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.
今天我要讨论一个 严峻的社会问题 不是核武器 不是移民问题 也不是疟疾 我今天要说的是电影
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.
严肃地讲 电影非常重要 在电影中 我们可以尽情娱乐 还可以在故事中体验时空穿梭 讲故事太重要了 故事里展现社会价值观 故事里提供经验教训 而且故事还会分享和保存我们的历史 故事是非常了不起的
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.
但是故事没有为每一个人 提供同等的出场机会 尤其不会在以美国电影形式呈现的 被分级的故事里 有趣的是 在电影中 女性在许多情节中仍然被抹掉 和被边缘化 10年前我在对G级(大众级)电影的 性别角色做第一次调研时 首次注意到了这个问题 在那之后 我们又做了30多次的调研 这让我的团队疲惫不堪 而我已经把我的人生角色定为 研究者和积极活动者 致力于与发生在好莱坞的 这种包容危机作斗争
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.
所以今天 我想给 你们说说这个危机 我想说说电影里的性别不平等 我想告诉你们这种现象如何渗透持续 然后我将告诉你们 我们将如何解决它
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.
但是我要先让大家有个心理准备 我的数据非常令人压抑 所以想先和大家道个歉 因为我将会让你们情绪很低落 不过最后我会让你们心情变好的 我会展示一线曙光 来化解这个困扰了我们 很长很长时间的混乱局面
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.
那么我们就从这个状况的重点开始 每年我的研究团队会检查在美国排名 前100的电影 我们关注荧幕上每一个 有台词或有名字的角色 那么要在我的调研中算做一个角色 最低要求是开口说一个字 这标准已经相当低了
(Laughter)
(观众笑声)
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.
目前为止我们一共看过800部电影 从2007年到2015年 对镜头里每一个有台词的角色 按性别 种族 民族 LGBT群体和残疾人进行了分类
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.
让我们看看这个非常有问题的趋势 首先 银幕上和电影里明显缺少女性 在800部电影 和35205位带台词的演员中 不到1/3的角色是女性 还不到三分之一 这个数字从2007年 到2015年一直没变 如果你把我们的结果 与1946至1955年间的 小部分电影样品对比 你会发现这个数据 有半个多世纪没变了 半个多世纪啊 但是我们女性占人口的一半
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.
那么如果我们跨越 性别比例比较这个数据 今天的重点就在于此 问题就更加严重了 就在去年的前100部电影中 48部电影里完全没有 带台词的黑人或者非裔美国人角色 一个都没有 70部电影里完全没有 亚洲女性或者亚裔 美国女性有台词的角色 一个都没有 84部电影里完全没有 女性残疾人角色 93部电影完全没有同性恋 双性恋或变性人的女性带台词角色 这不是代表性的不足 这是一种刻意抹除 我叫它 视而不见症
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.
现在我们将目光 从普通演员投向主演 问题依旧没有减少 去年的100部电影中 只有32名女性主演或联合主演 在100部电影中只有3部 是由少数族裔的女性来主演的 只有一位背景多样的女性 在电影播出时超过了45岁
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.
现在我们再来看看角色形象 除了你们刚才看的这一系列数字 女性与对应的男演员相比 在电影中更容易被性感化 事实上她们穿着性感 局部裸露的可能性 是男性的三倍 而且有更大可能性是身材偏瘦 有时动画片里的女性角色 瘦到腰围已经接近上臂围了
(Laughter)
(观众笑声)
We like to say that these gals have no room for a womb or any other internal organ.
我们想说这些姑娘的身体 没有地方放子宫或任何内脏
(Laughter)
(观众笑声)
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.
那么撇开玩笑话 有理论支持 也有研究证实 长期接触以瘦为 理想和物质化的内容 会使一些女观众 对自己的身材不满意 并且将瘦和自我物化这些观念 内化成自己的想法 很显然我们在荧幕上看到的那些 和我们在现实生活中 看到的那些人物形象 不相匹配 完全不匹配 事实上 如果我们生活在 银幕中的世界里 我们将拥有人口危机
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.
所以 一旦当我认识到了这些模式 我就想找出原因 结果显示 导致银幕上 出现这种不平等的原因有二 内容创作者的性别 和对观众的错误解读 让我来快速解释一下
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 --
要想改变我刚提到的任一模式 聘用女性导演就可以 事实是 女性导演 在短片和独立电影中 可以带来更多银幕上的女性 更多以女性为中心的故事 更多40岁以上女性在银幕上的故事 我觉得这对这边的观众是好消息 更多的少数族群
(Laughter)
(观众笑声)
Sorry.
抱歉
(Laughter)
(观众笑声)
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.
抱歉但是也不是抱歉 更多在种族和民族方面 属于少数群体的角色 最重要的是 更多女性在镜头后工作 担任关键的电影制作角色 这是我们刚才说的 那个问题的简单答案 真的是这样吗 其实不是 800部电影 2007-2015年 886名导演中 只有4.1%是女性 其中只有三位是非裔美国人/黑人 只有一位女性是亚洲人
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.
那么 为什么这么难 雇佣女导演 如果她们可以使问题得到解决 为了回答这个问题 我们进行了一项研究 我们采访了几十位业内人士 问他们有关导演的问题 我们发现 不论是 男性还是女性的高管 当他们想到导演一词时 他们直接想到的是男性 他们认为领导的特质 自然而然是属于男性的 所以当他们要聘请导演时 要指挥一个团队 领导一艘船 做有远见的人或是帕顿将军 我们听过的一切 他们的脑海和想象中 会自然出现男性 对导演或领导者的认知 与对女人的认知是不一致的 角色是不协调的 这与心理学领域的 大量研究结果一致
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.
导致屏幕上不平等现象的 第二个因素 是对观众的错误解读 我不说你们也明白 这个国家去买票看电影的人 有一半是女性 是吧 但我们不被认作是一个可行的 或是能带来经济利润的目标观众 此外 关于女性能否打开 电影市场存在一些误解 打开电影市场的意思是 如果故事以女性为中心 投资就没有回报 但如果换成以男性为中心 那么投资就有回报
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.
这种误解实际上代价高昂 对吧 特别是随着加盟连锁的成功 比如 饥饿游戏 完美之音 或那个小小的独立电影 星球大战 力量觉醒 我们自己的经济分析数据表明 在美国 主演的性别 与票房是否成功没有关系 那有关系的是什么呢 制作成本本身 或加上电影是如何在全国广泛发行的 不是主角的性别
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.
所以目前为止 我们应该足够沮丧了 50年来没有任何变化 镜头背后的女导演很少 以及娱乐业不拿我们 女性当目标观众 但是我告诉过你们 会有一线曙光 确实有 实际上这儿有解决这个问题的 简单可行的办法 它们涉及内容创作者 执行者和消费者 比如在座的每一个人 我们谈谈其中几个办法
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.
第一个是我所说的 仅仅加五个 你知道吗 如果 我们明年的前100部电影 只要给这每个电影的银幕上 增加五个有台词的女性角色 就会创造一个新常态 如果我们连续三年这样做 我们将会在超过 半个世纪的时间 首次在性别上达到平等 这个方法存在优势 有很多原因 一 它不会减少男演员的工作机会 天理不容
(Laughter)
(观众笑声)
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.
二 经济实惠 性价比高 三 建立人才渠道 四 制作过程人性化 为什么 因为它确保片场有女性在
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.
第二个解决方案是对一线明星而言 众所周知 一线明星 可以在他们的合同中提出要求 特别是好莱坞超级大片中的那些名角 如果那些一线明星在合同中 仅仅加入平等条款或包容性附则 将会怎样 这是什么意思呢 你们可能不知道 在典型的特写电影里 有大约40到45个有台词的角色 我会认为这些角色中 只有8到10个与故事情节真正相关 可能 复仇者联盟 除外吧 这里面要多一些 但剩下的大约30个角色 没有理由不能让这些小角色 匹配或反映故事发生的 地点的人口统计 一线明星在合同的平等条款中 可以规定 这些角色要反映 我们实际生活的世界 实际上广播电视网 工作室或制作公司 在谈判过程中没有理由不采用 相同的合同条款
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.
第三个办法 这是对娱乐业而言的 特别是好莱坞 在涉及导演的招聘工作时 采用 鲁尼规则 目前在NFL 鲁尼规则 规定 如果一个团队想 从组织外聘请一名教练 他们必须要面试少数族群的候选人 同样的原则可以 应用到好莱坞电影中 怎么用呢 在这些顶级电影中 管理层和代理可以确保 女性和有色人种 不仅是在考虑名单上 而且他们是真正参加了面试的 可能有人会问 为什么这很重要 因为它让管理层看到女导演 否则女导演就被忽视在 排斥性的聘用程序之外了
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.
第四个办法是 关于像你我这样的消费者 如果我们想看到更多由女性制作 为女性制作 以及关于女性的电影 我们必须支持她们 这可能意味着要去独立剧院看电影 而不是连锁影城 或者可能意味着 在网上多滚动一下鼠标 找个女导演制作的电影 或者是写张支票去资助一部电影 特别是由有少数群体背景的 女导演制作的电影 这很合理吧 我们需要写信 打电话和发电邮 给制作和传播电影的公司 当我们想要看到有包容性的形式 看到女性出现在银幕上 我们需要在 社交媒体账户上发帖 最重要的是 看到镜头背后的女性 我们需要让我们的声音被听到 而且我们花的钱有价值
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.
现在 我们实际上有能力 去改变这个世界 美国及其文化产物 特别是电影 已经吸引了全球观众的想象力 全球的 所以这意味着电影业 有史无前例的机会 能够将关于平等的故事 传播到世界各地 想像一下会发生什么 如果电影业使其价值 与银幕上显示的价值观相一致 它可以培养我们 包容并接纳女孩和妇女 有色人群 LGBT群体 残疾人 以及全世界的人们 电影业唯一要做的就是 放出它的秘密武器 那就是讲故事
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.
在这次演讲的开始 我说电影 能带我们穿梭时空 但是我想强调的是 电影能让我们转型 这个现场没有任何人 成长或经历过具有充分现实化的 女性角色的银幕时代 没有人经历过 因为那个数字没有变过 如果下一代观众 在完全不同的银幕现实中长大 会怎么样 那么我今天要告诉你 不仅改变银幕所见是可能的 而且我迫不及待想要看它到来了
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.
那么让我们约定 今天就采取行动 消灭这 视而不见 的流行病 让我们约定今天就采取行动 同意美国观众和全球观众 应该要求更多 也得到更多 今天让我们约定 下一代观众和听众 他们应该看到 我们从未见过的故事
Thank you.
谢谢
(Applause)
(观众掌声)