TED | 电影世界共通的奇迹
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电影世界共通的奇迹
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Beeban Kidron
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社会 电影 TED 演讲
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电影有能力创造共同的叙事体验，塑造记忆和世界观。英国电影导演比班•基德龙在展示她的电影俱乐部如何与孩子们分享优秀电影时，引用了一些标志性的电影场景——从米兰的奇迹到少年时代。
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00:12
有证据表明不同年龄和有不同文化背景的人们，从不同叙事方式中创造个人特色，从母亲到女儿，牧师到会众，老师到学生，说书人到听众，不论在岩壁绘画，还是最新的互联网应用，人类总是通过寓言或者故事，来讲述他们的历史和真理，我们是骨子里的说书人。
00:41
但是在我们日渐世俗和破碎的世界中，我们是否在分享共通的经验，而不受我们冲动的消费主义影响？而哪种叙事，哪种历史，哪种身份，哪种道德规范，我们正在传输给年轻一代？
01:03
电影可以说是，20世纪最有影响力的艺术形式，电影艺术家通过电影讲故事，跨越国界，用不同语言，形式和哲学，应有尽有，事实上，没有一个主题，电影不曾涉及，在过去的十年中，我们见证了全球媒体被大量整合，现在由好莱坞商业大片文化为主导，呈现在我们面前的电影大餐逐渐有这样的趋势，感官刺激，而并故事本身，才是王道，而四十年前我们常见的——，世代间讲述故事的方式——，在当今几乎难以见到，身为电影制作者，我深感忧虑，身为人类的一员，我深感恐惧，我们的年轻人将如何创造未来？他们如此缺乏，了解过去的机会，以及可供参照未来可能性的叙述，这真有讽刺意味，技术正取得史无前例的发展，文化却变得前所未有的贫瘠。
02:05
所以在2006年我们创立了“电影俱乐部”组织，它每周在学校放映电影，并在放映后组织讨论，如果我们可以获得一百年来的电影资料，或许我们可以创建一个讲述系统，让它把内涵，传输给这个支离破碎、不安躁动世界中的年轻人，随着技术的普及，一个偏远小村庄的学校，也可以在白板上投影DVD。
02:34
在刚开始的九个月中，我们在英国举行了25个俱乐部活动，让五到十八岁的孩子，不间断地看完了一部90分钟的电影，这些电影放映都经过策划，并与情境相结合，但最终选择权在孩子们手上，我们的观众成长迅速，选出的片子是我们提供的电影中最有价值和最多元的，成果立竿见影，这是最有深远影响的教育方式，我们的俱乐部小组多达150人，少至3人，这些年轻人发现新事物，新思想和新观点，当第一轮试验活动结束时，有1000多个学校，想加入这个俱乐部。
03:21
改变我一生的电影，是1951年维托里奥·德·西卡导演的《米兰奇迹》，它对一些事物提出了真知灼见，包括贫民窟、贫穷和梦想，在我父亲五十岁生日上我看到了这部影片，当时的技术要求我们租用放映厅，雇佣放映师并支付冲洗胶片的费用，但对我父亲来说，德·西卡在情感和艺术上表现的情境对他如此重要，以致他选择在半百生日这天，与他三个十几岁的孩子，以及孩子的30个朋友一起观看，他说：“这是为了，把关怀和希望的接力棒，传递给下一代。”
04:05
《米兰奇迹》的最后一幕里，贫民窟里的人们坐着扫帚飞向天空，在这部电影拍摄60年后，我第一次看到它的30年后，我看到年轻人仰幕地看着它们升起，他们和我当时一样感到难以置信，他们很快地将它与《贫民窟的百万富翁》，或者里约热内卢的贫民窟联系起来，说明电影的主题经久不衰。
04:30
在一季有关民主与政府的电影季，我们放映了《史密斯先生到华盛顿，》，这部电影在1939年摄制，比大部分成员的祖父母年龄都大，这部由弗兰克·卡普拉执导的经典作品颂扬了独立和礼节，它传达了如何做对的事，如何做不羁的英雄，它也宣扬了在政治机器中，怀抱信仰并以此为荣。
04:55
在这部电影成为电影俱乐部经典之后不久，在英国议会上院上演了一次长达一周的彻夜议事阻挠，我们欣慰地发现，国内的年轻人，正在权威地解释，议事阻挠是什么，为什么上院议员们要牺牲睡眠来捍卫原则，詹姆斯·史都华毕竟在电影里阻挠了两轮议事。
05:21
我们放映《卢旺达饭店》时，年轻人看到了最残酷的种族屠杀，它让年轻人流泪，也提出了尖锐的问题，关于没有武装的维和部队，和两面三刀的西方社会，表面上为理想而战，内心里却藏着商业利益，当《辛德勒的名单》提到人们永远不会忘记历史的教训，一个心中充满觉醒后的悲痛的孩子说，“我们已经忘记了，不然为什么《卢旺达饭店》这样的事会发生?”
05:53
当他们看到更多的电影，他们的生活明显更加丰富，《扒手》引发了关于罪犯是否应被剥夺公民权利的讨论，《念师恩》激励了年青人，弘扬了人们对于非白人英国人的，态度转变，却也表达了对学校制度的不满，现有的制度并不看重集体认同，不像西德尼·波蒂埃那样悉心教导。
06:22
现在，这些有思想，有主见，有好奇心的年轻人，毫无顾忌地涉猎各种类型的电影——，黑白片，外语片，记录片，非叙事性电影，奇幻片——，毫无顾忌地写出详细的影评，用热情和日渐复杂的笔调，来比较不同的电影，每周都有六千篇影评投稿，来竞争“本周影评”的荣誉称号。
06:50
我们的俱乐部从25个，发展到成百上千个，直到我们拥有了近25万的儿童，分布在全国7000个俱乐部中，虽然这个数目正在并继续在以卓越的速度增长，但最为卓越的是，他们将这种批判思考和好奇提问的经历，转化到日常生活中，一些孩子开始与父母沟通交流，一些和老师，还有一些和朋友，那些没有朋友的孩子，开始结交朋友。
07:22
这些电影为各种分界提供了共通性，它们讲述的故事提供了共通的经历，《我在伊朗长大》拉近了女儿和她伊朗母亲的距离，《大白鲨》使一个年轻男孩能够讲述，他从一场暴力中逃脱的经历，他父母相继在这个事件中，被夺去了生命，后来他母亲被从船上抛下。
07:51
谁是对的，谁是错的？在相同的情景中他们会怎么做？故事讲得好不好？有没有隐藏的话语？这世界会怎么改变？它将如何变得不同？许多问题从孩子们口中海啸般喷涌而出，这世界原以为他们对这些并不感兴趣，连他们自己过去也不知道他们在乎这些，当他们书写和辩论的时候，而不把电影当作人造物品，他们开始看到了他们自己。
08:21
我有一个很会说故事的姑姑，在很短的时间她可以让，赤脚在桌山(南非)赤脚奔跑玩警匪游戏的场景重现，最近她和我说，在1948年她的两个姐妹和我父亲，一起乘船到以色列而没有和我祖父母同行，当船员们为了得到人道待遇而造反时，是这些少年们喂饱了船员，我父母去世时我已过40岁，他从没和我提及这段经历。
08:51
我外祖母离开欧洲时很匆忙，丈夫没在身边，却带着她三岁的女儿，和缝在裙子褶边上的钻石，在躲藏两年过后，我外祖父在伦敦出现了，他的人生再也没有上过正道，他的故事也随着他被同化而尘封。
09:13
我的故事从英国开始，背景清白，双亲是沉默的移民，我看过《安妮日记》，《大逃亡》，《大屠杀》，《意志的胜利》，莱尼·里芬斯塔尔(演员，导演兼电影制作人)，制作的亲纳粹宣传，让我更加了解我的家庭经历的苦难，这些电影里有太多无法言说的沉痛的故事，它们对我的帮助，比幸存者的低语，和我偶然看到的单身阿姨腕上的刺青都要多。
09:51
纯粹主义者也许认为虚构的故事，弱化了对真实感知的探索，认为电影太粗糙，无法讲述复杂又详细的历史，或是电影制作人常常更着重戏剧性而非真相，但电影的核心存在着目的和意义，正如一个十二岁的孩子看完《绿野仙踪》后说，"每个人都应该看这部电影，因为如果你不看的话，你可能永远也不知道你也有一颗心"。
10:20
我们尊重阅读，我们为什么不用同样的热情来尊重看电影？认为《公民凯恩》和简·奥斯汀一样有价值，同意《街区男孩》和丁尼生一样，将情感印象和加深的理性了解，融会贯通，每一件给人记忆深刻的艺术品，都是建筑我们人生的一块砖，如果我们记得汤姆·汉克斯，多过宇航员吉姆·洛弗尔，或是把甘地想象成本·金斯利的样子都没有关系，虽然都不是真的，伊芙·哈林顿(《彗星美人》角色)，霍华德·比尔(《电视网》角色)，米尔德丽德·皮尔斯(《幻世浮生》角色)，都是探索的机会，去发现人生的各种可能，电影对理解人生和时代的帮助，不亚于莎士比亚帮助理解伊莉莎白时期的英国。
11:10
我们认为电影，提供了一个交会之处，戏剧，音乐，文学和人类经验会聚在此，电影吸引和启发参加电影俱乐部的年轻人，我们过去不曾预见的方面，都取得了显著的进展，包括行为，信心，还有学业成绩，一个不爱上学的学生现在跑到学校和老师谈天，争吵，但不是为了玩，而是为了选择下周的电影——，年轻人找到了自我认同，抱负，对教育和参与社会活动的渴望，这些都来自于他们见证过的故事。
11:46
我们的成员挑战社会传统，对于年轻人的二分法描述，他们既不野蛮也不短视自私，他们就像其他年轻人一样，和这个世界打交道，这世界有着无限的选择，却几乎没有可以让他们参考，来找寻有意义人生的文化，我们对那些不费力气，便找到自我认同感的年轻人，感到惊奇，虽然他们这种能力来自于我们提供的叙事文本。
12:18
如果我们希望有不同的价值观，我们就需要讲述不同的故事，这样的故事了解个人的叙事，是形成个人认同的重要元素，而群体的叙事，是形成文化认同的重要元素，如果没有这种集体叙事，我们难以想象，自己是集体的一部分，因为当这些年轻人，看完《后窗》回家后，他们将目光投向隔壁的楼房，他们想知道除了他们，外面的世界还有谁，他们有怎样的故事。
12:58
谢谢。
The End
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00:12
Evidence suggests that humans in all ages and from all cultures create their identity in some kind of narrative form. From mother to daughter, preacher to congregant, teacher to pupil, storyteller to audience. Whether in cave paintings or the latest uses of the Internet, human beings have always told their histories and truths through parable and fable. We are inveterate storytellers.
00:41
But where, in our increasingly secular and fragmented world, do we offer communality of experience, unmediated by our own furious consumerism? And what narrative, what history, what identity, what moral code are we imparting to our young?
01:03
Cinema is arguably the 20th century's most influential art form. Its artists told stories across national boundaries, in as many languages, genres and philosophies as one can imagine. Indeed, it is hard to find a subject that film has yet to tackle. During the last decade we've seen a vast integration of global media, now dominated by a culture of the Hollywood blockbuster. We are increasingly offered a diet in which sensation, not story, is king. What was common to us all 40 years ago -- the telling of stories between generations -- is now rarified. As a filmmaker, it worried me. As a human being, it puts the fear of God in me. What future could the young build with so little grasp of where they've come from and so few narratives of what's possible? The irony is palpable; technical access has never been greater, cultural access never weaker.
02:05
And so in 2006 we set up FILMCLUB, an organization that ran weekly film screenings in schools followed by discussions. If we could raid the annals of 100 years of film, maybe we could build a narrative that would deliver meaning to the fragmented and restless world of the young. Given the access to technology, even a school in a tiny rural hamlet could project a DVD onto a white board.
02:34
In the first nine months we ran 25 clubs across the U.K., with kids in age groups between five and 18 watching a film uninterrupted for 90 minutes. The films were curated and contextualized. But the choice was theirs, and our audience quickly grew to choose the richest and most varied diet that we could provide. The outcome, immediate. It was an education of the most profound and transformative kind. In groups as large as 150 and as small as three, these young people discovered new places, new thoughts, new perspectives. By the time the pilot had finished, we had the names of a thousand schools that wished to join.
03:21
The film that changed my life is a 1951 film by Vittorio De Sica, "Miracle in Milan." It's a remarkable comment on slums, poverty and aspiration. I had seen the film on the occasion of my father's 50th birthday. Technology then meant we had to hire a viewing cinema, find and pay for the print and the projectionist. But for my father, the emotional and artistic importance of De Sica's vision was so great that he chose to celebrate his half-century with his three teenage children and 30 of their friends, "In order," he said, "to pass the baton of concern and hope on to the next generation."
04:05
In the last shot of "Miracle in Milan," slum-dwellers float skyward on flying brooms. Sixty years after the film was made and 30 years after I first saw it, I see young faces tilt up in awe, their incredulity matching mine. And the speed with which they associate it with "Slumdog Millionaire" or the favelas in Rio speaks to the enduring nature.
04:30
In a FILMCLUB season about democracy and government, we screened "Mr. Smith Goes to Washington." Made in 1939, the film is older than most of our members' grandparents. Frank Capra's classic values independence and propriety. It shows how to do right, how to be heroically awkward. It is also an expression of faith in the political machine as a force of honor.
04:55
Shortly after "Mr. Smith" became a FILMCLUB classic, there was a week of all-night filibustering in the House of Lords. And it was with great delight that we found young people up and down the country explaining with authority what filibustering was and why the Lords might defy their bedtime on a point of principle. After all, Jimmy Stewart filibustered for two entire reels.
05:21
In choosing "Hotel Rwanda," they explored genocide of the most brutal kind. It provoked tears as well as incisive questions about unarmed peace-keeping forces and the double-dealing of a Western society that picks its moral fights with commodities in mind. And when "Schindler's List" demanded that they never forget, one child, full of the pain of consciousness, remarked, "We already forgot, otherwise how did 'Hotel Rwanda' happen?"
05:53
As they watch more films their lives got palpably richer. "Pickpocket" started a debate about criminality disenfranchisement. "To Sir, with Love" ignited its teen audience. They celebrated a change in attitude towards non-white Britons, but railed against our restless school system that does not value collective identity, unlike that offered by Sidney Poitier's careful tutelage.
06:22
By now, these thoughtful, opinionated, curious young people thought nothing of tackling films of all forms -- black and white, subtitled, documentary, non-narrative, fantasy -- and thought nothing of writing detailed reviews that competed to favor one film over another in passionate and increasingly sophisticated prose. Six thousand reviews each school week vying for the honor of being review of the week.
06:50
From 25 clubs, we became hundreds, then thousands, until we were nearly a quarter of a million kids in 7,000 clubs right across the country. And although the numbers were, and continue to be, extraordinary, what became more extraordinary was how the experience of critical and curious questioning translated into life. Some of our kids started talking with their parents, others with their teachers, or with their friends. And those without friends started making them.
07:22
The films provided communality across all manner of divide. And the stories they held provided a shared experience. "Persepolis" brought a daughter closer to her Iranian mother, and "Jaws" became the way in which one young boy was able to articulate the fear he'd experienced in flight from violence that killed first his father then his mother, the latter thrown overboard on a boat journey.
07:51
Who was right, who wrong? What would they do under the same conditions? Was the tale told well? Was there a hidden message? How has the world changed? How could it be different? A tsunami of questions flew out of the mouths of children who the world didn't think were interested. And they themselves had not known they cared. And as they wrote and debated, rather than seeing the films as artifacts, they began to see themselves.
08:21
I have an aunt who is a wonderful storyteller. In a moment she can invoke images of running barefoot on Table Mountain and playing cops and robbers. Quite recently she told me that in 1948, two of her sisters and my father traveled on a boat to Israel without my grandparents. When the sailors mutinied at sea in a demand for humane conditions, it was these teenagers that fed the crew. I was past 40 when my father died. He never mentioned that journey.
08:51
My mother's mother left Europe in a hurry without her husband, but with her three-year-old daughter and diamonds sewn into the hem of her skirt. After two years in hiding, my grandfather appeared in London. He was never right again. And his story was hushed as he assimilated.
09:13
My story started in England with a clean slate and the silence of immigrant parents. I had "Anne Frank," "The Great Escape," "Shoah," "Triumph of the Will." It was Leni Riefenstahl in her elegant Nazi propaganda who gave context to what the family had to endure. These films held what was too hurtful to say out loud, and they became more useful to me than the whispers of survivors and the occasional glimpse of a tattoo on a maiden aunt's wrist.
09:51
Purists may feel that fiction dissipates the quest of real human understanding, that film is too crude to tell a complex and detailed history, or that filmmakers always serve drama over truth. But within the reels lie purpose and meaning. As one 12-year-old said after watching "Wizard of Oz," "Every person should watch this, because unless you do you may not know that you too have a heart."
10:20
We honor reading, why not honor watching with the same passion? Consider "Citizen Kane" as valuable as Jane Austen. Agree that "Boyz n the Hood," like Tennyson, offers an emotional landscape and a heightened understanding that work together. Each a piece of memorable art, each a brick in the wall of who we are. And it's okay if we remember Tom Hanks better than astronaut Jim Lovell or have Ben Kingsley's face superimposed onto that of Gandhi's. And though not real, Eve Harrington, Howard Beale, Mildred Pierce are an opportunity to discover what it is to be human, and no less helpful to understanding our life and times as Shakespeare is in illuminating the world of Elizabethan England.
11:10
We guessed that film, whose stories are a meeting place of drama, music, literature and human experience, would engage and inspire the young people participating in FILMCLUB. What we could not have foreseen was the measurable improvements in behavior, confidence and academic achievement. Once-reluctant students now race to school, talk to their teachers, fight, not on the playground, but to choose next week's film -- young people who have found self-definition, ambition and an appetite for education and social engagement from the stories they have witnessed.
11:46
Our members defy the binary description of how we so often describe our young. They are neither feral nor myopically self-absorbed. They are, like other young people, negotiating a world with infinite choice, but little culture of how to find meaningful experience. We appeared surprised at the behaviors of those who define themselves by the size of the tick on their shoes, yet acquisition has been the narrative we have offered.
12:18
If we want different values we have to tell a different story, a story that understands that an individual narrative is an essential component of a person's identity, that a collective narrative is an essential component of a cultural identity, and without it it is impossible to imagine yourself as part of a group. Because when these people get home after a screening of "Rear Window" and raise their gaze to the building next door, they have the tools to wonder who, apart from them, is out there and what is their story.
12:58
Thank you.
The End
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