Remembering the Faces of the Iraq War Through the Eyes of Photojournalists
2013-03-21 22:47:00


JEFFREY BROWN: Finally tonight: the war in Iraq, which began 10 years ago this week, as seen through a camera lens.(1)
JEFFREY BROWN:最后今晚: 在开始 10 年前的这个星期,通过摄像机镜头看到的伊拉克战争。

NewsHour correspondent Spencer Michels reports on a new exhibit at San Francisco's de Young Museum.(2)
记者采访记斯潘塞 · 米歇尔斯报告三藩市德青年博物馆新馆展览。

A warning: Some images in this story are disturbing.(3)
A warning:这个故事中的某些图片令人感到不安。

SPENCER MICHELS: By far, the majority of American journalists who covered the early days of the Iraq war, 600 of them, were officially embedded with American troops, dependent on soldiers and Marines for protection, food, and for the stories they wrote or photographed.(4)
SPENCER MICHELS:到目前为止,大多数美国记者涵盖早期的伊拉克战争,其中 600 正式被嵌入了美军,依赖士兵和海军陆战队保护、 食品、 和故事他们写或拍下照片。

But while the Bush administration encouraged embedding and said it wasn't responsible for the safety of those not embedded, some journalists set out on their own to see what they could see without American military supervision or restrictions.(5)
但布什政府鼓励嵌入,说它不是负责安全的那些不嵌入,有些记者上设置自己看他们能看到未经美国军事监督或限制。

THORNE ANDERSON, Photographer: With Iraq, this is what I knew about it before I went the first time.(6)
THORNE ANDERSON, Photographer:与伊拉克,这是我知道什么事之前我去了第一次。

SPENCER MICHELS: Thorne Anderson and Kael Alford, a married couple who live and teach in Texas, were among the unembedded photojournalists who covered Iraq back then.(7)
SPENCER MICHELS:索恩 · 安德森和凯尔王利明,已婚夫妇居住并在德克萨斯州教是回来然后覆盖伊拉克未嵌入摄影记者。

Their San Francisco exhibit, "Eye Level in Iraq," shows the result of their taking chances as they tried to find Iraqis in situations apart from the troops.(8)
旧金山展出的"眼水平在伊拉克,"显示他们考虑机会的结果,因为他们试图找到伊拉克人除了部队的情况下。

THORNE ANDERSON: When you talk to an Iraqi person and you're surrounded by these giant men with automatic weapons and flak jackets and helmets, they just cannot respond to you in a normal way.(9)
THORNE ANDERSON:当您向伊拉克人和谈话你身边这些巨头的男子用自动武器和防弹衣和头盔,他们只是不能回复您以正常的方式。

You can't sit and have tea with them. You can't go their funerals. You can't play with their children.(10)
你不会坐下来和他们一起喝茶。你不能去他们的追悼会。你不能玩他们的孩子。

The only way to have that experience is to get outside of the Humvee, to take off the flak jacket, travel in an ordinary car, to relate to people in an ordinary one-to-one kind of way.(11)
有的经验是要摆脱悍马,防弹背心,起飞的必由之路旅行的普通车,涉及人种普通一对一的方式。

KAEL ALFORD, Photographer: The time that we were working, between 2003 and 2004, it was a much safer place to be an unembedded journalist in Iraq, that, by the time we left at the end of 2004, journalists were being targeted more specifically.(12)
KAEL ALFORD, Photographer:时间,我们正在处理,2003年至 2004 年,它是未嵌入的记者,在伊拉克我们在 2004 年年底离开的时候,记者是被更具体地针对一个更安全的地方。

SPENCER MICHELS: Working often as competitors, sometimes as colleagues, they came up with pictures, many published in American journals and newspapers, that told a different kind of story, as Alford related to a group of docents at the museum.(13)
SPENCER MICHELS:工作往往作为竞争对手,有时作为同事,他们出了图片,很多刊登在美国期刊和报纸,说一种不同的故事,王利明与相关的一组在博物馆导赏员。

KAEL ALFORD: I wanted to be sure that I could make photographs that revealed that no war is clean.(14)
KAEL ALFORD:我要肯定就可以发现没有战争是干净的照片。

This girl is an 8-year-old girl who was killed in a market on the outskirts of Baghdad.(15)
这个女孩是 8 岁女孩被杀在巴格达郊外的一个市场。

And so this bomb, we think, was probably launched by an aircraft carrier, a U.S. aircraft carrier in the Persian Gulf, and landed in this busy marketplace, killing more than 50 people.(16)
于是这个炸弹,我们认为,是可能由一艘航空母舰,美国在波斯湾,一艘航母发起并降落在这繁忙的市场上,炸死 50 余人。

These are her brothers who carried her into -- basically, this is a morgue area inside a mosque. And so this is a very intimate kind of moment.(17)
这些都是进行到 — — 她基本上是她兄弟,这是一个停尸房领域内一座清真寺。所以这是一个非常亲密的时刻。

And, as photographers, we were always looking to find ways to communicate the urgency of horrible drama in these situations.(18)
而且,作为摄影师,我们总是正设法沟通可怕的戏剧,在这些情况下的紧迫性。

And I actually -- it was challenging for me to make this picture.(19)
我其实 — — 而不是为我作这幅画具有挑战性。

It's been one of the photographs that most -- I get the most reaction from, from people, because it is so intimate and rare to see somebody this vulnerable, this young, and she's so perfect. She seems alive.(20)
它一直有一幅照片,最 — — 得到最从,反应的人,因为它是如此亲密和少见有人这脆弱,这年轻,和她是那么完美。她似乎还活着。

SPENCER MICHELS: Anderson's photos tell stories as well, stories he admits are sometimes beyond the photographer's control.(21)
SPENCER MICHELS:安德森的照片说故事以及故事他承认有时是摄影者的控制。

THORNE ANDERSON: A lot of these photographs are, if we're honest with ourselves, something of a collaboration between the photographer and the people being photographed. They're allowing you to photograph.(22)
THORNE ANDERSON:下的这些照片很多,如果我们诚实地告诉自己,东西的摄影师和人民之间的合作正在拍照的。他们要允许您进行拍照。

They prevent you from photographing some things that they don't want you to see.(23)
他们阻止您拍摄一些他们不想让你看到的东西。

And even if you think that you have captured something very, very specific, when it comes to the audience, who knows the way they are going to see it.(24)
即使你认为你要拍的东西非常,非常具体,当它来到观众,谁知道他们要去看它的方式。

SPENCER MICHELS: This Anderson photo portrayed part of the Mahdi army of Muqtada al-Sadr.(25)
SPENCER MICHELS:此安德森照片描绘的穆科塔达 · 萨德尔的迈赫迪军的一部分。

THORNE ANDERSON: We had managed to work behind the Mahdi army's front lines and to photograph that organization from the inside.(26)
THORNE ANDERSON:我们曾设法背后迈赫迪军前线工作并进行拍照,从内部的组织。

And that's what you are trying to do as journalists. I'm photographing these two men and the son of one man repairing an RPG that had been damaged in battle.(27)
而这正是您尝试做记者。我所拍这两个男人和修复一个 rpg 游戏,在战斗中遭到破坏的一个人的儿子。

And it think of it as a very intimate moment.(28)
它认为这是一个非常亲密的时刻。

Primarily, for me, it's really kind of a visual representation of how a history of violence gets passed on from one generation to another.(29)
主要是,对我来说,真是真的好如何暴力史获取从一代传到另一种可视表示形式。

SPENCER MICHELS: As close as he got to the people, Anderson says he tried to remained objective.(30)
SPENCER MICHELS:尽量接近他的人到了,安德森说他试图保持客观。

THORNE ANDERSON: 100 percent, this is journalism. One of your biggest jobs is to show people something they can't see for themselves.(31)
THORNE ANDERSON:100%,这是新闻。你最大的工作之一是要向人们展示他们不能为自己看到的东西。

And the furthest you can go is into an intimate moment in some stranger's life.(32)
最远的地方,你可以去到一些陌生人的生命中的亲密时刻。

SPENCER MICHELS: But, as Anderson told a group of art and photo students at the San Francisco Art Institute, objectivity isn't always that clear or obvious.(33)
SPENCER MICHELS:但是,安德森告诉一群艺术和照片的学生在三藩市艺术研究所,客观性不总是那么明显或明显。

THORNE ANDERSON: I have to navigate the sort of territory where it's not always clear the difference between what a journalist and what an activist is.(34)
THORNE ANDERSON:我要导航的位置很不总是明显的区别什么领土排序一名记者和什么维权人士是。

There are certain things that for me are very black and white. I call myself a journalist.(35)
有一些事情,我是非常黑色和白色。我称自己是一名记者。

And I think, for my purposes, I think it is really important to for me to maintain a distinction between when I'm acting as a journalist and whether or not people perceive me as an activist.(36)
我想,对于我而言,我认为它是真正重要的我要保持我时充当一名记者和人认为我作为活动家之间的区别。

It doesn't mean that I don't see injustice in the world, and it doesn't mean that I don't try to directly address that injustice. It's definitely something that is always in the back of my mind.(37)
这并不意味着我看不到世界上的不公正,这并不意味着不要尝试直接解决这种非正义。它绝对是总是在我心灵的东西。

SPENCER MICHELS: At the museum, only a few of the photos show American soldiers, yet the specter of war permeates the exhibit.(38)
SPENCER MICHELS:在博物馆,只有少量的照片显示美国士兵尚未战争的幽灵贯穿展览。

And that's the point, argues Julian Cox, chief curator at the museum.(39)
这就是这一点,辩称朱利安 · 考克斯,在博物馆馆长。

JULIAN COX, San Francisco Fine Arts Museums: They're not easy to look at, but they are beautiful. Think about Francisco Goya and The Disasters of War. Think about Picasso and Guernica.(40)
JULIAN COX, San Francisco Fine Arts Museums:他们不容易看看,但它们很美丽。想想弗朗西斯科戈雅和战争的灾难。想想毕加索和 Guernica。

I mean, these are not -- not easy things to look at, but yet they have -- they transit across time, and they become very powerful, very significant.(41)
我的意思是,这些是不不是容易的事情,来看看,但他们尚未有 — — 他们过境跨时间,和他们成为非常强大的非常重要。

SPENCER MICHELS: Cox says most fine arts museums shy away from contemporary, newsy photos.(42)
SPENCER MICHELS:考克斯说大部分从当代、 消息多样化照片害羞的美术博物馆。

JULIAN COX: Those kinds of pictures are not typically seen in major art museums.(43)
JULIAN COX:这些种类的图片通常看不在主要的艺术博物馆。

Photography is a medium that most people now take for granted. Everybody has a camera. These images are historically important, also very beautiful to look at.(44)
摄影是一种媒介,大多数人现在认为理所当然。每个人都有一个摄像头。这些图像是历史上重要的是,还非常漂亮,看看。

SPENCER MICHELS: The exhibit was timed to coincide with America's leaving Iraq. For Anderson, it was a time to reflect.(45)
SPENCER MICHELS:这次展览定时以配合美国的离开伊拉克。它为安德森,以反映时间。

THORNE ANDERSON: What I see is the desperation that I felt at that time, to try and capture these fleeting events before it was too late.(46)
THORNE ANDERSON:我看到的是绝望,我觉得在当时,并努力捕捉这些稍纵即逝的事件之前已经太晚了。

When people see the museum, I really want them as much as possible to feel what it must have been like for Iraqi people at that time.(47)
当人们看到博物馆时,我真的希望他们尽可能多去感受它必须有哪些像伊拉克人民在当时。

SPENCER MICHELS: "Eye Level in Iraq" remains at the de Young in San Francisco until June 16th.(48)
SPENCER MICHELS:在三藩市,德年轻仍"眼睛水平在伊拉克"直到 6 月 16 日。

JEFFREY BROWN: Online, we have more lasting impressions of the Iraq conflict from two veteran broadcast reporters: ABC News' Martha Raddatz and NPR's Deborah Amos.(49)
JEFFREY BROWN:在线,我们有两位资深广播记者从伊拉克冲突更持久印象: ABC News 玛莎 Raddatz 和 NPR 的德博拉 · 阿莫斯。


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