I can't help but this wish: to think about when you're a little kid, and all your friends ask you, "If a genie could give you one wish in the world, what would it be?" And I always answered, "Well, I'd want the wish to have the wisdom to know exactly what to wish for." Well, then you'd be screwed, because you'd know what to wish for, and you'd use up your wish, and now, since we only have one wish -- unlike last year they had three wishes -- I'm not going to wish for that.
魔人が願いを叶えてくれるなら どんなお願いをするかと 友達と話していた幼少期を思い出します 「願い事がちゃんと分かる知恵を下さい」というのが 私の願いでした でもその願いが叶ってしまうと 本当の願いは叶えられません 今年は叶えられる願いが一つのようですから きちんと願いを言います
So let's get to what I would like, which is world peace. And I know what you're thinking: You're thinking, "The poor girl up there, she thinks she's at a beauty pageant. She's not. She's at the TED Prize." (Laughter) But I really do think it makes sense. And I think that the first step to world peace is for people to meet each other. I've met a lot of different people over the years, and I've filmed some of them, from a dotcom executive in New York who wanted to take over the world, to a military press officer in Qatar, who would rather not take over the world. If you've seen the film "Control Room" that was sent out, you'd understand a little bit why. (Applause) Thank you. Wow! Some of you watched it. That's great. That's great.
私が願うのは世界平和です 皆さんは私が 美人コンテストと 取り違えているのではと お思いかも知れませんが この賞の意義は十分理解しています 世界平和への一歩は人々が出会うことです これまでたくさんの人に会い 撮影してきました N.Y.で世の中の支配を狙っているIT企業の偉い人や 実権を握る気はあまりない カタールの軍事広報官にも会いました 『コントロール ルーム』をご覧になれば その理由がお分かりになります (拍手) 観て下さった方がいて とても うれしいです
So basically what I'd like to talk about today is a way for people to travel, to meet people in a different way than -- because you can't travel all over the world at the same time. And a long time ago -- well, about 40 years ago -- my mom had an exchange student. And I'm going to show you slides of the exchange student. This is Donna. This is Donna at the Statue of Liberty. This is my mother and aunt teaching Donna how to ride a bike. This is Donna eating ice cream. And this is Donna teaching my aunt how to do a Filipino dance. I really think as the world is getting smaller, it becomes more and more important that we learn each other's dance moves, that we meet each other, we get to know each other, we are able to figure out a way to cross borders, to understand each other, to understand people's hopes and dreams, what makes them laugh and cry. And I know that we can't all do exchange programs, and I can't force everybody to travel; I've already talked about that to Chris and Amy, and they said that there's a problem with this: You can't force people, free will. And I totally support that, so we're not forcing people to travel. But I'd like to talk about another way to travel that doesn't require a ship or an airplane, and just requires a movie camera, a projector and a screen. And that's what I'm going to talk to you about today.
今日これからお話しするのは 新しい旅の方法です 今までと違ったやり方で人が出会うのです 一度に世界中を旅することはできませんから かれこれ40年ほど前に 母が交換留学生を受け入れました スライドがあります これはドナです 自由の女神の前の写真 自転車の乗り方を教える母達と アイスクリームを食べるドナ おばにフィリピンの踊りを教えるドナ 世界の距離が縮まる中で お互いの踊り方を覚えたり 仲良くなることができれば 国境を越えて理解し合い 人々が喜ぶことや悲しむことに 気がつくようになります 留学生を受け入れたり 旅をするのは 誰もができることではありません クリスとエイミーが 話していましたが 人々に 強制はできません 旅を強制する代わりに 別の旅を提案したいのです それは船や飛行機ではなく ビデオカメラと映写機とスクリーンを使います 今日はこの新しい旅について説明します
I was asked that I speak a little bit about where I personally come from, and Cameron, I don't know how you managed to get out of that one, but I think that building bridges is important to me because of where I come from. I'm the daughter of an American mother and an Egyptian-Lebanese-Syrian father. So I'm the living product of two cultures coming together. No pun intended. (Laughter) And I've also been called, as an Egyptian-Lebanese-Syrian American with a Persian name, the "Middle East Peace Crisis."
私の出身について 話すように言われました キャメロンのような文化の架け橋となるには 出身地の話は私にとって 重要な意味があります 私の母はアメリカ人 父はエジプト レバノン系シリア人 だから私自身がすでに2つの文化を 受け継いでいます 米国人で ペルシャ語名の私は「中東和平の危機」と 呼ばれています 私が写真を撮り始めたのは
So maybe me starting to take pictures was some kind of way to bring both sides of my family together -- a way to take the worlds with me, a way to tell stories visually. It all kind of started that way, but I think that I really realized the power of the image when I first went to the garbage-collecting village in Egypt, when I was about 16. My mother took me there. She's somebody who believes strongly in community service, and decided that this was something that I needed to do. And so I went there and I met some amazing women there. There was a center there, where they were teaching people how to read and write, and get vaccinations against the many diseases you can get from sorting through garbage. And I began teaching there. I taught English, and I met some incredible women there. I met people that live seven people to a room, barely can afford their evening meal, yet lived with this strength of spirit and sense of humor and just incredible qualities.
両親の家族をつなぐ方法であり 世界を理解し 視覚的に語るのに 適していたからでした 映像には力があります エジプトのごみ収集者が集まる村へ 母と行ったのは16歳のときでした 地域奉仕を重視する母が ごみ収集をさせようと 私を連れて行った場所で 出会いがありました そこのセンターでは 読み書きを教えたり ごみ収集で感染する 病気のワクチンを打っていました 私がセンターで 英語を教えていたのは 一部屋に7人が押し込められ 夕食もマトモにとれないのに 精神的にタフで笑顔が絶えない 女性達でした
I got drawn into this community and I began to take pictures there. I took pictures of weddings and older family members -- things that they wanted memories of. About two years after I started taking these pictures, the UN Conference on Population and Development asked me to show them at the conference. So I was 18; I was very excited. It was my first exhibit of photographs and they were all put up there, and after about two days, they all came down except for three. People were very upset, very angry that I was showing these dirty sides of Cairo, and why didn't I cut the dead donkey out of the frame? And as I sat there, I got very depressed. I looked at this big empty wall with three lonely photographs that were, you know, very pretty photographs and I was like, "I failed at this." But I was looking at this intense emotion and intense feeling that had come out of people just seeing these photographs. Here I was, this 18-year-old pipsqueak that nobody listened to, and all of a sudden, I put these photographs on the wall, and there were arguments, and they had to be taken down. And I saw the power of the image, and it was incredible. And I think the most important reaction that I saw there was actually from people that would never have gone to the garbage village themselves, that would never have seen that the human spirit could thrive in such difficult circumstances. And I think it was at that point that I decided I wanted to use photography and film to somehow bridge gaps, to bridge cultures, bring people together, cross borders. And so that's what really kind of started me off.
この村にすっかり魅了された私は 結婚式やお年寄りなどの記念写真を 撮りはじめました 2年ほどして カイロでの国連人口開発会議で 私の写真を使いたいと頼まれ 18歳の私は興奮しました 初めての展覧会にすべての写真を提供したら 2日後に展示されたのはたった3枚でした 汚い場所の写真ばかりだとか ロバの死体はマズイだろうと みんなに怒られました 落ち込みながら 会場の壁をながめました 残された きれいな写真を見て 自分の間違いを思い知らされました しかし じっと眺めていると 人物が持つ力を感じました まだ18歳の小娘でしたが 壁にかかった私の写真は 何か問題があって 取り外されたのです 映像が持つ力は 想像以上でした その展覧会の意義は ごみ収集者の村を訪れたり 困難な状況で生きる人を知らない人が 会場に来ていた事です このことで私は 写真やビデオを使って 異なる文化を持つ人が国境を越えてつながるのではと 思いついたのです そこでMTVでは『Startup.com』を製作し
Did a stint at MTV, made a film called "Startup.com," and I've done a couple of music films. But in 2003, when the war in Iraq was about to start, it was a very surreal feeling for me, because before the war started, there was kind of this media war that was going on. And I was watching television in New York, and there seemed to be just one point of view that was coming across, and the coverage went from the US State Department to embedded troops. And what was coming across on the news was that there was going to be this clean war and precision bombings, and the Iraqis would be greeting the Americans as liberators, and throwing flowers at their feet in the streets of Baghdad. And I knew that there was a completely other story that was taking place in the Middle East, where my parents were. I knew that there was a completely other story being told, and I was thinking, "How are people supposed to communicate with each other when they're getting completely different messages, and nobody knows what the other's being told? How are people supposed to have any kind of common understanding or know how to move together into the future? So I knew that I had to go there. I just wanted to be in the center. I had no plan. I had no funding. I didn't even have a camera at the time -- I had somebody bring it there, because I wanted to get access to Al Jazeera, George Bush's favorite channel, and a place which I was very curious about because it's disliked by many governments across the Arab world, and also called the mouthpiece of Osama Bin Laden by some people in the US government.
2000年頃に何本かの音楽ビデオを作りました 2003年のイラク戦争が始まる前 私には開戦の実感がありませんでした すでにメディア合戦が始まっていて N.Y.のテレビはどの局も 偏った報道をしていました 国務省や派遣された兵士の 情報しか流していなかったのです ニュースを観ると誰でも この戦争による被害は最小限で 米軍はイラク人には解放軍であり 歓迎されると思ってしまいます しかし中東では 全く別のことが起きていました この事実を米国人は知りません 双方の報道のされ方が 全く異なるのを知らない中で 共通理解を深めたり 歩み寄りを図るなんて 出来ないだろうと思いました 私はとにかく 現場に向かいました 何も考えず来てしまったので カメラも忘れていて あとで届けてもらいました アルジャジーラという ブッシュ大統領が好きな 中東のテレビ局は アラブの政府からは嫌われ 米国からはビンラディンの代弁者と 呼ばれていました
So I was thinking, this station that's hated by so many people has to be doing something right. I've got to go see what this is all about. And I also wanted to go see Central Command, which was 10 minutes away. And that way, I could get access to how this news was being created -- on the Arab side, reaching the Arab world, and on the US and Western side, reaching the US.
いろいろな人に嫌われているのは 正しい事をしているからでしょう それを確かめたくなったのです そして少し離れた 米中央軍にも行き アラブ側のニュースがアラブ世界に 欧米側のニュースが米国へ 伝わる様子を比べたかったのです
And when I went there and sat there, and met these people that were in the center of it, and sat with these characters, I met some surprising, very complex people. And I'd like to share with you a little bit of that experience of when you sit with somebody and you film them, and you listen to them, and you allow them more than a five-second sound bite. The amazing complexity of people emerges.
最前線で働く人の 抱えている心理状況は 私には理解できないほど とても複雑なものでした みなさんにも お見せしますが 目の前でカメラを回して話を聞き 5秒以上話してもらえば その人の性格が出てくるものです
Samir Khader: Business as usual. Iraq, and then Iraq, and then Iraq. But between us, if I'm offered a job with Fox, I'll take it. To change the Arab nightmare into the American dream. I still have that dream. Maybe I will never be able to do it, but I have plans for my children. When they finish high school, I will send them to America to study there. I will pay for their study. And they will stay there. Josh Rushing: The night they showed the POWs and the dead soldiers -- Al Jazeera showed them -- it was powerful, because America doesn't show those kinds of images. Most of the news in America won't show really gory images and this showed American soldiers in uniform, strewn about a floor, a cold tile floor. And it was revolting. It was absolutely revolting. It made me sick at my stomach. And then what hit me was, the night before, there had been some kind of bombing in Basra, and Al Jazeera had shown images of the people. And they were equally, if not more, horrifying -- the images were. And I remember having seen it in the Al Jazeera office, and thought to myself, "Wow, that's gross. That's bad." And then going away, and probably eating dinner or something. And it didn't affect me as much. So, the impact that had on me -- me realizing that I just saw people on the other side, and those people in the Al Jazeera office must have felt the way I was feeling that night, and it upset me on a profound level that I wasn't as bothered as much the night before. It makes me hate war. But it doesn't make me believe that we're in a world that can live without war yet.
サミール: 相変わらず イラクは戦争中です FOXの仕事でもあれば すぐ引き受けます アラブの悪夢から抜け出して成功する その夢は捨てていませんが 私では実現は無理でしょう ただせめて子ども達は 米国の大学に行かせたい 学費は私が払います 彼らには米国に定住してほしい ジョシュ: アルジャジーラに捕虜や兵士の死体を 見せてもらいました 米国の報道では残酷すぎて 流さないでしょう 軍服の米兵が何人も 冷たい床に 転がっていました 酷い状態で 気分が悪くなって 見ていられなかった その前の晩 バスラであった爆撃を アルジャジーラが報道しましたが これも目を覆いたくなるものでした アルジャジーラ放送局で 見せられた映像も 残酷でしたが 気分が悪くなることもなく すぐに食事に出かけました たぶんアラブ人を敵だと 思っていたからです アルジャジーラの人だって 平気で食事に行けるんだ アラブ人負傷者を見ても 平気な自分に腹が立ちます 戦争が嫌になりましたよ でも世の中から戦争はなくせません この作品の反応には驚きました
Jehane Noujaim: I was overwhelmed by the response of the film. We didn't know whether it would be able to get out there. We had no funding for it. We were incredibly lucky that it got picked up. And when we showed the film in both the United States and the Arab world, we had such incredible reactions. It was amazing to see how people were moved by this film. In the Arab world -- and it's not really by the film, it's by the characters -- I mean, Josh Rushing was this incredibly complex person who was thinking about things. And when I showed the film in the Middle East, people wanted to meet Josh. He kind of redefined us as an American population. People started to ask me, "Where is this guy now?" Al Jazeera offered him a job. (Laughter) And Samir, on the other hand, was also quite an interesting character for the Arab world to see, because it brought out the complexities of this love-hate relationship that the Arab world has with the West.
そもそも公開するだけの予算も なかったので 作品が世に出られて幸運でした 米国とアラブ諸国で上映したら ものすごい反響でした みんな感動しました アラブ諸国の人々は 登場人物に興味を持ちました ジョシュはいろいろなことに 思いをめぐらせていました 中東で上映したとき ジョシュに会いたいと言われました 彼が米国人のイメージを変えました アルジャジーラまでが興味を持ち 彼をリクルートしました 一方でサミールからは アラブ社会の人々が抱いている 西洋への憧れと憎しみを持つ 感情がよく表されています
In the United States, I was blown away by the motivations, the positive motivations of the American people when they'd see this film. You know, we're criticized abroad for believing we're the saviors of the world in some way, but the flip side of it is that, actually, when people do see what is happening abroad and people's reactions to some of our policy abroad, we feel this power, that we need to -- we feel like we have to get the power to change things. And I saw this with audiences. This woman came up to me after the screening and said, "You know, I know this is crazy. I saw the bombs being loaded on the planes, I saw the military going out to war, but you don't understand people's anger towards us until you see the people in the hospitals and the victims of the war, and how do we get out of this bubble?
米国で上映したときには 米国人の前向きな姿勢に とても感激しました 諸外国からは 救世主気取りだと 批判される米国ですが 外国で起きている事件や 外国からの対応を見ると 状況打開には 変化をもたらす力が必要です 上映後に 観客の一人に言われました 「爆弾の積み込みや 米兵の出兵を見ていても アラブの被害者を見るまで 米国に対する恨みは分かりません 一体どうしたら 他人の気持ちを理解できるのですか?」
How do we understand what the other person is thinking?" Now, I don't know whether a film can change the world. But I know the power of it, I know that it starts people thinking about how to change the world.
映像で世界は変えられなくても 映像の力で 人々が 考えるきっかけを作ることはできます
Now, I'm not a philosopher, so I feel like I shouldn't go into great depth on this, but let film speak for itself and take you to this other world. Because I believe that film has the ability to take you across borders, I'd like you to just sit back and experience for a couple of minutes being taken into another world. And these couple clips take you inside of two of the most difficult conflicts that we're faced with today. [The last 48 hours of two Palestinian suicide bombers.] [Paradise Now]
哲学者ではないので 上手い表現ができませんが 映像に語らせることで 国境を越えた世界を垣間見れるのです これからしばらく みなさんを 別世界へお連れします 私達が現在直面している 二つの根深い対立をお見せしましょう
[Man: As long as there is injustice, someone must make a sacrifice!]
不正義を正すには 犠牲が必要だ
[Woman: That's no sacrifice, that's revenge!] [If you kill, there's no difference between victim and occupier.]
あなたのは単なる復讐よ 人を殺したら 占領軍と同じだわ
[Man: If we had airplanes, we wouldn't need martyrs, that's the difference.]
向こうは飛行機 こっちは体当たりさ
[Woman: The difference is that the Israeli military is still stronger.]
イスラエル軍はビクともしないじゃない
[Man: Then let us be equal in death.] [We still have Paradise.]
俺達は死んだら パラダイスへ行ける
[Woman: There is no Paradise! It only exists in your head!]
あんたの頭の中のね
[Man: God forbid!] [May God forgive you.] [If you were not Abu Azzam's daughter ...] [Anyway, I'd rather have Paradise in my head than live in this hell!] [In this life, we're dead anyway.]
おお アッラーよ お許しください この娘は… この世で地獄を味わうなら 死んだ方がましだ
[One only chooses bitterness when the alternative is even bitterer.]
辛いけど このままじゃもっと辛い
[Woman: And what about us? The ones who remain?] [Will we win that way?] [Don't you see what you're doing is destroying us?] [And that you give Israel an alibi to carry on?]
残された私達はどうなるのよ それで勝てるの? 私達の生活は めちゃくちゃになるし 奴らから攻撃される口実になるわ
[Man: So with no alibi, Israel will stop?]
口実がなくても 攻撃するさ
[Woman: Perhaps. We have to turn it into a moral war.]
そうすれば 道義上の問題になる
[Man: How, if Israel has no morals?]
連中にモラルが?
[Woman: Be careful!] [And the real people building peace through non-violence] [Encounter Point] Video: (Ambulance siren) [Tel Aviv, Israel 1996]
あぶない!
[Tzvika: My wife Ayelet called me and said, ] ["There was a suicide bombing in Tel Aviv."]
妻から電話があって 「テルアビブで自爆攻撃よ」と
[Ayelet: What do you know about the casualties?] [Tzvika off-screen: We're looking for three girls.]
犠牲者はどのぐらい? 女の子が3人いないの
[We have no information.]
分からないな
[Ayelet: One is wounded here, but we haven't heard from the other three.]
一人はここで怪我をしていたの
[Tzvika: I said, "OK, that's Bat-Chen, that's my daughter.] [Are you sure she is dead?"] [They said yes.] Video: (Police siren and shouting over megaphone) [Bethlehem, Occupied Palestinian Territories, 2003]
「それは娘だが 亡くなったのかい」と 尋ねたら 「そうだ」と言われました
[George: On that day, at around 6:30] [I was driving with my wife and daughters to the supermarket.] [When we got to here ...] [we saw three Israeli military jeeps parked on the side of the road.] [When we passed by the first jeep ...] [they opened fire on us.] [And my 12-year-old daughter Christine] [was killed in the shooting.] [Bereaved Families Forum, Jerusalem]
その日の6時30分ごろでした 妻や娘達と車で買い物に出かける途中 イスラエル軍の車が3台 路肩に止まっていました 通り過ぎようとすると いきなり発砲され 12歳の娘クリスティンが 亡くなりました
[Tzvika: I'm the headmaster for all parts.]
私は校長です
[George: But there is a teacher that is in charge?] [Tzvika: Yes, I have assistants.] [I deal with children all the time.] [One year after their daughters' deaths both Tzvika and George join the forum]
責任者の先生は? 確かに助手はいますが 主に私が面倒を見ています
[George: At first, I thought it was a strange idea.] [But after thinking logically about it, ] [I didn't find any reason why not to meet them] [and let them know of our suffering.]
最初は連絡するのもおかしいと 思っていたのですが 会って心の苦しみを話すのが 当然だと思いました
[Tzvika: There were many things that touched me.] [We see that there are Palestinians who suffered a lot, who lost children,] [and still believe in the peace process and in reconciliation.] [If we who lost what is most precious can talk to each other,] [and look forward to a better future,] [then everyone else must do so, too.] [From South Africa: A Revolution Through Music] [Amandla] (Music)
感動したのは パレスチナ人が 大切な人を亡くして心を傷めながらも 和解を信じていることです 同じ境遇の我々が話しあって よい未来を見出せるなら みんながそうするべきだ
(Video) Man: Song is something that we communicated with people who otherwise would not have understood where we're coming from. You could give them a long political speech, they would still not understand. But I tell you, when you finish that song, people will be like, "Damn, I know where you niggas are coming from. I know where you guys are coming from. Death unto apartheid!"
僕達のことを良く知らない人とも 歌でコミュニケーションできる 長々と政治の話をしても 分かってもらえないだろう でも歌い終わると 「気持ちは痛いほど分かる 差別なんてなくなれ」と 言ってもらえるんだ
Narrator: It's about the liberation struggle. It's about those children who took to the streets -- fighting, screaming, "Free Nelson Mandela!" It's about those unions who put down their tools and demanded freedom. Yes. Yes! (Music and singing) (Singing) Freedom! (Applause)
解放への戦い… 子ども達は路上へ出て 「マンデラを釈放せよ!」と叫んだ 彼らの手に武器はなく ただ自由を求めた そうだ! 自由を! 映画館で見知らぬ人と
Jehane Noujaim: I think everybody's had that feeling of sitting in a theater, in a dark room, with other strangers, watching a very powerful film, and they felt that feeling of transformation. And what I'd like to talk about is how can we use that feeling to actually create a movement through film? I've been listening to the talks in the conference, and Robert Wright said yesterday that if we have an appreciation for another person's humanity, then they will have an appreciation for ours. And that's what this is about. It's about connecting people through film, getting these independent voices out there. Now, Josh Rushing actually ended up leaving the military and taking a job with Al Jazeera. (Laughter) So his feeling is that he's at Al Jazeera International because he feels like he can actually use media to bridge the gap between East and West. And that's an amazing thing. But I've been trying to think about ways to give power to these independent voices, to give power to the filmmakers, to give power to people who are trying to use film for change. And there are incredible organizations that are out there doing this already. There's Witness, that you heard from earlier. There's Just Vision, that are working with Palestinians and Israelis who are working together for peace, and documenting that process and getting interviews out there and using this film to take to Congress to show that it's a powerful tool, to show that this is a woman who's had her daughter killed in an attack, and she believes that there are peaceful ways to solve this. There's Working Films and there's Current TV, which is an incredible platform for people around the world to be able to put their -- (Applause) Yeah, it's amazing. I've watched it and I'm blown away by it and its potential to bring voices from around the world -- independent voices from around the world -- and create a truly democratic, global television.
印象的な映画を見たような 感覚を味わっていただきました 私が注目したいのは この気持ちの変化をどう使って 映像を行動につなげるかです いろいろな話の中で ロバート ライト氏が言ったように 他人の好意に感謝できれば 相手からも感謝されます 私が目標にしているのは 映像を通じて世界をつなげ 名も無い人の声を届けること ジョシュは退役し アルジャジーラに行き 東洋と西洋世界の 意識の違いを 少しでも改善しようと 国際部で 働いています これには驚きました 私が考えてきたのは 名も無き人や映画監督などが 映像によって変化をもたらす活動を 可能にする方法です もうすでに Witnessなどの団体が こうした活動を始めています Just Visionでは パレスチナ人とイスラエル人が共に 和平への活動をし その映像を議会に提出しました 映像に映る 娘を殺された女性は 平和的解決を信じています Working FilmsやCurrent TVは 世界中の人が登場します あまりにも素晴らしいので 最初はとても驚きました 世界中の名も無き人々の声を 一ヶ所に集める 民主的で世界規模のテレビです
So what can we do to create a platform for these organizations, to create some momentum, to get everybody in the world involved in this movement? I'd like for us to imagine for a second. Imagine a day when you have everyone coming together from around the world. You have towns and villages and theaters -- all from around the world, getting together, and sitting in the dark, and sharing a communal experience of watching a film, or a couple of films, together. Watching a film which maybe highlights a character that is fighting to live, or just a character that defies stereotypes, makes a joke, sings a song. Comedies, documentaries, shorts. This amazing power can be used to change people and to bond people together; to cross borders, and have people feel like they're having a communal experience. So if you imagine this day when all around the world, you have theaters and places where we project films. If you imagine projecting from Times Square to Tahrir Square in Cairo, the same film in Ramallah, the same film in Jerusalem. You know, we've been talking to a friend of mine about using the side of the Great Pyramid and the Great Wall of China. It's endless what you can imagine, in terms of where you can project films and where you can have this communal experience. And I believe that this one day, if we can create it, this one day can create momentum for all of these independent voices. There isn't an organization which is connecting the independent voices of the world to get out there, and yet I'm hearing throughout this conference that the biggest challenge in our future is understanding the other, and having mutual respect for the other and crossing borders. And if film can do that, and if we can get all of these different locations in the world to watch these films together -- this could be an incredible day.
こうした団体の活動場所に 世界中の人を 参加させるため 何ができるでしょう みなさんも世界中の人々が集う日を すこし想像してみて下さい 世界中の町や村や映画館の 暗闇にみんなが座って 一緒に映画を観るという 共通の体験をします 映画の内容は 生きるための戦いや 偏見を覆す作品 笑いや歌の作品など いろいろです 映像の力で人々の意識を変え 国を越えて人をつなげ 共通体験を感じてもらうのです この世界規模の上映は 映画館以外でも行うことができます 例えば タイムズ スクエアやカイロの広場 ラマラやエルサレム みんなで説得すれば ピラミッドの側面や 万里の長城まで 共通体験できそうな上映場所は 考えはじめれば きりがないでしょう このような日ができたら 一人一人が声を上げやすくなります 今までは 世界中の人の声を つなげる組織がありませんでした この講演に出席して 外国の人を理解し尊重することが 難しくなりつつあると分かりました 世界中の人々が 同じ映像を一緒に観て 理解しあえれば素晴らしいことです
So we've already made a partnership, set up through somebody from the TED community, John Camen, who introduced me to Steven Apkon, from the Jacob Burns Film Center. And we started calling up everybody. And in the last week, there have been so many people that have responded to us, from as close as Palo Alto, to Mongolia and to India. There are people that want to be a part of this global day of film; to be able to provide a platform for independent voices and independent films to get out there. Now, we've thought about a name for this day, and I'd like to share this with you. Now, the most amazing part of this whole process has been sharing ideas and wishes, and so I invite you to give brainstorms onto how does this day echo into the future? How do we use technology to make this day echo into the future, so that we can build community and have these communities working together, through the Internet? There was a time, many, many years ago, when all of the continents were stuck together. And we call that landmass Pangea. So what we'd like to call this day of film is Pangea Cinema Day. And if you just imagine that all of these people in these towns would be watching, then I think that we can actually really make a movement towards people understanding each other better.
すでにTEDに協力をお願いして TEDのスタッフから ある非営利団体で 活動している方を紹介してもらい あちこちに呼びかけたら 先週だけで国内はもちろん モンゴルやインドからも反応がありました この国際映画の日に参加し 人々の声や独立系映画の 発表の場にしたいからです この映画の日にふさわしい 名前はなんでしょう この映画の日には みんなの意見が反映されます そしてぜひ 将来的な影響についても 考えてもらえればと思います IT技術を使ったコミュニティー作りも 可能でしょうし インターネットで協力もできます はるか昔 世界は一つの大きな塊で 「パンゲア大陸」といいました ですから「パンゲア シネマ デー」はどうでしょう 世界が一つになって いろいろな所で映像を観て 他人をより良く理解するための 行動を起こせるからです
I know that it's very intangible, touching people's hearts and souls, but the only way that I know how to do it, the only way that I know how to reach out to somebody's heart and soul all across the world, is by showing them a film. And I know that there are independent filmmakers and films out there that can really make this happen. And that's my wish. I guess I'm supposed to give you my one-sentence wish, but we're way out of time.
他人を理解するのは大変でも 映像を見せることで 世界中の人々の 心を動かすことができます 世界にはそうした作品が たくさんあるのですから これが私の願いです 一言で表すことになっていますが 時間切れのようです
Chris Anderson: That is an incredible wish. Pangea Cinema: The day the world comes together.
すばらしい願いですね 世界をつなぐ日パンゲア シネマ
JN: It's more tangible than world peace, and it's certainly more immediate. But it would be the day that the world comes together through film, the power of film.
世界平和より具体的で現実的です その日 世界が映像の力によって 一つになるのです
CA: Ladies and gentlemen, Jehane Noujaim.
ジャハニさんでした