Posted at 2018.11.01 Category : 未分類
2015年に自伝がでた時にもこのブログで紹介しましたが、報道写真家のLynsey Addario。パキスタンやリビアで誘拐された経験を持ちます。これまでの写真をまとめた本“Of Love and War”を出したようでインタビューに応じています。彼女を主人公にしたハリウッド映画でスカーレット・ヨハンソンが演じることが話題になりましたが、最近カッショギ事件でヨハンソンが辞退したとニュースになりましたね。
Actor vetoed money from Mohammed bin Salman for a biopic in which she will play photojournalist Lynsey Addario
Benjamin Lee
Wed 24 Oct 2018 16.21 BST
彼女が写真を発表しているニューヨークタイムズでもインタビュー記事が出ています。彼女の写真もたくさん見れてオススメです。
紛争現場は20年前と変わったこととして、現地政権からジャーナリストが標的になっていることを挙げています。したり顔で安全確認をしてから現地入りしろと言っている日本人は現状を理解していないですよね。。。このような状況で安全確認をしたら政府のプロパガンダしか流せないでしょうし。。。
20 years of photographs of conflict and women’s issue are collected in her new book “Of Love and War”
By James Estrin
Oct. 23, 2018
Q: What’s different about being a photographer today than in 2000?
A: I think the main thing is that journalists are a target now in a way that they weren’t before. I think that I used to find security and protection in saying, “I’m a journalist” and feeling that people respected journalists. Obviously now I don’t feel that’s the case.
Look at [Jamal] Khashoggi. Look at Marie Colvin. Myself when I was kidnapped with Tyler [Hicks], Steve [Farrell] and Anthony [Shadid] in Libya. Journalists are constantly the targets of governments who do not want certain stories told. And the governments act with impunity, and often get away with it.
I think that requires journalists to do their homework. They have to understand the situation on the ground. They have to make sure that they have a very trustworthy team.
子供を育てながら戦地に赴く彼女は日本だと袋叩きにあいそうで怖いです。海外に出る女性の報道写真家は今でも少ないそうですが、中東のような地域では女性を撮影するのは難しいですから女性としてのメリットを活かすことができると語っています。
Q: What about being a woman photographer? Is there any difference from 2000 to today?
A: Unfortunately I don’t think there is a huge difference. There are not many more women working on the front line now than there were when I first started. I always assumed that would have changed, but I don’t really see that.
There are a lot of female photographers working domestically in the U.S. but not necessarily ones that are willing to work in war zones or go into the situations where I’m working. I’m always very happy to see another female photographer when I’m out in the field.
I’ve always said I think it’s a big asset to be a woman in this field, given the countries that I work in. I have access to men and women.
Q: There’s a half of the world that men can’t really photograph in some countries.
A: Exactly. And if they can photograph them, then the access is going to be very uncomfortable and a lot more restricted.
先日スター記者が海外からくるのではなく、現地の人々が発信する重要性を取り上げましたが、表現の自由が規制されている地域では現地の人がそのようなことをするには危険を伴うので、外部の人が報道することは意義があると語っています。確かにそのような点は無視できませんね。
Q: I mean that there’s a critique that our coverage of news was totally Western-centric and at times colonialist. It’s only when it started getting too dangerous that we started employing more local people.
A: Sure. I get it. Look, in an ideal world there would be so many more local photographers and journalists because I think that they should be telling their own stories. But I think the reality is that because sometimes they live under governments that don’t really allow for freedom of expression, they feel more threats telling stories in an honest way in their own countries, especially sensitive ones about human rights abuses or political issues. They can’t really tell those stories without running the risk of getting thrown in jail. As outsiders, we are able to go in and tell much more politically sensitive stories.
The reality is all of these stories need to be told, and if it’s told by an outsider or an insider, the important thing is that the stories are getting told. I think in an ideal world, you’d have more insiders and some outsiders. But sometimes that’s just not possible.
When people start critiquing how stories are told, it’s often people who have not been outside the comfort of their own country. But it’s good to entertain all criticism because it’s very important to talk about these things.
Vanity Fairでも短いインタビューを載せていました。SNSが発達したから、誰も行かないような地域に行くようにしていると語っています。
In her first published collection of photographs, Of Love and War, photojournalist Lynsey Addario looks past her subjects’ impossible circumstances to show beauty and their humanity.
by ERIN VANDERHOOF
OCTOBER 30, 2018 6:11 PM
The cynical view is that the conflicts don’t always get resolved, but the press just goes away. For example, your photographs of the Syrian conflict have so much emotional force, but the war is still going on. How do you stay hopeful despite that?
The war has gone so long, and because it’s been so graphically depicted over and over, the public has become inured to the violence and suffering. It’s dangerous, because we have a job as photographers and journalists to keep those stories on the radar, and it’s hard to do when the public doesn’t care.
At the end of the day, a compelling story will get people’s attention, but if you just bombard people with images of violence, they’re not gonna care. It’s about humanizing the story. It’s about showing an intimate view and giving people a way to enter the story and to care. That takes more time and it’s hard to do. . . . We live in the age of social media, and we’re bombarded by thousands of images every day. So you have to figure out how to make your work stand out. I try to do a different take on a scene. What is interesting to me is going to places that people have forgotten about. A story is less interesting to me if there are 35 other photographers standing next to me. I’d rather now go to places where people aren’t really going anymore. I was just in northern Nigeria, and I just got back from Yemen. These places are hard to get to, but [the stories] need to be told.
NPRにも出ていました。こちらは個々の写真の背景について詳しく説明してくれています。
October 25, 20185:31 PM ET
Heard on All Things Considered
When people start critiquing how stories are told, it’s often people who have not been outside the comfort of their own country.
（ニュースの報じられ方を批判し始める場合、居心地のいい自分の国から外に出たことがない人たちであることがあります）
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