Evidence suggests that humans in all ages and from all cultures create their identity in some kind of narrative form. From mother to daughter, preacher to congregant, teacher to pupil, storyteller to audience. Whether in cave paintings or the latest uses of the Internet, human beings have always told their histories and truths through parable and fable. We are inveterate storytellers.
Dokazano je da ljudi svih uzrasta i kultura, svoj identitet stvaraju u nekom vidu narativne forme. Sa majke na kćerku, od sveštenika verniku, od učitelja ka učeniku, od pripovedača slušateljima. Bilo da su u pitanju crteži u pećinama ili najskorija upotreba interneta, ljudi su oduvek svoje istorije i istine izlagali preko parabola i priča. Mi smo okoreli pripovedači.
But where, in our increasingly secular and fragmented world, do we offer communality of experience, unmediated by our own furious consumerism? And what narrative, what history, what identity, what moral code are we imparting to our young?
Ali gde možemo, u našem sve više podvojenom i podeljenom svetu, ponuditi iskustvenu zajednicu, bez posredovanja naše pobesnele potrošačke snage? Koju priču, koju istoriju, koji identitet, koji moralni kodeks saopštavamo našim mladima?
Cinema is arguably the 20th century's most influential art form. Its artists told stories across national boundaries, in as many languages, genres and philosophies as one can imagine. Indeed, it is hard to find a subject that film has yet to tackle. During the last decade we've seen a vast integration of global media, now dominated by a culture of the Hollywood blockbuster. We are increasingly offered a diet in which sensation, not story, is king. What was common to us all 40 years ago -- the telling of stories between generations -- is now rarified. As a filmmaker, it worried me. As a human being, it puts the fear of God in me. What future could the young build with so little grasp of where they've come from and so few narratives of what's possible? The irony is palpable; technical access has never been greater, cultural access never weaker.
Kinematografija je, diskutabilno, najuticajnija forma umetnosti 20. veka. Umetnici pričaju priče van nacionalnih granica, na onoliko jezika, žanrova i filozofija koliko samo možemo zamisliti. Zaista, teško je naći temu koju film još nije obrađivao. Tokom poslednje decenije videli smo široku integraciju globalnih medija, kojom sada dominira kultura holivudskih blok-bastera. Učestalo nam se nudi dijeta u kojoj je poslastica senzacija, a ne priča. Ono što je bilo uobičajeno za nas pre 40 godina - prenošenje priča preko generacija - sada je retkost. Mene, kao režisera, to brine. Kao čovek, osećam strah od boga. Kakvu budućnost mladi mogu da sagrade kada nemaju spoznaju o tome odakle potiču i sa tako malo pripovesti o tome šta je sve moguće? Ironija je opipljiva. tehnologija nikada nije bila ovako veličanstvena, kultura nikada slabija.
And so in 2006 we set up FILMCLUB, an organization that ran weekly film screenings in schools followed by discussions. If we could raid the annals of 100 years of film, maybe we could build a narrative that would deliver meaning to the fragmented and restless world of the young. Given the access to technology, even a school in a tiny rural hamlet could project a DVD onto a white board.
Oformili smo Filmski klub 2006. godine, organizaciju koja je jednom nedeljno prikazivala filmove u školama nakon koje bi sledile diskusije. Ako bismo prikupili stogodišnje filmske anale, možda bismo tako sagradili priču koja bi nosila značenje podeljenom i nemirnom svetu mladih. S obzirom na dostupnost tehnologije, čak i u malom, ruralnom seocetu može se na beloj pozadini, uz projektor, prikazati DVD snimak.
In the first nine months we ran 25 clubs across the U.K., with kids in age groups between five and 18 watching a film uninterrupted for 90 minutes. The films were curated and contextualized. But the choice was theirs, and our audience quickly grew to choose the richest and most varied diet that we could provide. The outcome, immediate. It was an education of the most profound and transformative kind. In groups as large as 150 and as small as three, these young people discovered new places, new thoughts, new perspectives. By the time the pilot had finished, we had the names of a thousand schools that wished to join.
Tokom prvih devet meseci vodili smo 25 klubova širom Ujedinjenog Kraljevstva, gde su deca u grupama između 5 i 18 godina gledala filmove neometano tokom 90 minuta. Projekcije su bile nadgledane i sadržajne. Izbor je bio njihov, publika je brzo rasla i birala bogatu i najraznovrsniju dijetu koju smo mogli da im omogućimo. Rezultat je bio odmah očigledan. To je bila sveprožimajuća edukacija i transformisala je. I u velikim grupama od 150 članova, kao i u malim od 3 člana, mladi ljudi otkrivali su nova mesta, nove misli, nove perspektive. Kada se probni program završio, dobili smo spisak hiljada škola koje su želele da se uključe.
The film that changed my life is a 1951 film by Vittorio De Sica, "Miracle in Milan." It's a remarkable comment on slums, poverty and aspiration. I had seen the film on the occasion of my father's 50th birthday. Technology then meant we had to hire a viewing cinema, find and pay for the print and the projectionist. But for my father, the emotional and artistic importance of De Sica's vision was so great that he chose to celebrate his half-century with his three teenage children and 30 of their friends, "In order," he said, "to pass the baton of concern and hope on to the next generation."
Film koji je promenio moj život bio je film iz 1951. godine Vitorija de Sika, ''Čudo u Milanu''. Film prikazuje straćare, siromaštvo i težnje. Ovaj film pogledala sam tokom proslave 50. rođendana moga oca. Tada smo morali da iznajmimo bioskop, da nađemo i iznajmimo platno i projektora. Ali za moga oca, značaj De Sikine vizije, emotivne i umetničke, bio je tako veliki da je izabrao da proslavi svoju polovinu veka sa svoje troje dece tinejdžera i sa njihovih 30 prijatelja, rekao je: ''Zato da bih predao štafetu brige i nade sledećoj generaciji''.
In the last shot of "Miracle in Milan," slum-dwellers float skyward on flying brooms. Sixty years after the film was made and 30 years after I first saw it, I see young faces tilt up in awe, their incredulity matching mine. And the speed with which they associate it with "Slumdog Millionaire" or the favelas in Rio speaks to the enduring nature.
U poslednjoj sceni ''Čuda u Milanu'', stanovnici straćara lebde ka nebu na letećim metlama. 60 godina nakon što je film snimljen i 30 godina nakon što sam ga prvi put pogledala, vidim lica mladih kako zadivljeno dižu pogled, u istoj neverici kao što je moja bila. Oni brzo povezuju film sa ''Milionerom iz blata'' ili sa favelama u Rio de Žaneiru što govori mnogo o izdržljivosti.
In a FILMCLUB season about democracy and government, we screened "Mr. Smith Goes to Washington." Made in 1939, the film is older than most of our members' grandparents. Frank Capra's classic values independence and propriety. It shows how to do right, how to be heroically awkward. It is also an expression of faith in the political machine as a force of honor.
Tokom sezone Filmskog kluba o demokratiji i upravljanju, prikazali smo ''Gospodin Smit ide u Vašington''. Snimljen je 1939. godine, stariji je od većine deka i baka naših članova kluba. Klasik Frenka Kapre uzdiže vrednosti kao što su nezavisnost i svojina. Pokazuje kako postupiti ispravno, kako biti herojski neobičan. Film izražava i veru u političku mašinu koju pokreće čast.
Shortly after "Mr. Smith" became a FILMCLUB classic, there was a week of all-night filibustering in the House of Lords. And it was with great delight that we found young people up and down the country explaining with authority what filibustering was and why the Lords might defy their bedtime on a point of principle. After all, Jimmy Stewart filibustered for two entire reels.
Ubrzo nakon što je ''Gospodin Smit'' postao klasik Filmskog kluba, u Domu lordova vršene su celonedeljne opstrukcije. Sa mnogo radosti shvatili smo da mladi ljudi širom zemlje objašnjavaju autoritativno šta je opstrukcija i zašto bi Lordovi mogli da se bune protiv njihovog vremena odlaska u krevet. Ipak je Džimi Stjuart vršio opstrukciju tokom dve cele filmske trake.
In choosing "Hotel Rwanda," they explored genocide of the most brutal kind. It provoked tears as well as incisive questions about unarmed peace-keeping forces and the double-dealing of a Western society that picks its moral fights with commodities in mind. And when "Schindler's List" demanded that they never forget, one child, full of the pain of consciousness, remarked, "We already forgot, otherwise how did 'Hotel Rwanda' happen?"
''Hotel Ruanda'' izabran je zbog prikazivanja najbrutalnije moguće vrste genocida. Izazvao je i suze, kao i britka pitanja o nenaoružanim mirovnim snagama i dvoličnosti zapadnjačkog društva koje svoje moralne bitke bira na osnovu prihoda koje može izvući. ''Šindlerova lista'' zahteva da se nikad ne zaboravi, a jedno dete, bolno spoznajući izjavilo je: ''Već smo zaboravili, kako bi se inače ''Hotel Ruanda'' dogodio?''
As they watch more films their lives got palpably richer. "Pickpocket" started a debate about criminality disenfranchisement. "To Sir, with Love" ignited its teen audience. They celebrated a change in attitude towards non-white Britons, but railed against our restless school system that does not value collective identity, unlike that offered by Sidney Poitier's careful tutelage.
Što više filmova odgledaju njihovi životi postaju opipljivo bogatiji. ''Džeparoš'' je pokrenuo debatu o oduzimanju prava glasa. ''Siru, s ljubavlju'' pokrenuo je tinejdžersku publiku. Slavili su promenu u držanju prema ne-belim Britancima, ali su se pobunili protiv školskog sistema koji ne ceni kolektivni identitet, drugačiji od onog koji Sindi Poatije nudi.
By now, these thoughtful, opinionated, curious young people thought nothing of tackling films of all forms -- black and white, subtitled, documentary, non-narrative, fantasy -- and thought nothing of writing detailed reviews that competed to favor one film over another in passionate and increasingly sophisticated prose. Six thousand reviews each school week vying for the honor of being review of the week.
Do sada, ovi promišljeni, radoznali, mladi ljudi sa stavovima nisu ništa znali o raznovrsnosti filmskih formi - crno-beli, sa prevodima, dokumentarni, nenarativni, fantastični - nisu ništa znali o pisanju detaljnih prikaza koji favorizuju jedan film pre nego drugi pasioniranom i sofisticiranom prozom. 6000 prikaza svake školske nedelje bori se za čast da bude najbolji nedeljni prikaz.
From 25 clubs, we became hundreds, then thousands, until we were nearly a quarter of a million kids in 7,000 clubs right across the country. And although the numbers were, and continue to be, extraordinary, what became more extraordinary was how the experience of critical and curious questioning translated into life. Some of our kids started talking with their parents, others with their teachers, or with their friends. And those without friends started making them.
Od 25 klubova, proširili smo se na stotine, zatim na hiljade, sve dok nismo obuhvatili 250 000 dece u 7 000 klubova širom zemlje. Iako brojevi jesu i nastavljaju da budu izvanredni, ono što je još fascinantnije jeste kako iskustvo kritičkog ispitivanja i radoznalost može da se prenese na život. Neka od naše dece počela su da razgovaraju sa roditeljima, neka sa svojim nastavnicima, neka sa prijateljima. Oni koji nisu imali prijatelje počeli su tako da ih stiču.
The films provided communality across all manner of divide. And the stories they held provided a shared experience. "Persepolis" brought a daughter closer to her Iranian mother, and "Jaws" became the way in which one young boy was able to articulate the fear he'd experienced in flight from violence that killed first his father then his mother, the latter thrown overboard on a boat journey.
Filmovi su obrazovali zajednicu koja prevazilazi sve razlike. Priče koje sadrže filmovi obezbedili su zajednička iskustva. ''Persepolis'' zbližava kćerku i njenu majku Iranku, ''Ajkula'' prikazuje način na koji dečak postaje sposoban da artikuliše strah koji je proživeo u bekstvu od nasilja koje je prvo ubilo oca, a zatim i njegovu majku, koja je pala sa broda tokom krstarenja.
Who was right, who wrong? What would they do under the same conditions? Was the tale told well? Was there a hidden message? How has the world changed? How could it be different? A tsunami of questions flew out of the mouths of children who the world didn't think were interested. And they themselves had not known they cared. And as they wrote and debated, rather than seeing the films as artifacts, they began to see themselves.
Ko je bio u pravu, ko ne? Šta bi uradili u istim okolnostima? Da li je priča lepo ispričana? Da li je postojala skrivena poruka? Kako se svet promenio? Može li biti drugačiji? Deca su postavljala ogroman broj pitanja za koja je svet mislio da su nezainteresovana. I oni sami nisu znali da im je stalo. Dok su pisali i debatovali, umesto da vide filmove kao artefakte, počeli su sebe da spoznaju.
I have an aunt who is a wonderful storyteller. In a moment she can invoke images of running barefoot on Table Mountain and playing cops and robbers. Quite recently she told me that in 1948, two of her sisters and my father traveled on a boat to Israel without my grandparents. When the sailors mutinied at sea in a demand for humane conditions, it was these teenagers that fed the crew. I was past 40 when my father died. He never mentioned that journey.
Imam tetku koja je divan pripovedač. U jednom trenutku ona može da dočara slike bosog trčanja po planini Tejbl i igranja ''policije i lopova''. Skoro mi je rekla da su 1948. godine dve njene sestre i moj otac putovali brodom do Izraela bez mojih bake i deke. Kada su se na brodu mornari pobunili i zahtevali humanije uslove, tinejdžeri su onda hranili posadu. Imala sam preko 40 godina kada mi je otac umro. Nikada nije pomenuo taj put.
My mother's mother left Europe in a hurry without her husband, but with her three-year-old daughter and diamonds sewn into the hem of her skirt. After two years in hiding, my grandfather appeared in London. He was never right again. And his story was hushed as he assimilated.
Baka mi je napustila Evropu u žurbi bez svog muža, ali sa svojom trogodišnjom kćerkom, sa dijamantima ušivenim u porub jedne od suknji. Nakon dve godine skrivanja, deda se pojavio u Londonu. Nikada se nije oporavio. A njegova priča bila je umrtvljena njegovim prilagođavanjem.
My story started in England with a clean slate and the silence of immigrant parents. I had "Anne Frank," "The Great Escape," "Shoah," "Triumph of the Will." It was Leni Riefenstahl in her elegant Nazi propaganda who gave context to what the family had to endure. These films held what was too hurtful to say out loud, and they became more useful to me than the whispers of survivors and the occasional glimpse of a tattoo on a maiden aunt's wrist.
Moja priča počinje u Engleskoj bez ''repova'' i uz ćutnju mojih roditelja imigranata. Imala sam ''Anu Frank'', ''Veliko bekstvo'', ''Šoa'', ''Trijumf volje''. Leni Rifenštal je bila ta sa svojom elegantnom, nacističkom propagandom koja je dala kontekst onoga što je moja porodica morala da istrpi. Ovi filmovi sadržali su ono što je bilo suviše bolno za priču. i postali su za mene korisniji nego šapati preživelih ili povremeni prizori tetovaža na zglobu moje tetke usedelice.
Purists may feel that fiction dissipates the quest of real human understanding, that film is too crude to tell a complex and detailed history, or that filmmakers always serve drama over truth. But within the reels lie purpose and meaning. As one 12-year-old said after watching "Wizard of Oz," "Every person should watch this, because unless you do you may not know that you too have a heart."
Puristi možda misle da će fikcija proćerdati potragu za realnošću ljudskog razumevanja, da je film isuviše banalan da bi ispričao kompleksnu i detaljnu istoriju ili da režiseri uvek prezentuju dramu, ne istinu. Ali među filmskim trakama leže namera i značenje. Kao što je jedna 12-godišnjakinja rekla, gledajući ''Čarobnjaka iz Oza'': ''Svako treba da pogleda ovo, jer ako to ne učiniš možda nećeš znati da i ti imaš srce''.
We honor reading, why not honor watching with the same passion? Consider "Citizen Kane" as valuable as Jane Austen. Agree that "Boyz n the Hood," like Tennyson, offers an emotional landscape and a heightened understanding that work together. Each a piece of memorable art, each a brick in the wall of who we are. And it's okay if we remember Tom Hanks better than astronaut Jim Lovell or have Ben Kingsley's face superimposed onto that of Gandhi's. And though not real, Eve Harrington, Howard Beale, Mildred Pierce are an opportunity to discover what it is to be human, and no less helpful to understanding our life and times as Shakespeare is in illuminating the world of Elizabethan England.
Cenimo čitanje, zašto ne cenimo gledanje sa istom strašću? Smatrajmo ''Građanina Kejna'' jednako vrednim kao Džejn Ostin. Složimo se da ''Momci iz kraja'', kao Tenison, nude emocionalni uvid i uzvišeno razumevanje koji se prepliću. Svako delo je upečatljiva umetnost, svako je cigla u zidu onoga što jesmo. U redu je da pamtimo Toma Henksa bolje nego astronauta Džima Lovela ili lice Bena Kingslija dok glumi Gandija. Iako nisu stvarni, Eva Harington, Hauard Bil, Mildred Pirs - oni su mogućnost otkrivanja kako je biti čovek, i ništa manje nisu važni za shvatanje našeg života i doba kao što je Šekspir bio otkrovenje za svet elizabetanske Engleske.
We guessed that film, whose stories are a meeting place of drama, music, literature and human experience, would engage and inspire the young people participating in FILMCLUB. What we could not have foreseen was the measurable improvements in behavior, confidence and academic achievement. Once-reluctant students now race to school, talk to their teachers, fight, not on the playground, but to choose next week's film -- young people who have found self-definition, ambition and an appetite for education and social engagement from the stories they have witnessed.
Znali smo da će film, čije priče su okrilje pod kojim se sastaju drama, muzika, literatura i ljudsko iskustvo, inspirisati mlade ljude koji učestvuju u Filmskom klubu. Ono što nismo mogli da predvidimo jesu važna unapređenja u ponašanju, samopouzdanju i akademskim postignućima. Jednom suzdržani učenici sada jure u školu, razgovaraju sa nastavnicima, bore se, ne na igralištu, nego oko izbora filma za sledeću nedelju - mladi ljudi koji su našli definiciju sebe, ambiciju, apetit za obrazovanjem i društvenim uključenjem iz priča kojima su pristustvovali.
Our members defy the binary description of how we so often describe our young. They are neither feral nor myopically self-absorbed. They are, like other young people, negotiating a world with infinite choice, but little culture of how to find meaningful experience. We appeared surprised at the behaviors of those who define themselves by the size of the tick on their shoes, yet acquisition has been the narrative we have offered.
Naši članovi se bore protiv binarnog opisa koji je najčešći opis naših mladih. Oni nisu divlji niti kratkovido orijentisani ka sebi. Oni, kao i mnogi mladi ljudi, pregovaraju sa svetom u kome imaju nebrojeno mnogo opcija, ali imaju malo kulture o tome kako naći značajno iskustvo. Iznenađeni smo ponašanjem onih koji sebe definišu po marki cipela koje nose, a opet takve su vrednosti koje se nude.
If we want different values we have to tell a different story, a story that understands that an individual narrative is an essential component of a person's identity, that a collective narrative is an essential component of a cultural identity, and without it it is impossible to imagine yourself as part of a group. Because when these people get home after a screening of "Rear Window" and raise their gaze to the building next door, they have the tools to wonder who, apart from them, is out there and what is their story.
Ako želimo da im ponudimo druge vrednosti, moramo da ispričamo drugu priču, priču gde se razume da individualni narativ jeste esencijalna komponenta identiteta jedne osobe, da kolektivni narativ jeste esencijalna komponenta kulturnog identiteta, bez kojih je nemoguće da zamislimo sebe kao deo grupe. Zato što kada ovi mladi ljudi odu kući nakon prikazivanja ''Skrivenog prozora'' i pogledaju u zgradu preko puta, oni počinju da se pitanju ko, pored njih, postoji tamo i koja je njihova priča.
Thank you.
Hvala vam.
(Applause)
(Aplauz)