TEDWomen 2016
Stacy Smith: The data behind Hollywood's sexism
斯泰西·史密斯: 好萊塢性別歧視的數據
Filmed:
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電影裡的女孩和女人在哪？社會科學家史蒂西·史密斯分析了媒體如何偏少雇用和描繪女性，以及這對觀眾潛在破壞性的影響。她分享了好萊塢電影的幕後關於性別偏見的硬數據。這些數據顯示銀幕露面的男性比女性多三倍（而且攝影機後面的工作者更糟）。
Stacy Smith - Media researcher
Stacy Smith shows how Hollywood’s homogenous (and overwhelmingly male) culture systematically excludes women and minorities. Full bio
Stacy Smith shows how Hollywood’s homogenous (and overwhelmingly male) culture systematically excludes women and minorities. Full bio
Double-click the English transcript below to play the video.
00:12
Today, I want to tell you
about a pressing social issue.
about a pressing social issue.
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今天，我要談一個很急迫的社會問題，
00:16
Now, it's not nuclear arms,
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不是核武，
00:19
it's not immigration,
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不是移民，
00:20
and it's not malaria.
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也不是大麻，
00:22
I'm here to talk about movies.
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我是來談有關電影的問題。
認真的來說，電影其實很重要的。
00:26
Now, in all seriousness,
movies are actually really important.
movies are actually really important.
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00:30
In film, we can be wildly entertained,
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在電影裡，我們能感到極大的娛樂，
00:34
and we can also be transported
through storytelling.
through storytelling.
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也能在故事裡身臨其境。
00:39
Storytelling is so important.
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講故事是很重要的。
00:41
Stories tell us what societies value,
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故事教我們社會價值觀，
00:44
they offer us lessons,
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教人生課程，
00:46
and they share and preserve our history.
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還分享和保存我們的歷史。
00:50
Stories are amazing.
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故事是驚人的，
00:52
But stories don't give everyone
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但故事不給每個人
00:55
the same opportunity
to appear within them,
to appear within them,
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同等的出場機會，
00:59
particularly not stories
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特別是在美國電影裡
01:02
compartmentalized
in the form of American movies.
in the form of American movies.
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給予男女不同待遇的故事裡。
01:06
In film, interestingly enough,
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有趣的是在電影裡
01:08
females are still erased and marginalized
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女性在許多我們的故事中，
01:12
in a lot of our stories.
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仍然被消除和邊緣化。
01:14
And I learned this for the first time
about 10 years ago
about 10 years ago
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我在十年前第一次發現，
01:17
when I did my first study
on gender role in G-rated films.
on gender role in G-rated films.
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當我在 G 等級（普遍級）電影中
第一次研究關於性別的角色時。
第一次研究關於性別的角色時。
01:21
Since then, we've conducted
more than 30 investigations.
more than 30 investigations.
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從那時起，我們已經做了
超過 30 個調查。
超過 30 個調查。
01:24
My team is tired.
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我的隊員們都覺得累了。
01:26
And I've committed my life
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我投入了我的生命，
01:30
as researcher and activist
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以一個研究者和活動家的身份，
01:32
to fighting the inclusion crisis
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來抗爭好萊塢的性別歧視危機。
01:35
in Hollywood.
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01:37
So today, what I'd like to do
is tell you about that crisis.
is tell you about that crisis.
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所以今天我想要告訴你這個危機。
01:40
I want to talk about
gender inequality in film.
gender inequality in film.
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我想談談電影中的性別不平等。
01:43
I want to tell you how it is perpetuated,
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我想告訴你它如何持續至今，
01:45
and then I'm going to tell you
how we're going to fix it.
how we're going to fix it.
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然後我要告訴你
我們將如何解決它。
我們將如何解決它。
01:49
However, one caveat before I begin:
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但是，我先提前預警：
01:53
my data are really depressing.
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我帶來的數據很讓人沮喪。
01:56
So I want to apologize in advance,
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所以我想先向你們道歉，
01:59
because I'm going to put you all
in a really bad mood.
in a really bad mood.
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因為我會讓你們情緒低落。
02:02
But I'm going to bring it up at the end,
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但在最後我會提升你們的心情，
02:05
and I'm going to present a silver lining
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我要提出一個撥雲見日的方案，
02:08
to fix this mess that we've been in
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來修復這個已經存在
02:10
for a very, very long time.
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非常非常久的亂象。
02:13
So, let's start with the gravity
of the situation.
of the situation.
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好，讓我們從頭來講這個問題的重心。
02:17
Each year, my research team
examines the top 100 grossing films
examines the top 100 grossing films
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每一年，我的研究團隊會
檢查排名前 100 部
檢查排名前 100 部
最賣座的美國電影。
02:21
in the United States.
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02:22
What we do is we look at every speaking
or named character on-screen.
or named character on-screen.
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我們關注每一個在銀幕上出現的人，
說話的或被提到名字的。
說話的或被提到名字的。
02:26
Now, to count in one of my investigations,
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這裡，要能算到我的記錄裡面的角色，
02:29
all a character has to do is say one word.
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至少要有一字台詞。
02:34
This is a very low bar.
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這個要求夠低吧。
02:36
(Laughter)
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（笑聲）
02:38
Thus far, we've looked at 800 movies,
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到目前為止，
我們看了 800 部電影，
我們看了 800 部電影，
02:40
from 2007 to 2015,
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從 2007 年到 2015 年，
02:42
cataloguing every speaking character
on-screen for gender, race, ethnicity,
on-screen for gender, race, ethnicity,
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將每一個銀幕上說過話的角色，
按性別、種族、民族、性別取向
02:47
LGBT and characters with a disability.
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以及是否殘疾來分類。
02:51
Let's take a look
at really some problematic trends.
at really some problematic trends.
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讓我們來看看
真的有一些問題的趨勢。
真的有一些問題的趨勢。
02:55
First, females are still
noticeably absent on-screen in film.
noticeably absent on-screen in film.
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首先，女性在銀幕上的出場比率
很明顯的比男性少很多。
很明顯的比男性少很多。
03:00
Across 800 movies
and 35,205 speaking characters,
and 35,205 speaking characters,
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在 800 部電影中，
只有 35,205 個有台詞的演員，
只有 35,205 個有台詞的演員，
03:04
less than a third of all roles
go to girls and women.
go to girls and women.
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只有不到三分之一的角色是女性。
03:08
Less than a third!
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少於三分之一啊！
03:09
There's been no change from 2007 to 2015,
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從 2007 到 2015，基本沒變。
03:13
and if you compare our results
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如果你拿我們的結果
03:14
to a small sample of films
from 1946 to 1955,
from 1946 to 1955,
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和 1945 到 1955 年的
一小部分電影裡的結果相比，
一小部分電影裡的結果相比，
03:19
there's been no change
in over a half of a century.
in over a half of a century.
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半個多世紀以來都任何沒有改變。
03:23
Over half of a century!
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半個多世紀啊！
03:25
But we're half of the population.
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我們可是人口的一半呀。
03:27
Now, if we look at this data
intersectionally,
intersectionally,
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現在，如果我們看交叉數據，
03:30
which has been a focus of today,
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這是我們今天關注的重點,
03:32
the picture becomes even more problematic.
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這個圖展示出更多的問題。
03:35
Across the top 100 films
of just last year,
of just last year,
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去年（2015年）最賣座的
100 部電影中，
100 部電影中，
03:38
48 films didn't feature one black
or African-American speaking character,
or African-American speaking character,
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48 部影片沒出現一個
有台詞的黑人女性演員，
有台詞的黑人女性演員，
03:43
not one.
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一個都沒有。
03:44
70 films were devoid of Asian
or Asian-American speaking characters
or Asian-American speaking characters
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70 部電影沒一個有台詞的
亞洲女性或亞裔美國女性的面孔，
03:48
that were girls or women.
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03:50
None.
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完全沒有。
03:51
Eighty-four films didn't feature one
female character that had a disability.
female character that had a disability.
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84 部電影沒有一個有殘疾的女性。
03:56
And 93 were devoid of lesbian, bisexual
or transgender female speaking characters.
or transgender female speaking characters.
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93 部電影中沒有有台詞的
女同性戀、雙性戀或變性女性的角色。
女同性戀、雙性戀或變性女性的角色。
04:02
This is not underrepresentation.
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這不只是少數族群的
見光率不足的問題。
見光率不足的問題。
04:06
This is erasure,
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這是刻意隱藏。
04:07
and I call this
the epidemic of invisibility.
the epidemic of invisibility.
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我稱做隱形的流行病。
04:12
Now, when we move
from prevalence to protagonist,
from prevalence to protagonist,
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我們來看一下主角，
04:16
the story is still problematic.
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這方面也是很有問題。
04:19
Out of a hundred films last year,
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去年的一百部電影中，
04:20
only 32 featured a female lead
or colead driving the action.
or colead driving the action.
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僅僅有 32 個是女性領導
或共同領導了影片裡的行動。
或共同領導了影片裡的行動。
04:25
Only three out of a hundred films
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一百部中僅僅只有 3 部，
04:27
featured an underrepresented
female driving the story,
female driving the story,
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這凸顯了女性
主導故事情節的嚴重不足。
主導故事情節的嚴重不足。
04:31
and only one diverse woman
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只有一部電影上映時
04:33
that was 45 years of age or older
at the time of theatrical release.
at the time of theatrical release.
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是有關 45 歲以上的
少數族群女性的。
少數族群女性的。
04:38
Now let's look at portrayal.
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現在看一下人物描寫。
04:40
In addition to the numbers you just saw,
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除了你剛才看到的數字，
04:42
females are far more likely
to be sexualized in film
to be sexualized in film
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女性在電影中更容易被性感化，
04:46
than their male counterparts.
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相對於他她們對手的男性。
04:48
Matter of fact, they're about
three times as likely
three times as likely
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事實上她們有三倍的可能性
04:50
to be shown in sexually
revealing clothing,
revealing clothing,
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穿著性感的衣服，
04:52
partially naked,
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半裸，
04:54
and they're far more likely to be thin.
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以及她們特別可能是纖瘦的。
04:56
Now, sometimes, in animation,
females are so thin
females are so thin
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有時在動畫裡
女性瘦到她們的腰圍就像胳膊一樣細。
05:00
that their waist size approximates
the circumference of their upper arm.
the circumference of their upper arm.
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05:05
(Laughter)
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（笑聲）
05:06
We like to say that these gals
have no room for a womb
have no room for a womb
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我們覺得這些女孩子的身體裡
應該沒有子宮
應該沒有子宮
05:10
or any other internal organ.
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或其他內臟的空間吧。
05:12
(Laughter)
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（笑聲）
05:14
Now, all joking aside,
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好，先不開玩笑了。
05:16
theories suggest, research confirms,
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根據理論，研究也證明，
05:18
exposure to thin ideals
and objectifying content
and objectifying content
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當人們被這種空想的纖瘦
和物化的理念包圍時，
和物化的理念包圍時，
05:20
can lead to body dissatisfaction,
internalization of the thin ideal
internalization of the thin ideal
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可導致不滿自己的身體，
內化這種瘦子理念和自我物化，
05:24
and self-objectification
among some female viewers.
among some female viewers.
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表現在一些女性觀眾中。
05:29
Obviously, what we see on-screen
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很明顯，我們在銀幕上看到的，
05:31
and what we see in the world,
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和我們在現實中看到的
05:33
they do not match.
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不一樣啊。
05:34
They do not match!
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不一樣啊！
05:36
Matter of fact,
if we lived in the screen world,
if we lived in the screen world,
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事實上，如果我們生活在電影世界裡，
05:38
we would have a population
crisis on our hands.
crisis on our hands.
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我們手上會有人口危機。
05:42
So, as soon as I recognized
these patterns,
these patterns,
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所以一旦我發現這些趨勢，
05:44
I wanted to find out why,
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我想探討為什麼。
05:46
and it turns out that there are
two drivers to inequality on-screen:
two drivers to inequality on-screen:
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結果我發現有兩個因素
驅動銀幕上的性別不平等：
驅動銀幕上的性別不平等：
05:50
content creator gender
and misperceptions of the audience.
and misperceptions of the audience.
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內容創作者的性別和觀眾的錯誤解讀。
05:53
Let's unpack them really quick.
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讓我們快速地解秘。
05:54
If you want to change
any of the patterns I just talked about,
any of the patterns I just talked about,
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如果你想改變
任何我剛才談到的模式，
任何我剛才談到的模式，
05:57
all you have to do
is hire female directors.
is hire female directors.
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你只要聘用女導演。
06:00
Turns out, the female directors
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然後，女導演
06:02
are associated with,
in terms of short films and indie films,
in terms of short films and indie films,
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與短片和獨立電影相關。
06:06
more girls and women on-screen,
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更多的女孩和女人上鏡頭，
06:08
more stories with women in the center,
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更多女人出現在故事的中心，
06:11
more stories with women
40 years of age or older on-screen,
40 years of age or older on-screen,
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在銀幕上呈現更多
40 歲以上女人的故事。
40 歲以上女人的故事。
06:16
which I think is good news for this crowd.
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我認為這對在座的聽眾是個好消息。
06:18
More underrepresented --
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詮釋更多代表性不足的少數族群──
06:20
(Laughter)
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（笑）
06:22
Sorry.
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不好意思
06:23
(Laughter)
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（笑）
06:25
Sorry but not sorry.
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沒事，繼續，
06:26
More underrepresented characters
in terms of race and ethnicity,
in terms of race and ethnicity,
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詮釋更多代表性不足的少數族群，
06:30
and most importantly,
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最重要的是
06:31
more women working behind the camera
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讓更多的女性在相機後面擔任
06:33
in key production roles.
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關鍵性的製作角色。
06:36
Easy answer to the problems
that we just talked about.
that we just talked about.
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對於我們剛才的問題，
這是一個簡單的解決方案。
這是一個簡單的解決方案。
06:39
Or is it?
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真的是嗎？
06:41
It's actually not.
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實際上，不是。
06:42
800 films, 2007-2015,
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800 部電影，
2007 到 2015 年，
2007 到 2015 年，
06:46
886 directors.
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886 個導演中，
06:47
Only 4.1 percent are women.
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只有 4.1% 是女性，
06:51
Only three are African-American or black,
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只有三位非裔美人，
06:54
and only one woman was Asian.
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只有一位女性是亞洲人。
06:57
So why is it so difficult
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為什麼啟用女導演這麼困難，
07:01
to have female directors
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如果她們是部分的解決方案？
07:02
if they're part of the solution?
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07:05
Well, to answer this question,
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為了回答這個問題，
我們做了一個研究、
07:07
we conducted a study.
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07:09
We interviewed dozens of industry insiders
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我們採訪了幾十個行業內部人士，
07:11
and asked them about directors.
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問他們有關導演。
07:13
Turns out, both male
and female executives,
and female executives,
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結果，男性和女性高管
07:17
when they think director,
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當他們考慮導演的時候，
07:19
they think male.
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他們想到的就是男性。
07:21
They perceive the traits of leadership
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他們認為領導的特質
07:23
to be masculine in nature.
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是男性與生俱來的。
07:26
So when they're going to hire a director
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所以，當他們要雇一個導演
07:29
to command a crew, lead a ship,
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指揮一船的船員，領導一艘船，
07:31
be a visionary or be General Patton,
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必須是一個遠見的人，
或是像是巴頓將軍。
或是像是巴頓將軍。
07:34
all the things that we've heard --
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根據我們所聽到的一切──
07:36
their thoughts and ideations pull male.
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他們的腦子裡和想法
會自然出現男性。
會自然出現男性。
07:39
The perception of director or a leader
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對於導演或者領導者的概念，
07:42
is inconsistent
with the perception of a woman.
with the perception of a woman.
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與對於女性的概念是不一致的。
07:46
The roles are incongruous,
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角色是不協調的，
07:48
which is consistent with a lot of research
in the psychological arena.
in the psychological arena.
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大量心理學的研究證實了這一點。
07:52
Second factor contributing
to inequality on-screen
to inequality on-screen
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第二個致使在銀幕上不平等的因素
07:55
is misperceptions of the audience.
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是觀眾的錯誤解讀。
07:57
I don't need to tell this crowd:
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我不用說你們就心知肚明：
07:59
50 percent of the people
that go to the box office and buy tickets
that go to the box office and buy tickets
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一半的去買電影票的人
08:02
are girls and women in this country.
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是這個國家的女性。
08:04
Right?
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對吧？
但我們並不被視為是能成功帶來
豐厚利潤的目標觀眾群。
豐厚利潤的目標觀眾群。
08:06
But we're not perceived to be a viable
or financially lucrative target audience.
or financially lucrative target audience.
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08:11
Further, there's some misperceptions
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此外，對於女性是否可以帶動票房
08:13
about whether females can open a film.
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還是有一些誤解。
08:16
Open a film means that if you
place a female at the center,
place a female at the center,
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帶動票房的意思是
置女性於中心無法取得投資回報，
08:19
it doesn't have the return on investment
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08:21
that if you place a male
at the center of a story does.
at the center of a story does.
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而以男性為故事的中心就能。
08:25
This misperception is actually costly.
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這種誤解實際上傷害極大，對吧？
08:29
Right?
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特別是在連鎖電影成功之後，
08:30
Especially in the wake
of franchise successes
of franchise successes
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08:32
like "The Hunger Games,"
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像是 「飢餓遊戲」、
08:34
"Pitch Perfect"
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「完美音調」
08:36
or that small little indie film,
"Star Wars: The Force Awakens."
"Star Wars: The Force Awakens."
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或那個小小的獨立電影，
「星球大戰：力量覺醒」。
「星球大戰：力量覺醒」。
08:41
Our own economic analyses show
that gender of the lead character
that gender of the lead character
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我們自己的經濟分析顯示：
主角的性別與電影在美國
是否賺錢沒有關聯。
是否賺錢沒有關聯。
08:45
doesn't play a role in economic success
in the United States.
in the United States.
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08:48
But what does?
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但是什麼會有呢？
08:50
Production costs alone
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光是生產成本，
08:51
or in conjunction with how widely
a film is distributed in this country.
a film is distributed in this country.
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或是結合一部電影在這個國家
是否廣泛的發行就很有關聯。
是否廣泛的發行就很有關聯。
08:58
It's not the gender of the lead character.
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不是主角的性別。
09:00
So at this point, we should
all be sufficiently depressed.
all be sufficiently depressed.
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所以到目前為止，
我們應該已相當沮喪了。
我們應該已相當沮喪了。
09:05
No change in 50 years,
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50 年都沒變，
09:06
few female directors
working behind the camera
working behind the camera
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鏡頭後少有女導演，
09:09
and the entertainment industry
does not trust us as an audience.
does not trust us as an audience.
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以及娛樂業並不把女性
當成真正的觀眾。
當成真正的觀眾。
09:14
Well, I told you
there would be a silver lining,
there would be a silver lining,
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好，我告訴過你們會有一線曙光，
09:16
and there is.
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的確有的。
09:18
There are actually
simple and tangible solutions
simple and tangible solutions
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我們有簡單而可行的方案
09:22
to fixing this problem
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來解決這個問題，
09:23
that involve content creators,
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包括了內容的創作者、
09:25
executives and consumers
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高管和消費者，
09:27
like the individuals in this room.
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就像在座的你們一樣。
09:29
Let's talk about a few of them.
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讓我們談談其中的幾個。
09:31
The first is what I call "just add five."
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第一個是我所說的「只是添加五個」。
09:34
Did you know if we looked
at the top 100 films next year
at the top 100 films next year
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你可知道，如果我們明年
約一百部的賣座電影裡，
約一百部的賣座電影裡，
09:37
and simply added five female
speaking characters on-screen
speaking characters on-screen
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每部只要添加五位有台詞的女性，
09:40
to each of those films,
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就會產生新的常態。
09:41
it would create a new norm.
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09:43
If we were to do this
for three contiguous years,
for three contiguous years,
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如果我們這樣連續做三年，
09:46
we would be at gender parity
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我們將在這半個多世紀以來
09:48
for the first time
in over a half of a century.
in over a half of a century.
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首次達到性別平等。
09:53
Now, this approach is advantageous
for a variety of reasons.
for a variety of reasons.
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這個方法有利的原因有好幾樣：
09:56
One? It doesn't take away jobs
for male actors.
for male actors.
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一，它不減少男演員的工作機會。
10:00
Heaven forbid.
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天理不容。
10:02
(Laughter)
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（笑聲）
10:04
Two, it's actually cost-effective.
It doesn't cost that much.
It doesn't cost that much.
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二， 它很合算，花不了多少錢。
10:08
Three, it builds a pipeline for talent.
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三，它會構建人才管道。
10:10
And four, it humanizes
the production process.
the production process.
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四，它將生產過程人性化。
10:13
Why? Because it makes sure
that there's women on set.
that there's women on set.
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為什麼？因為它確保有女人在場。
10:17
Second solution is for A-list talent.
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第二個解決方案是為了 A 級人才。
10:20
A-listers, as we all know,
can make demands in their contracts,
can make demands in their contracts,
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大家都知道 A 級人才
可以在合同中要求，
可以在合同中要求，
10:24
particularly the ones that work
on the biggest Hollywood films.
on the biggest Hollywood films.
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特別是參與好萊塢超級大片的那些人。
10:28
What if those A-listers
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如果這些 A 級人員，
10:29
simply added an equity clause
or an inclusion rider
or an inclusion rider
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只是添加了一個對等條件
或一個要求，
或一個要求，
10:34
into their contract?
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到他們的合同呢？
10:36
Now, what does that mean?
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這是什麼意思呢？
10:38
Well, you probably don't know
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好吧，你可能不知道
10:39
but the typical feature film
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但典型的電影
10:41
has about 40 to 45
speaking characters in it.
speaking characters in it.
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會有約 40 至 45 個
有台詞的角色。
有台詞的角色。
10:44
I would argue that only 8 to 10
of those characters
of those characters
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我認為只有 8 到 10 個人
10:47
are actually relevant to the story.
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與故事有關。
10:51
Except maybe "Avengers." Right?
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除了「復仇者」，對吧？
10:53
A few more in "Avengers."
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「復仇者」多了幾個。
10:55
The remaining 30 or so roles,
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剩下的 30 個角色，
10:58
there's no reason why those minor roles
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沒有理由為什麼這些小角色，
11:00
can't match or reflect the demography
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不能匹配或反映
故事發生地點的人口比例。
11:03
of where the story is taking place.
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11:07
An equity rider by an A-lister
in their contract
in their contract
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A 級人員能在他們的合同中
11:10
can stipulate that those roles
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規定這些角色反映
我們實際生存的世界。
我們實際生存的世界。
11:13
reflect the world
in which we actually live.
in which we actually live.
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11:16
Now, there's no reason why a network,
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沒有理由廣播公司、
11:19
a studio or a production company
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工作室或製作公司
11:21
cannot adopt the same contractual language
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不能在他們的談判過程中，
11:24
in their negotiation processes.
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採用相同的合同條款。
11:27
Third solution:
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第三個解決方案，
11:29
this would be for
the entertainment industry,
the entertainment industry,
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是為娛樂業
11:31
Hollywood in particular,
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──特別是好萊塢──
11:33
to adopt the Rooney Rule
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採用魯尼規則
11:35
when it comes to hiring practices
around directors.
around directors.
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來處理招聘導演的相關事宜。
11:39
Now, in the NFL,
the Rooney Rule stipulates
the Rooney Rule stipulates
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目前在 NFL（國家美式足球聯盟）
魯尼規則規定
魯尼規則規定
11:42
that if a team wants to hire a coach
from outside the organization,
from outside the organization,
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如果某隊想僱一個組織外的教練，
11:46
what they have to do is interview
an underrepresented candidate.
an underrepresented candidate.
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他們要必須面試少數族群的候選人。
11:50
The exact same principle
can apply to Hollywood films.
can apply to Hollywood films.
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完全相同的原則
可以應用到好萊塢電影。
可以應用到好萊塢電影。
11:54
How?
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如何做？
11:55
Well, on these top films,
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嗯，在那些頂級的電影中，
11:56
executives and agents can make sure
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高管和代理可以確保
12:00
that women and people of color
are not only on the consideration list,
are not only on the consideration list,
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婦女和有色人種，
不僅在考慮清單上，
不僅在考慮清單上，
12:05
but they're actually
interviewed for the job.
interviewed for the job.
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並且被面试。
12:09
Now, one might say,
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或許有人會問這何以重要呢？
12:10
why is this important?
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12:12
Because it exposes or introduces
executives to female directors
executives to female directors
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因為這讓高管看見女導演，
12:17
who otherwise fall prey
to exclusionary hiring practices.
to exclusionary hiring practices.
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否則她們仍會被排斥在雇用圈外。
12:22
The fourth solution
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第四個解決方案
是對於像你我這樣的消費者。
12:23
is for consumers like me and you.
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12:27
If we want to see more films
by, for and about women,
by, for and about women,
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如果我們想看到更多由女性製作
或關於女性的電影，
或關於女性的電影，
12:30
we have to support them.
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我們必須支持她們。
12:32
It may mean going
to the independent theater chain
to the independent theater chain
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這會意味著到獨立影片的
連鎖劇院去看電影，
連鎖劇院去看電影，
12:35
instead of the multiplex.
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而不是影視城。
12:36
Or it might mean scrolling down
a little further online
a little further online
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或者意味你要多滾動幾下鼠標，
12:40
to find a film by a female director.
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去找一個女導演的電影。
12:43
Or it may be writing a check
and funding a film,
and funding a film,
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或者是寫一張支票資助一部電影，
12:45
particularly by a female director
from an underrepresented background.
from an underrepresented background.
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特別是少數族群背景女導演的電影。
12:50
Right?
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是麼？
12:51
We need to write, call and email companies
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我們需要寫信、打電話和電郵給
12:54
that are making and distributing films,
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製作和傳播電影的公司，
12:56
and we need to post
on our social media accounts
on our social media accounts
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我們要在社交媒體帳戶發言，
12:59
when we want to see
inclusive representation,
inclusive representation,
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如果我們想看到包容性代表
13:02
women on-screen,
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和女性上銀幕，
13:03
and most importantly,
women behind the camera.
women behind the camera.
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最重要的是在攝影機後的婦女。
13:07
We need to make our voices heard
and our dollars count.
and our dollars count.
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我們必須讓我們的聲音被聽到，
讓我們的購票金額具有影響力。
13:13
Now, we actually have the ability
to change the world on this one.
to change the world on this one.
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實際上在這方面我們能夠改變世界。
13:19
The US and its content,
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美國及其內容，
13:22
films in particular,
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特別是電影，
13:23
have captured the imaginations
of audiences worldwide.
of audiences worldwide.
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已捕獲了全世界觀眾想像力。
13:28
Worldwide.
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全世界。
13:30
So that means that the film industry
has unprecedented access
has unprecedented access
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所以這意味著電影業
擁有前所未有的機會，
擁有前所未有的機會，
13:35
to be able to distribute
stories about equality
stories about equality
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能夠散播有關性別平等的故事
13:40
all around the world.
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到世界各地。
13:42
Imagine what would happen
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想像一下將會發生什麼，
13:44
if the film industry aligned its values
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如果電影行業將其價值
13:48
with what it shows on-screen.
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與銀幕上顯示的價值觀相一致。
13:50
It could foster inclusion
285
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它可以促進包容
13:52
and acceptance for girls and women,
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和接受女孩和婦女，
13:55
people of color,
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有色人種，
13:57
the LGBT community,
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LGBT（同性戀者）社群，
13:59
individuals with disabilities,
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殘疾人，
14:00
and so many more around the world.
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3920
和世界各地更多的人。
14:05
The only thing that the film industry
has to do is unleash its secret weapon,
has to do is unleash its secret weapon,
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電影業唯一必須做的是
釋放其秘密武器，
釋放其秘密武器，
14:12
and that's storytelling.
292
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那就是講故事。
14:15
Now, at the beginning of this talk,
293
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在這次演講的開始，
14:17
I said that films --
294
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2416
我說電影
14:20
that they can actually transport us,
295
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實際上可以讓我們身歷其境，
14:22
but I would like to argue
that films, they can transform us.
that films, they can transform us.
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但我想表明的是電影能改變我們。
14:28
None of us in this room
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我們在場沒有人成長或體驗過
14:30
have grown up or experienced
a storytelling landscape
a storytelling landscape
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充分實現了女性特性的故事的場景。
14:34
with fully realized female characters,
299
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14:38
none of us,
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沒有人有。
14:40
because the numbers haven't changed.
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因為數字還沒有改變。
14:42
What would happen
if the next generation of audiences
if the next generation of audiences
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如果下一代觀眾
14:46
grew up with a whole
different screen reality?
different screen reality?
303
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在完全不同的銀幕現實中長大，
會發生什麼？
14:51
What would happen?
304
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14:52
Well I'm here to tell you today
305
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今天我在這裡告訴大家，
14:54
that it's not only possible
to change what we see on-screen
to change what we see on-screen
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我們不只能夠改變在銀幕上所見，
14:58
but I am impatient for it to get here.
307
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而且我不耐煩那緩慢的進展速度。
15:03
So let's agree to take action today
308
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因此，讓我們同意今天就採取行動，
15:07
to eradicate the epidemic of invisibility.
309
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根除隱形的流行病。
15:11
And let's agree to take action today
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讓我們同意今天採取行動，
15:14
to agree that US audiences
and global viewers
and global viewers
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同意美國觀眾和全球觀眾
15:18
demand and deserve more.
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應該要求和值得更多。
15:21
And let's agree today
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今天讓我們說好
15:24
that the next generation
of viewers and audiences,
of viewers and audiences,
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下一代觀眾和聽眾，
15:29
that they deserve to see the stories
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他們應該看得到
15:32
we were never able to see.
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我們過去未能看到的故事。
15:36
Thank you.
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謝謝大家。
（掌聲）
15:37
(Applause)
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ABOUT THE SPEAKER
Stacy Smith - Media researcherStacy Smith shows how Hollywood’s homogenous (and overwhelmingly male) culture systematically excludes women and minorities.
Why you should listen
Dr. Stacy L. Smith is the Founder and Director of the Media, Diversity, and Social Change Initiative at the Annenberg School for Communication & Journalism at the University of Southern California, where she is also an Associate Professor. Her work examines gender, race, LGBT status, disability and age on screen and gender and race/ethnicity behind the camera in cinematic content as well as barriers and opportunities facing women and people of color in the entertainment industry. She also conducts economic analyses related to diversity and the financial performance of films. Smith is a world leader, with speaking engagements ranging from the TED Women stage to the United Nations. Her research sets the global standard for data on employment diversity in entertainment, and she is a trusted source to the entertainment industry. Her work is cited widely by both corporate and educational audiences.
Smith has written more than 100 journal articles, book chapters, and reports on content patterns and effects of the media. Her research has been written about in the New York Times, Los Angeles Times, fivethirtyeight.com, The Atlantic, The Huffington Post, Newsweek, The Hollywood Reporter, Variety, Wired and USA Today, among others. She has a co-edited essay in Maria Shriver's book, A Woman's Nation Changes Everything (2009). Her most recent research reports include the Comprehensive Annenberg Report on Diversity (CARD), multiple landmark studies with Sundance Institute and Women in Film Los Angeles and a study of 800 top-grossing films conducted at USC Annenberg.
Stacy Smith | Speaker | TED.com