Now, it's not nuclear arms,

今天，我要談一個很急迫的社會問題，

it's not immigration,

不是核武，

and it's not malaria.

不是移民，

I'm here to talk about movies.

也不是大麻，

Now, in all seriousness, movies are actually really important.

我是來談有關電影的問題。

In film, we can be wildly entertained,

認真的來說，電影其實很重要的。

and we can also be transported through storytelling.

在電影裡，我們能感到極大的娛樂，

Storytelling is so important.

也能在故事裡身臨其境。

Stories tell us what societies value,

講故事是很重要的。

they offer us lessons,

故事教我們社會價值觀，

and they share and preserve our history.

教人生課程，

Stories are amazing.

還分享和保存我們的歷史。

But stories don't give everyone

故事是驚人的，

the same opportunity to appear within them,

但故事不給每個人

particularly not stories

同等的出場機會，

compartmentalized in the form of American movies.

特別是在美國電影裡

In film, interestingly enough,

給予男女不同待遇的故事裡。

females are still erased and marginalized

有趣的是在電影裡

in a lot of our stories.

女性在許多我們的故事中，

And I learned this for the first time about 10 years ago

仍然被消除和邊緣化。

when I did my first study on gender role in G-rated films.

我在十年前第一次發現，

Since then, we've conducted more than 30 investigations.

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。

My team is tired.

從那時起，我們已經做了 超過 30 個調查。

And I've committed my life

我的隊員們都覺得累了。

as researcher and activist

我投入了我的生命，

to fighting the inclusion crisis

以一個研究者和活動家的身份，

in Hollywood.

來抗爭好萊塢的性別歧視危機。

So today, what I'd like to do is tell you about that crisis.

所以今天我想要告訴你這個危機。

I want to talk about gender inequality in film.

我想談談電影中的性別不平等。

I want to tell you how it is perpetuated,

我想告訴你它如何持續至今，

and then I'm going to tell you how we're going to fix it.

然後我要告訴你 我們將如何解決它。

However, one caveat before I begin:

但是，我先提前預警：

my data are really depressing.

我帶來的數據很讓人沮喪。

So I want to apologize in advance,

所以我想先向你們道歉，

because I'm going to put you all in a really bad mood.

因為我會讓你們情緒低落。

But I'm going to bring it up at the end,

但在最後我會提升你們的心情，

and I'm going to present a silver lining

我要提出一個撥雲見日的方案，

to fix this mess that we've been in

來修復這個已經存在

for a very, very long time.

非常非常久的亂象。

So, let's start with the gravity of the situation.

好，讓我們從頭來講這個問題的重心。

Each year, my research team examines the top 100 grossing films

每一年，我的研究團隊會 檢查排名前 100 部

in the United States.

最賣座的美國電影。

What we do is we look at every speaking or named character on-screen.

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。

Now, to count in one of my investigations,

這裡，要能算到我的記錄裡面的角色，

all a character has to do is say one word.

至少要有一字台詞。

This is a very low bar.

這個要求夠低吧。

(Laughter)

（笑聲）

Thus far, we've looked at 800 movies,

到目前為止， 我們看了 800 部電影，

from 2007 to 2015,

從 2007 年到 2015 年，

cataloguing every speaking character on-screen for gender, race, ethnicity,

將每一個銀幕上說過話的角色，

LGBT and characters with a disability.

按性別、種族、民族、性別取向

Let's take a look at really some problematic trends.

以及是否殘疾來分類。

First, females are still noticeably absent on-screen in film.

讓我們來看看 真的有一些問題的趨勢。

Across 800 movies and 35,205 speaking characters,

首先，女性在銀幕上的出場比率 很明顯的比男性少很多。

less than a third of all roles go to girls and women.

在 800 部電影中， 只有 35,205 個有台詞的演員，

Less than a third!

只有不到三分之一的角色是女性。

There's been no change from 2007 to 2015,

少於三分之一啊！

and if you compare our results

從 2007 到 2015，基本沒變。

to a small sample of films from 1946 to 1955,

如果你拿我們的結果

there's been no change in over a half of a century.

和 1945 到 1955 年的 一小部分電影裡的結果相比，

Over half of a century!

半個多世紀以來都任何沒有改變。

But we're half of the population.

半個多世紀啊！

Now, if we look at this data intersectionally,

我們可是人口的一半呀。

which has been a focus of today,

現在，如果我們看交叉數據，

the picture becomes even more problematic.

這是我們今天關注的重點,

Across the top 100 films of just last year,

這個圖展示出更多的問題。

48 films didn't feature one black or African-American speaking character,

去年（2015年）最賣座的 100 部電影中，

not one.

48 部影片沒出現一個 有台詞的黑人女性演員，

70 films were devoid of Asian or Asian-American speaking characters

一個都沒有。

that were girls or women.

70 部電影沒一個有台詞的

None.

亞洲女性或亞裔美國女性的面孔，

Eighty-four films didn't feature one female character that had a disability.

完全沒有。

And 93 were devoid of lesbian, bisexual or transgender female speaking characters.

84 部電影沒有一個有殘疾的女性。

This is not underrepresentation.

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。

This is erasure,

這不只是少數族群的 見光率不足的問題。

and I call this the epidemic of invisibility.

這是刻意隱藏。

Now, when we move from prevalence to protagonist,

我稱做隱形的流行病。

the story is still problematic.

我們來看一下主角，

Out of a hundred films last year,

這方面也是很有問題。

only 32 featured a female lead or colead driving the action.

去年的一百部電影中，

Only three out of a hundred films

僅僅有 32 個是女性領導 或共同領導了影片裡的行動。

featured an underrepresented female driving the story,

一百部中僅僅只有 3 部，

and only one diverse woman

這凸顯了女性 主導故事情節的嚴重不足。

that was 45 years of age or older at the time of theatrical release.

只有一部電影上映時

Now let's look at portrayal.

是有關 45 歲以上的 少數族群女性的。

In addition to the numbers you just saw,

現在看一下人物描寫。

females are far more likely to be sexualized in film

女性在電影中更容易被性感化，

than their male counterparts.

相對於他她們對手的男性。

Matter of fact, they're about three times as likely

事實上她們有三倍的可能性

to be shown in sexually revealing clothing,

穿著性感的衣服，

partially naked,

半裸，

and they're far more likely to be thin.

以及她們特別可能是纖瘦的。

Now, sometimes, in animation, females are so thin

有時在動畫裡

that their waist size approximates the circumference of their upper arm.

女性瘦到她們的腰圍就像胳膊一樣細。

(Laughter)

（笑聲）

We like to say that these gals have no room for a womb

我們覺得這些女孩子的身體裡 應該沒有子宮

or any other internal organ.

或其他內臟的空間吧。

(Laughter)

（笑聲）

Now, all joking aside,

好，先不開玩笑了。

theories suggest, research confirms,

根據理論，研究也證明，

exposure to thin ideals and objectifying content

當人們被這種空想的纖瘦 和物化的理念包圍時，

can lead to body dissatisfaction, internalization of the thin ideal

可導致不滿自己的身體，

and self-objectification among some female viewers.

內化這種瘦子理念和自我物化，

Obviously, what we see on-screen

表現在一些女性觀眾中。

and what we see in the world,

很明顯，我們在銀幕上看到的，

they do not match.

和我們在現實中看到的

They do not match!

不一樣啊。

Matter of fact, if we lived in the screen world,

不一樣啊！

we would have a population crisis on our hands.

事實上，如果我們生活在電影世界裡，

So, as soon as I recognized these patterns,

我們手上會有人口危機。

I wanted to find out why,

所以一旦我發現這些趨勢，

and it turns out that there are two drivers to inequality on-screen:

我想探討為什麼。

content creator gender and misperceptions of the audience.

結果我發現有兩個因素 驅動銀幕上的性別不平等：

Let's unpack them really quick.

內容創作者的性別和觀眾的錯誤解讀。

If you want to change any of the patterns I just talked about,

讓我們快速地解秘。

all you have to do is hire female directors.

如果你想改變 任何我剛才談到的模式，

Turns out, the female directors

你只要聘用女導演。

are associated with, in terms of short films and indie films,

然後，女導演

more girls and women on-screen,

與短片和獨立電影相關。

more stories with women in the center,

更多的女孩和女人上鏡頭，

more stories with women 40 years of age or older on-screen,

更多女人出現在故事的中心，

which I think is good news for this crowd.

在銀幕上呈現更多 40 歲以上女人的故事。

More underrepresented --

我認為這對在座的聽眾是個好消息。

(Laughter)

詮釋更多代表性不足的少數族群──

Sorry.

（笑）

(Laughter)

不好意思

Sorry but not sorry.

（笑）

More underrepresented characters in terms of race and ethnicity,

沒事，繼續，

and most importantly,

詮釋更多代表性不足的少數族群，

more women working behind the camera

最重要的是

in key production roles.

讓更多的女性在相機後面擔任

Easy answer to the problems that we just talked about.

關鍵性的製作角色。

Or is it?

對於我們剛才的問題， 這是一個簡單的解決方案。

It's actually not.

真的是嗎？

800 films, 2007-2015,

實際上，不是。

886 directors.

800 部電影， 2007 到 2015 年，

Only 4.1 percent are women.

886 個導演中，

Only three are African-American or black,

只有 4.1% 是女性，

and only one woman was Asian.

只有三位非裔美人，

So why is it so difficult

只有一位女性是亞洲人。

to have female directors

為什麼啟用女導演這麼困難，

if they're part of the solution?

如果她們是部分的解決方案？

Well, to answer this question,

為了回答這個問題，

we conducted a study.

我們做了一個研究、

We interviewed dozens of industry insiders

我們採訪了幾十個行業內部人士，

and asked them about directors.

問他們有關導演。

Turns out, both male and female executives,

結果，男性和女性高管

when they think director,

當他們考慮導演的時候，

they think male.

他們想到的就是男性。

They perceive the traits of leadership

他們認為領導的特質

to be masculine in nature.

是男性與生俱來的。

So when they're going to hire a director

所以，當他們要雇一個導演

to command a crew, lead a ship,

指揮一船的船員，領導一艘船，

be a visionary or be General Patton,

必須是一個遠見的人， 或是像是巴頓將軍。

all the things that we've heard --

根據我們所聽到的一切──

their thoughts and ideations pull male.

他們的腦子裡和想法 會自然出現男性。

The perception of director or a leader

對於導演或者領導者的概念，

is inconsistent with the perception of a woman.

與對於女性的概念是不一致的。

The roles are incongruous,

大量心理學的研究證實了這一點。

which is consistent with a lot of research in the psychological arena.

第二個致使在銀幕上不平等的因素

Second factor contributing to inequality on-screen

是觀眾的錯誤解讀。

is misperceptions of the audience.

我不用說你們就心知肚明：

I don't need to tell this crowd:

一半的去買電影票的人

50 percent of the people that go to the box office and buy tickets

是這個國家的女性。

are girls and women in this country.

對吧？

Right?

但我們並不被視為是能成功帶來 豐厚利潤的目標觀眾群。

But we're not perceived to be a viable or financially lucrative target audience.

此外，對於女性是否可以帶動票房

Further, there's some misperceptions

還是有一些誤解。

about whether females can open a film.

帶動票房的意思是

Open a film means that if you place a female at the center,

置女性於中心無法取得投資回報，

it doesn't have the return on investment

而以男性為故事的中心就能。

that if you place a male at the center of a story does.

這種誤解實際上傷害極大，對吧？

This misperception is actually costly.

特別是在連鎖電影成功之後，

Right?

像是 「飢餓遊戲」、

Especially in the wake of franchise successes

「完美音調」

like "The Hunger Games,"

或那個小小的獨立電影， 「星球大戰：力量覺醒」。

"Pitch Perfect"

我們自己的經濟分析顯示：

or that small little indie film, "Star Wars: The Force Awakens."

主角的性別與電影在美國 是否賺錢沒有關聯。

Our own economic analyses show that gender of the lead character

但是什麼會有呢？

doesn't play a role in economic success in the United States.

光是生產成本，

But what does?

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。

Production costs alone

不是主角的性別。

or in conjunction with how widely a film is distributed in this country.

所以到目前為止， 我們應該已相當沮喪了。

It's not the gender of the lead character.

50 年都沒變，

So at this point, we should all be sufficiently depressed.

鏡頭後少有女導演，

No change in 50 years,

以及娛樂業並不把女性 當成真正的觀眾。

few female directors working behind the camera

好，我告訴過你們會有一線曙光，

and the entertainment industry does not trust us as an audience.

的確有的。

Well, I told you there would be a silver lining,

我們有簡單而可行的方案

and there is.

來解決這個問題，

There are actually simple and tangible solutions

包括了內容的創作者、

to fixing this problem

高管和消費者，

that involve content creators,

就像在座的你們一樣。

executives and consumers

讓我們談談其中的幾個。

like the individuals in this room.

第一個是我所說的「只是添加五個」。

Let's talk about a few of them.

你可知道，如果我們明年 約一百部的賣座電影裡，

The first is what I call "just add five."

每部只要添加五位有台詞的女性，

Did you know if we looked at the top 100 films next year

就會產生新的常態。

and simply added five female speaking characters on-screen

如果我們這樣連續做三年，

to each of those films,

我們將在這半個多世紀以來

it would create a new norm.

首次達到性別平等。

If we were to do this for three contiguous years,

這個方法有利的原因有好幾樣：

we would be at gender parity

一，它不減少男演員的工作機會。

for the first time in over a half of a century.

天理不容。

Now, this approach is advantageous for a variety of reasons.

（笑聲）

One? It doesn't take away jobs for male actors.

二， 它很合算，花不了多少錢。

Heaven forbid.

三，它會構建人才管道。

(Laughter)

四，它將生產過程人性化。

Two, it's actually cost-effective. It doesn't cost that much.

為什麼？因為它確保有女人在場。

Three, it builds a pipeline for talent.

第二個解決方案是為了 A 級人才。

And four, it humanizes the production process.

大家都知道 A 級人才 可以在合同中要求，

Why? Because it makes sure that there's women on set.

特別是參與好萊塢超級大片的那些人。

Second solution is for A-list talent.

如果這些 A 級人員，

A-listers, as we all know, can make demands in their contracts,

只是添加了一個對等條件 或一個要求，

particularly the ones that work on the biggest Hollywood films.

到他們的合同呢？

What if those A-listers

這是什麼意思呢？

simply added an equity clause or an inclusion rider

好吧，你可能不知道

into their contract?

但典型的電影

Now, what does that mean?

會有約 40 至 45 個 有台詞的角色。

Well, you probably don't know

我認為只有 8 到 10 個人

but the typical feature film

與故事有關。

has about 40 to 45 speaking characters in it.

除了「復仇者」，對吧？

I would argue that only 8 to 10 of those characters

「復仇者」多了幾個。

are actually relevant to the story.

剩下的 30 個角色，

Except maybe "Avengers." Right?

沒有理由為什麼這些小角色，

A few more in "Avengers."

不能匹配或反映

The remaining 30 or so roles,

故事發生地點的人口比例。

there's no reason why those minor roles

A 級人員能在他們的合同中

can't match or reflect the demography

規定這些角色反映 我們實際生存的世界。

of where the story is taking place.

沒有理由廣播公司、

An equity rider by an A-lister in their contract

工作室或製作公司

can stipulate that those roles

不能在他們的談判過程中，

reflect the world in which we actually live.

採用相同的合同條款。

Now, there's no reason why a network,

第三個解決方案，

a studio or a production company

是為娛樂業

cannot adopt the same contractual language

──特別是好萊塢──

in their negotiation processes.

採用魯尼規則

Third solution:

來處理招聘導演的相關事宜。

this would be for the entertainment industry,

目前在 NFL（國家美式足球聯盟） 魯尼規則規定

Hollywood in particular,

如果某隊想僱一個組織外的教練，

to adopt the Rooney Rule

他們要必須面試少數族群的候選人。

when it comes to hiring practices around directors.

完全相同的原則 可以應用到好萊塢電影。

Now, in the NFL, the Rooney Rule stipulates

如何做？

that if a team wants to hire a coach from outside the organization,

嗯，在那些頂級的電影中，

what they have to do is interview an underrepresented candidate.

高管和代理可以確保

The exact same principle can apply to Hollywood films.

婦女和有色人種， 不僅在考慮清單上，

How?

並且被面试。

Well, on these top films,

或許有人會問這何以重要呢？

executives and agents can make sure

因為這讓高管看見女導演，