Today, I want to tell you about a pressing social issue. Now, it's not nuclear arms, it's not immigration, and it's not malaria. I'm here to talk about movies.
Danas želim da vam govorim o gorućem društvenom pitanju. Ne, ne radi se o nuklearnom oružju, ne radi se o imigraciji i ne radi se o malariji. Ovde sam da bih vam govorila o filmovima.
Now, in all seriousness, movies are actually really important. In film, we can be wildly entertained, and we can also be transported through storytelling. Storytelling is so important. Stories tell us what societies value, they offer us lessons, and they share and preserve our history. Stories are amazing.
Sad, skroz ozbiljno, filmovi su zapravo veoma važni. Film može da nas ludo zabavi i takođe putem pripovedanja možemo da se transportujemo. Pripovedanje je veoma važno. Priče nam saopštavaju društvene vrednosti, nude nam pouke i dele i čuvaju našu istoriju. Priče su izuzetne.
But stories don't give everyone the same opportunity to appear within them, particularly not stories compartmentalized in the form of American movies. In film, interestingly enough, females are still erased and marginalized in a lot of our stories. And I learned this for the first time about 10 years ago when I did my first study on gender role in G-rated films. Since then, we've conducted more than 30 investigations. My team is tired. And I've committed my life as researcher and activist to fighting the inclusion crisis in Hollywood.
Međutim, priče ne pružaju svima istu mogućnost da se pojave u njima, naročito ne priče žanrovski oblikovane u vidu američkog filma. U filmu, što je naročito zanimljivo, žene su i dalje izbrisane i marginalizovane u mnogim našim pričama. A ovo sam saznala prvi put pre oko deset godina kada sam uradila moju prvu studiju o ulozi rodova u filmovima sa G oznakom. Od tada smo sproveli preko 30 istraživanja. Moja ekipa je umorna. I ja sam posvetila moj život kao istraživačica i aktivistkinja da bih se borila protiv krize inkluzivnosti u Holivudu.
So today, what I'd like to do is tell you about that crisis. I want to talk about gender inequality in film. I want to tell you how it is perpetuated, and then I'm going to tell you how we're going to fix it.
Pa bih danas želela da vam govorim o toj krizi. Želim da govorim o rodnoj nejednakosti na filmu. Želim da vam govorim o tome kako opstaje, a potom ću da vam kažem kako ćemo to da ispravimo.
However, one caveat before I begin: my data are really depressing. So I want to apologize in advance, because I'm going to put you all in a really bad mood. But I'm going to bring it up at the end, and I'm going to present a silver lining to fix this mess that we've been in for a very, very long time.
Međutim, jedno upozorenje pre nego što počnem: moji podaci su zaista depresivni. Stoga, želim unapred da se izvinim jer ću vas sve veoma oneraspoložiti. Ali ću na kraju da podignem loptu i da predstavim svetlu stranu, kako bismo ispravili nered u kome smo već dugo, dugo vremena.
So, let's start with the gravity of the situation. Each year, my research team examines the top 100 grossing films in the United States. What we do is we look at every speaking or named character on-screen. Now, to count in one of my investigations, all a character has to do is say one word. This is a very low bar.
Započnimo ozbiljnošću situacije. Svake godine moja istraživačka ekipa pregleda 100 filmova s najvišom zaradom u Sjedinjenim Državama. Mi posmatramo svakog lika koji govori ili je imenovan na ekranu. Sad, kako bi bio uvršćen u moje istraživanje, sve što lik treba da uradi je da kaže jednu reč. Ovo je veoma nizak standard.
(Laughter)
(Smeh)
Thus far, we've looked at 800 movies, from 2007 to 2015, cataloguing every speaking character on-screen for gender, race, ethnicity, LGBT and characters with a disability.
Do sad smo pogledali 800 filmova, od 2007 do 2015, razvrstavajući svakog govornog lika na ekranu prema rodu, rasi, narodnosti, LGBT i likovi sa invaliditetom.
Let's take a look at really some problematic trends. First, females are still noticeably absent on-screen in film. Across 800 movies and 35,205 speaking characters, less than a third of all roles go to girls and women. Less than a third! There's been no change from 2007 to 2015, and if you compare our results to a small sample of films from 1946 to 1955, there's been no change in over a half of a century. Over half of a century! But we're half of the population.
Pogledajmo neke veoma problematične trendove. Prvo: žene su i dalje vidno odsutne na filmskom platnu. Kroz 800 filmova i 35.205 likova koji govore, manje od trećine svih uloga pripadaju devojkama i ženama. Manje od trećine! Nije bilo promene od 2007. do 2015, a ako uporedite naše rezultate sa malim uzorkom filmova od 1946. do 1955, nije bilo promene više od pola veka. Više od polovine veka! Međutim, mi činimo polovinu populacije.
Now, if we look at this data intersectionally, which has been a focus of today, the picture becomes even more problematic. Across the top 100 films of just last year, 48 films didn't feature one black or African-American speaking character, not one. 70 films were devoid of Asian or Asian-American speaking characters that were girls or women. None. Eighty-four films didn't feature one female character that had a disability. And 93 were devoid of lesbian, bisexual or transgender female speaking characters. This is not underrepresentation. This is erasure, and I call this the epidemic of invisibility.
Sad, ako posmatramo ove podatke prema ukrštanju, a to je bio današnji fokus, slika postaje još problematičnija. Kroz 100 najvećih filmova samo iz prošle godine, 48 nije sadržalo jednog crnog ili afričko-američkog lika koji govori, baš nijednog. 70 filmova je bilo lišeno azijskog ili azijsko-američkog lika koji govori, a da je to devojka ili žena. Nijedna. 84 filma nisu uključivala ženskog lika sa invaliditetom. A 93 su bila lišena lezbejki, biseksualaca ili transrodnih ženskih likova koji govore. Ovde se ne radi o manjoj zastupljenosti. Ovo je brisanje, a ja to nazivam epidemijom nevidljivosti.
Now, when we move from prevalence to protagonist, the story is still problematic. Out of a hundred films last year, only 32 featured a female lead or colead driving the action. Only three out of a hundred films featured an underrepresented female driving the story, and only one diverse woman that was 45 years of age or older at the time of theatrical release.
Sad, kad se pomerimo sa onog što preovlađuje na glavne likove, priča je i dalje problematična. Od 100 filmova prošle godine, svega 32 su sadržala ženu u glavnoj ulozi ili sporednoj ulozi koja pokreće radnju. Svega tri od stotinu filmova su sadržala pripadnicu manjina koja pokreće prču i samo jednu ženu koja je imala 45 ili više godina u vreme prikazivanja u bioskopu.
Now let's look at portrayal. In addition to the numbers you just saw, females are far more likely to be sexualized in film than their male counterparts. Matter of fact, they're about three times as likely to be shown in sexually revealing clothing, partially naked, and they're far more likely to be thin. Now, sometimes, in animation, females are so thin that their waist size approximates the circumference of their upper arm.
Sad, pogledajmo portretisanja. Uz brojeve koje ste upravo videli, žene su daleko češće seksualizovane na filmu od svojih kolega muškaraca. Zapravo, otprilike tri puta češće ih prikazuju u izazovnoj oskudnoj odeći, delimično gole i daleko češće su mršave. Sad, ponekad u crtaćima, žene su toliko mršave da im obim struka otprilike odgovara obimu nadlaktice.
(Laughter)
(Smeh)
We like to say that these gals have no room for a womb or any other internal organ.
Volimo da kažemo da ove deve nemaju prostora za utrobu, niti bilo koji unutrašnji organ.
(Laughter)
(Smeh)
Now, all joking aside, theories suggest, research confirms, exposure to thin ideals and objectifying content can lead to body dissatisfaction, internalization of the thin ideal and self-objectification among some female viewers. Obviously, what we see on-screen and what we see in the world, they do not match. They do not match! Matter of fact, if we lived in the screen world, we would have a population crisis on our hands.
Sad, šalu na stranu, teorije nagoveštavaju, istraživanja potvrđuju izloženost mršavim idealima i sadržaju koji objektifikuje može da dovede do nezadovoljstva telom, internalizacije ideala mršavosti i doživljaja sebe kao objekta, kod nekih gledateljki. Očigledno, ono što gledamo na ekranu i ono što vidimo u svetu se ne poklapa. Ne poklapa se! Zapravo, kad bismo živeli na filmskom platnu, borili bismo se sa populacionom krizom.
So, as soon as I recognized these patterns, I wanted to find out why, and it turns out that there are two drivers to inequality on-screen: content creator gender and misperceptions of the audience. Let's unpack them really quick.
Dakle, čim sam prepoznala ove obrasce, želela sam da znam zašto i ispostavilo se da postoje dva pokretača nejednakosti na filmu: rod tvoraca sadržaja i pogrešan doživljaj publike. Razložimo ih na brzinu.
If you want to change any of the patterns I just talked about, all you have to do is hire female directors. Turns out, the female directors are associated with, in terms of short films and indie films, more girls and women on-screen, more stories with women in the center, more stories with women 40 years of age or older on-screen, which I think is good news for this crowd. More underrepresented --
Ako želite da promenite neki obrazac o kom sam upravo govorila, sve što je potrebno je da zaposlite rediteljke. Ispostavlja se da rediteljke povezuju sa, u smislu kratkih filmova i nezavisnih filmova, više devojaka i žena na ekranu, više priča u čijem su središtu žene, više priča na filmu sa ženama koje imaju 40 i više godina, mislim da je to dobra vest za ovu pubiku. Više manjina -
(Laughter)
(Smeh)
Sorry.
Žao mi je.
(Laughter)
(Smeh)
Sorry but not sorry. More underrepresented characters in terms of race and ethnicity, and most importantly, more women working behind the camera in key production roles. Easy answer to the problems that we just talked about. Or is it? It's actually not. 800 films, 2007-2015, 886 directors. Only 4.1 percent are women. Only three are African-American or black, and only one woman was Asian.
Žalim, ali mi nije žao. Više manjinskih likova u smislu rase i narodnosti, i što je najvažnije, više žena koje rade iza kamere na ključnim produkcijskim ulogama. Lak odgovor na probleme o kojima smo upravo govorili. Da li je? Zapravo nije. 800 filmova, 2007-2015, 886 reditelja. Svega 4,1 procenat su žene. Svega tri su afričko-amerikanke ili crnkinje, a samo jedna je Azijka.
So why is it so difficult to have female directors if they're part of the solution? Well, to answer this question, we conducted a study. We interviewed dozens of industry insiders and asked them about directors. Turns out, both male and female executives, when they think director, they think male. They perceive the traits of leadership to be masculine in nature. So when they're going to hire a director to command a crew, lead a ship, be a visionary or be General Patton, all the things that we've heard -- their thoughts and ideations pull male. The perception of director or a leader is inconsistent with the perception of a woman. The roles are incongruous, which is consistent with a lot of research in the psychological arena.
Pa, zašto je toliko teško da imamo rediteljke, ako su one deo rešenja? Pa, da bih odgovorila na ovo pitanje, sproveli smo istraživanje. Intervjuisali smo desetine insajdera iz industrije i pitali smo ih o rediteljima. Ispostavilo se da i muškarci i žene rukovodioci, kada razmišljaju o reditelju, zamišljaju muškarca. Doživljavaju osobine predvodništva kao po prirodi muške. Pa, kad zapošljavaju reditelja da rukovodi ekipom, vodi brod, bude vizionar ili general Paton, sve o čemu smo slušali - njihove misli i zamisli izvlače muškarca. Viđenje reditelja ili vođe se ne podudara sa viđenjem žene. Ove uloge se ne podudaraju, a to se poklapa sa mnogo istraživanja iz oblasti psihologije.
Second factor contributing to inequality on-screen is misperceptions of the audience. I don't need to tell this crowd: 50 percent of the people that go to the box office and buy tickets are girls and women in this country. Right? But we're not perceived to be a viable or financially lucrative target audience. Further, there's some misperceptions about whether females can open a film. Open a film means that if you place a female at the center, it doesn't have the return on investment that if you place a male at the center of a story does.
Drugi faktor koji doprinosi nejednakosti na platnu je pogrešno viđenje publike. Ne moram to da govorim ovoj publici: 50 procenata ljudi koji odlaze na blagajne i kupuju ulaznice u ovoj zemlji su devojke i žene. Je li tako? Ali nas ne doživljavaju kao održivu ili finansijski unosnu ciljnu publiku. Štaviše, postoje neke zablude o tome da li žena može da otvori film. Otvoriti film znači da ako smestite ženu u središte, film neće povratiti uloženi novac kao onda kada smestite muškarca u središte priče.
This misperception is actually costly. Right? Especially in the wake of franchise successes like "The Hunger Games," "Pitch Perfect" or that small little indie film, "Star Wars: The Force Awakens." Our own economic analyses show that gender of the lead character doesn't play a role in economic success in the United States. But what does? Production costs alone or in conjunction with how widely a film is distributed in this country. It's not the gender of the lead character.
Ova zabluda je zapravo skupa. Je li tako? Naročito u svetlu uspeha franšiza, poput "Igara gladi", "Savršenog koraka" ili onog malog nezavisnog filma "Ratovi zvezda: Buđenje sile". Naše sopstvene ekonomske analize pokazuju da rod glavnog lika ne igra ulogu u ekonomskom uspehu u Sjedinjenim Državama. Međutim, šta igra? Sami troškovi produkcije ili u vezi s tim koliko je široko film distribuiran u ovoj državi. Nije u pitanju rod glavnog lika.
So at this point, we should all be sufficiently depressed. No change in 50 years, few female directors working behind the camera and the entertainment industry does not trust us as an audience. Well, I told you there would be a silver lining, and there is. There are actually simple and tangible solutions to fixing this problem that involve content creators, executives and consumers like the individuals in this room. Let's talk about a few of them.
Pa bi u ovom momentu svi trebalo da budemo prilično depresivni. Bez promene u 50 godina, nekolicina rediteljki koje rade iza kamere, a industrija zabave nam ne veruje kao publici. Pa, rekla sam vam da ima i svetla strana, i ima je. Zapravo postoje jednostavna i opipljiva rešenja da se ovaj problem popravi koja uključuju tvorce sadržaja, direktore i potrošače, poput pojedinaca u ovoj prostoriji. Razgovarajmo o nekoliko rešenja.
The first is what I call "just add five." Did you know if we looked at the top 100 films next year and simply added five female speaking characters on-screen to each of those films, it would create a new norm. If we were to do this for three contiguous years, we would be at gender parity for the first time in over a half of a century. Now, this approach is advantageous for a variety of reasons. One? It doesn't take away jobs for male actors. Heaven forbid.
Prvo nazivam "samo dodajte pet". Da li znate da ako bismo pogledali 100 najvećih filmova sledeće godine i prosto dodali pet ženskih likova koji govore na ekranu u svaki od ovih filmova, to bi stvorilo novu normu. Ako bismo ovo uradili tri uzastopne godine, dostigli bismo rodnu jednakost prvi put u preko vek i po. Sad, ovaj pristup ima prednosti iz raznih razloga. Prvi? Ne uzima poslove muškim glumcima. Ne daj bože.
(Laughter)
(Smeh)
Two, it's actually cost-effective. It doesn't cost that much. Three, it builds a pipeline for talent. And four, it humanizes the production process. Why? Because it makes sure that there's women on set.
Drugi, zapravo je isplativ. Ne košta toliko mnogo. Treći, gradi se platforma za talente. I četvrti, očovečuje proces produkcije. Zašto? Jer se stara da žene budu na mestu snimanja.
Second solution is for A-list talent. A-listers, as we all know, can make demands in their contracts, particularly the ones that work on the biggest Hollywood films. What if those A-listers simply added an equity clause or an inclusion rider into their contract? Now, what does that mean? Well, you probably don't know but the typical feature film has about 40 to 45 speaking characters in it. I would argue that only 8 to 10 of those characters are actually relevant to the story. Except maybe "Avengers." Right? A few more in "Avengers." The remaining 30 or so roles, there's no reason why those minor roles can't match or reflect the demography of where the story is taking place. An equity rider by an A-lister in their contract can stipulate that those roles reflect the world in which we actually live. Now, there's no reason why a network, a studio or a production company cannot adopt the same contractual language in their negotiation processes.
Drugo rešenje je za talente sa spiska A. Oni sa spiska A, kao što svi znamo, mogu da imaju zahteve u ugovorima, naročito oni koji rade na najvećim holivudskim filmovima. Šta kad bi ti sa spiska A prosto dodali klauzulu o jednakosti ili inkluziju kao dopunsku klauzulu u svoje ugovore? Sad, šta to znači? Pa, verovatno ne znate, ali tipični dugometražni film sadrži oko 40 do 45 likova koji govore. Rekla bih da je svega osam do deset tih likova bitno za priču. Osim možda kod "Osvetnika". Je li tako? Nekoliko više u "Osvetnicima". Ostalih 30 i više uloga, ne postoji razloga zašto te manje uloge se ne bi poklapale ili odražavale demografiju mesta na kom se radnja odvija. Dopunska klauzula o jednakosti u ugovoru onih sa spiska A može da zahteva da te uloge odražavaju svet u kom zapravo živimo. Sad, ne postoji razlog zašto mreža, studio ili produkcijska firma ne bi usvojili isti ugovorni jezik u svoje procese pregovaranja.
Third solution: this would be for the entertainment industry, Hollywood in particular, to adopt the Rooney Rule when it comes to hiring practices around directors. Now, in the NFL, the Rooney Rule stipulates that if a team wants to hire a coach from outside the organization, what they have to do is interview an underrepresented candidate. The exact same principle can apply to Hollywood films. How? Well, on these top films, executives and agents can make sure that women and people of color are not only on the consideration list, but they're actually interviewed for the job. Now, one might say, why is this important? Because it exposes or introduces executives to female directors who otherwise fall prey to exclusionary hiring practices.
Treće rešenje: ono je za industriju zabave, naročito za Holivud, da se usvoji Runijev zakon kada se radi o praksi zapošljavanja reditelja. Sad, u NFL-u, Runijev zakon zahteva da ako ekipa želi da unajmi trenera koji je van organizacije, moraju da intervjuišu manjinskog kandidata. Isti princip je primenjiv na holivudske filmove. Kako? Pa, u slučaju najvećih filmova, direktori i agenti mogu da se postaraju da žene i obojeni ljudi nisu samo na spisku za razmatranje, već da ih zapravo intervjuišu za posao. Sad, neko bi rekao: zašto je ovo važno? Zato što izlaže ili upoznaje direktore sa ženskim rediteljima koje su inače žrtve isključivih praksi zapošljavanja.
The fourth solution is for consumers like me and you. If we want to see more films by, for and about women, we have to support them. It may mean going to the independent theater chain instead of the multiplex. Or it might mean scrolling down a little further online to find a film by a female director. Or it may be writing a check and funding a film, particularly by a female director from an underrepresented background. Right? We need to write, call and email companies that are making and distributing films, and we need to post on our social media accounts when we want to see inclusive representation, women on-screen, and most importantly, women behind the camera. We need to make our voices heard and our dollars count.
Četvrto rešenje se tiče potrošača, poput mene i vas. Ako želimo da gledamo više filmova od strane, za i o ženama, moramo da ih podržimo. To možda znači odlazak u lanac nezavisnih bioskopa umesto u multipleks. Ili može da znači malo duže pretraživanje na internetu kako bi se našli filmovi ženskih reditelja. Ili može da bude ispisivanje čeka i finansiranje filma, naročito ako je u pitanju rediteljka iz manjinske sredine. Je li tako? Moramo da pišemo, pozivamo i šaljemo imejle firmama koje prave i distribuiraju filmove i moramo da objavljujemo na nalozima na društvenim mrežama kada želimo da vidimo inkluzivnu zastupljenost, žene na ekranu i, najvažnije od svega, žene iza kamere. Moramo se postarati da se naši glasovi čuju, a da naši dolari vrede.
Now, we actually have the ability to change the world on this one. The US and its content, films in particular, have captured the imaginations of audiences worldwide. Worldwide. So that means that the film industry has unprecedented access to be able to distribute stories about equality all around the world. Imagine what would happen if the film industry aligned its values with what it shows on-screen. It could foster inclusion and acceptance for girls and women, people of color, the LGBT community, individuals with disabilities, and so many more around the world. The only thing that the film industry has to do is unleash its secret weapon, and that's storytelling.
Sad, zapravo imamo mogućnost da ovim promenimo svet. SAD i njen sadržaj, naročito filmovi, zarobili su maštu publike širom sveta. Širom sveta. To znači da filmska industrija ima pristup bez premca da bude u stanju da širi priče o jednakosti širom sveta. Zamislite šta bi se desilo kad bi filmska industrija izjednačila svoje vrednosti sa onim što prikazuje na ekranu. Mogli bi da gaje inkluziju i prihvatanje za devojke i žene, obojene ljude, LGBT zajednicu, pojedince sa invaliditetom i mnoge druge širom sveta. Jedino što filmska industrija mora da uradi je da oslobodi tajno oružje, a to je pripovedanje.
Now, at the beginning of this talk, I said that films -- that they can actually transport us, but I would like to argue that films, they can transform us. None of us in this room have grown up or experienced a storytelling landscape with fully realized female characters, none of us, because the numbers haven't changed. What would happen if the next generation of audiences grew up with a whole different screen reality? What would happen? Well I'm here to tell you today that it's not only possible to change what we see on-screen but I am impatient for it to get here.
Sad, na početku ovog govora, rekla sam da filmovi - da nas zapravo mogu da transportuju, ali bih volela da tvrdim da filmovi mogu da nas transformišu. Niko od nas u ovoj prostoriji nije odrastao ili iskusio pripovedni pejzaž u kom su potpuno razvijeni ženski likovi, niko od nas jer se cifre nisu promenile. Šta bi se desilo kad bi sledeća generacija publike odrasla sa potpuno različitom stvarnošću na ekranu? Šta bi se desilo? Pa, ovde sam da vam danas kažem da ne samo da je moguće promeniti ono što vidimo na ekranu, već sam nestrpljiva da se to desi.
So let's agree to take action today to eradicate the epidemic of invisibility. And let's agree to take action today to agree that US audiences and global viewers demand and deserve more. And let's agree today that the next generation of viewers and audiences, that they deserve to see the stories we were never able to see.
Zato složimo se da već danas nešto preduzmemo da iskorenimo epidemiju nevidljivosti. I složimo se da danas nešto preduzmemo da se dogovorimo da publika u SAD-u i globalni gledaoci zahtevaju i zaslužuju više. I složimo se danas da sledeća generacija gledalaca i publike zaslužuje da vidi priče koje nikad nismo mogli da vidimo.
Thank you.
Havala vam.
(Applause)
(Aplauz)