider "Citizen Kane" as valuable as Jane Austen.
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認為《大國民》跟珍奧斯汀同樣有價值
10:31
Agree that "Boyz n the Hood," like Tennyson,
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同意《鄰家少年殺人事件》跟詩人丁尼生一樣
10:35
offers an emotional landscape and a heightened understanding
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將各式情感與崇高的知識
10:39
that work together.
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相輔相成
10:40
Each a piece of memorable art,
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每件令人記憶深刻的藝術品
10:42
each a brick in the wall of who we are.
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都是建築我們人生的一塊磚
10:45
And it's okay if we remember Tom Hanks
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這一點都沒有關係 如果我們記得湯姆漢克斯
10:48
better than astronaut Jim Lovell
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多過太空人Jim Lovell
10:50
or have Ben Kingsley's face superimposed onto that of Gandhi's.
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或把甘地的臉想像成班金斯利的樣子
10:55
And though not real, Eve Harrington, Howard Beale, Mildred Pierce
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即使這些都是杜撰,伊娃.哈林頓(演員)、 Howard Beale(角色)、《慾海情魔》
10:58
are an opportunity to discover
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都是機會去探索
11:01
what it is to be human,
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人生的各種可能
11:03
and no less helpful to understanding our life and times
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電影幫助人們了解人生和時代不亞於
11:08
as Shakespeare is in illuminating the world of Elizabethan England.
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莎士比亞幫人們了解英國的伊莉莎白時期
11:13
We guessed that film,
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我們認為電影
11:15
whose stories are a meeting place
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是個匯聚之處
11:17
of drama, music, literature and human experience,
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聚集戲劇、音樂、文學和人類經驗
11:19
would engage and inspire the young people participating in FILMCLUB.
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能吸引和啟發參與電影俱樂部的年輕人
11:24
What we could not have foreseen
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讓我們過去所不能預見的
11:25
was the measurable improvements
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都能有長足進步
11:27
in behavior, confidence and academic achievement.
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不論是行為、自信或學業成績
11:30
Once-reluctant students now race to school, talk to their teachers,
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以前不願上學的學生 現在會衝到學校跟老師談天
11:35
fight, not on the playground,
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爭吵,但不是為了玩
11:36
but to choose next week's film --
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而是為了選擇下週的電影
11:38
young people who have found self-definition, ambition
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年輕人找到自我意義、抱負
11:42
and an appetite for education and social engagement
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並對教育和社會時間產生渴望
11:46
from the stories they have witnessed.
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這都來自他們親眼所見的故事
11:49
Our members defy the binary description
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我們的成員挑戰二元論述
11:53
of how we so often describe our young.
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挑戰我們對年輕人一向的看法
11:55
They are neither feral nor myopically self-absorbed.
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他們一點也不可怕也不自私近利
12:00
They are, like other young people,
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他們,與其他的年輕人一樣
12:02
negotiating a world with infinite choice,
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正在經歷這充滿無限選擇的世界
12:06
but little culture of how to find meaningful experience.
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但對於如何找到有意義的人生 缺乏參考文化
12:10
We appeared surprised at the behaviors
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對於那些年紀輕輕
12:13
of those who define themselves
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就能找到自我價值的人們
12:15
by the size of the tick on their shoes,
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我們對這樣的能力感到驚訝
12:17
yet acquisition has been the narrative we have offered.
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但,他們這樣的能力來自於我們所賦予的文本
12:21
If we want different values
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如果我們希望有不同的價值觀
12:23
we have to tell a different story,
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我們必須講不同的故事
12:27
a story that understands that an individual narrative
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這樣的故事了解 個人敘事
12:31
is an essential component of a person's identity,
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是形塑個人認同的必要元素
12:34
that a collective narrative
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而集體敘事
12:36
is an essential component of a cultural identity,
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則是形成文化認同的必要元素
12:40
and without it it is impossible to imagine yourself
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沒有這些文本 我們不可能想像自己
12:44
as part of a group.
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是整個群體的一部分
12:45
Because when these people get home
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因為當這些成員回家
12:48
after a screening of "Rear Window"
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才剛看完《後窗》
12:51
and raise their gaze to the building next door,
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將他們的目光望向隔壁大樓
12:54
they have the tools to wonder who, apart from them,
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他們有能力知道 除了他們以外
12:57
is out there
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在外頭的世界有誰
12:59
and what is their story.
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而他們的故事又是什麼
13:01
Thank you.
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謝謝
13:03
(Applause)
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(掌聲)
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