{"slug":"world-press-israel-palestine","title":"见证历史，世界新闻摄影奖中的巴以冲突","author":"Thomas看看世界","date":"2023-10-19","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247498469&idx=1&sn=f951395bd341fce5114a16b03d2538a2&chksm=eb820481dcf58d97113abf8c1fb9f75c6d8f537c278dec810b88185138faa443655203805440&scene=21#wechat_redirect","blocks":[{"t":"p","x":"记录和传播这个世界真实而残酷的一面，无数摄影师和记者甚至为此付出了生命的代价。","b":false,"xe":"Recording and spreading the world's real and cruel side — countless photographers and journalists have even paid with their lives for this."},{"t":"p","x":"在今天的摄影教程中，Thomas精选了过去20多年的世界新闻奖中，关于巴以冲突的摄影作品，一方面回忆这段复杂曲折的历史，一方面也可以从中学习到很多照片的构图技巧以及组照的编辑思路。","b":false,"xe":"In today's photography tutorial, Thomas has selected photography works about the Israeli-Palestinian conflict from the World Press Photo Contest over the past 20-plus years — on one hand recalling this complex and tortuous history, and on the other hand learning many photo composition techniques and series editing ideas from them."},{"t":"img","f":"img-01","w":1080,"h":608},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1Sh4y1q7bm","bpic":"bili-1","bt":"见证历史！世界新闻摄影奖中的巴以冲突"},{"t":"p","x":"这一篇是上面视频的图文整理。Thomas 精选了过去二十多年世界新闻摄影比赛（荷赛）中关于巴以冲突的获奖作品，一方面回顾这段复杂曲折的历史，一方面也借这些作品看一张照片如何叙事——记录一场复杂的冲突与战争，可以有哪些角度。","xe":"This article is the illustrated companion to the video above: Thomas selected World Press Photo winners on the Israel-Palestine conflict from the past two decades, revisiting this complex and tortuous history while showing how a single photograph tells a story — the many angles from which a complicated conflict can be recorded.","b":false},{"t":"p","x":"先看最具冲击力的一张。这是 2023 年荷赛亚洲区的单幅获奖作品《希琳·阿布·阿克莱的葬礼》（视频 1:57 处）：以色列警察用棍棒殴打护送灵柩的送葬者。棺中人是拥有美国国籍的半岛电视台巴勒斯坦裔记者希琳·阿布·阿克莱——Thomas 提到，她在约旦河西岸采访时被以色列军警枪杀，美国政府没有过多发声，反而是巴勒斯坦人为她举办了葬礼。","xe":"Start with the most striking frame: \"Shireen Abu Akleh's Funeral\", winner of the 2023 World Press Photo Singles for the Asia region (at 1:57) — Israeli police beat mourners escorting a coffin with batons. Inside is Shireen Abu Akleh, a Palestinian-American journalist for Al Jazeera. Thomas recounts that she was shot dead by Israeli forces while reporting in the West Bank; the US government stayed largely silent, and it was Palestinians who held her funeral.","b":false},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 见证：新闻摄影的本职与荣誉","xe":"01 Witnessing: The Duty and Honor of Photojournalism"},{"t":"p","x":"Thomas 首先说明：这些作品获得荷赛奖项，并不是对苦难的消费。这些摄影师的本职工作就是去记录、去见证、去分享这个世界真实发生的事件，让我们保持清醒，而世界新闻摄影奖正是对他们的最高赞扬和荣誉之一（视频 0:57 处）。","xe":"Thomas makes one thing clear first: these works winning World Press Photo awards is not a consumption of suffering. These photographers' job is to record, to witness, to share what is truly happening in the world and keep us awake — and the World Press Photo award is one of the highest tributes to that work (at 0:57).","b":false},{"t":"p","x":"单张照片要做的就是「一图胜千言」，这张葬礼照片正是一件信息量极大的作品。Thomas 在当年的颁奖典礼上听到摄影师分享的一个关键点：拍摄之前她就预判要占据一个比较高的位置，以避开杂乱的人群，清晰地拍到双方冲突的第一线（视频 2:09 处）。","xe":"A single image must be worth a thousand words, and this funeral photo is exactly that — dense with information. At the awards ceremony Thomas heard the photographer share one key decision: before shooting she had already predicted she needed a higher position, to rise above the chaotic crowd and clearly capture the front line of the clash (at 2:09).","b":false},{"t":"p","x":"画面里的信息非常完整：巴勒斯坦示威者的行动、大量以色列军警与他们的直接冲突、右下方防暴棍正打在红衣服的人身上、后方已经准备发射催泪瓦斯，而人们拥在一起，举着国旗，紧紧护住棺材（视频 2:51 处）。有些新闻图片构图和视觉冲击力更好，却看不到军警与民众的冲突，讲的故事并不全面——这正是这张照片胜出的原因。","xe":"The frame is remarkably complete: the Palestinian mourners' march, the direct clash with Israeli police, a baton striking the man in red at lower right, tear gas about to be fired behind — and through it all the crowd pressing together, flags raised, shielding the coffin (at 2:51). Other images may compose better or hit harder visually, yet miss the clash itself, telling only half the story — which is exactly why this photo won.","b":false},{"t":"h","x":"02 《Habibi》：监狱外的等待","xe":"02 Habibi: Waiting Outside the Prison Walls"},{"t":"p","x":"第二组作品是 2021 年荷赛的年度图片故事《Habibi》（视频 3:47 处）——在阿拉伯语里意为「我的爱人」，摄影师是 Antonio Faccilongo。第一张照片就是一个空房子：男主人在约旦河西岸被以色列关押、判处无期徒刑，女主人每天把房子保持在他原先的布置，衣服依旧依次挂着，代表一种思念，一直等他回来。","xe":"The second work is the World Press Photo Story of the Year 2021, \"Habibi\" (at 3:47) — Arabic for \"my love\" — by Antonio Faccilongo. The first photo is an empty house: the husband, imprisoned by Israel in the West Bank and sentenced to life, leaves behind a room his wife keeps exactly as he arranged it, his clothes still hanging in sequence — a portrait of longing, waiting for his return.","b":false},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"后面几张同样意味深长：躺在沙发上的妇人，神情是撕裂般的思念，她的丈夫同样被以色列关押；看不见人的画面里只留一张旧日的肖像，是一种象征；而最有分量的一张——背景是巴勒斯坦的定居点铁丝网，隐喻的不只是这些被关在监狱里的丈夫，更是整个巴勒斯坦民族都被关在一座露天的大监狱中（视频 4:27 处）。","xe":"The following frames are equally weighted with meaning: a woman on a sofa wearing an expression of tearing longing, her husband also imprisoned; a frame without people, only an old portrait — a symbol; and the heaviest image of all, a wire fence against the settlements behind, a metaphor not just for the imprisoned husbands but for an entire Palestinian people confined in one open-air prison (at 4:27).","b":false},{"t":"p","x":"组图里也有叙事性的部分：监狱里被判几十年甚至无期徒刑的男人们，把精子以礼物的形式走私出来，让妻子受孕、养育他们的孩子（视频 4:54 处）。这些照片很多是通过物件以及儿女来呈现的——婴儿保育箱、双胞胎、写来的信、儿女的玩具——大量使用隐喻的手法。","xe":"The story also has narrative chapters: men serving decades or life sentences smuggle their sperm out of prison in the form of gifts so their wives can conceive and raise their children (at 4:54). Many of these photos speak through objects and offspring — incubators, twins, letters, children's toys — metaphor carrying the narrative.","b":false},{"t":"img","f":"v03","w":852,"h":480},{"t":"p","x":"比如这张夜晚的橄榄树（视频 5:49 处）：橄榄树是巴勒斯坦非常重要的经济作物，象征着当地人对土地的依恋；而照亮它的灯光，来自巴以分界线隔离墙以色列一侧的哨所——可以想象拍摄这张照片有多危险。还有惊飞的鸟群：要拍空袭，不直接拍废墟，而是拍被枪声和催泪瓦斯惊起的鸟，用间接的方式反射战争；以及结尾那台再也无法接收信号的电视，隐喻丈夫与家人的失联（视频 6:40 处）。","xe":"Consider the olive tree at night (at 5:49): olives are one of Palestine's vital crops, a symbol of people's attachment to their land — yet the light that illuminates this tree comes from the Israeli side of the separation barrier, and you can imagine how dangerous the photograph was to make. There are the startled birds too: instead of shooting ruins after an airstrike, birds startled into flight by gunfire and tear gas reflect the war indirectly; and the series closes on a television that can no longer pick up a signal — a metaphor for husbands lost to contact (at 6:40).","b":false},{"t":"img","f":"v04","w":852,"h":480},{"t":"h","x":"03 单张的冲击：加沙葬礼与贝鲁特跑车","xe":"03 The Single Frame: A Gaza Funeral and a Beirut Convertible"},{"t":"p","x":"2013 年荷赛的年度照片《Gaza Burial》也是一张单张（视频 6:49 处）：加沙城，两岁多的 Suhaib Hijazi 和不到四岁的哥哥 Muhammad 被空袭杀害，叔叔们抬着裹在白布里的遗体前往清真寺举行葬礼。这张照片当年非常有名——一度传出「造假风波」，但 World Press Photo 检查了原图：确实做了调色，有一点电影感、褪色的感觉，但没有动任何像素，也没有改变色彩的真实性。","xe":"The World Press Photo of the Year 2013, \"Gaza Burial\", is another single frame (at 6:49): in Gaza City, two-year-old Suhaib Hijazi and his brother Muhammad, not yet four, are killed in an airstrike; their uncles carry the white-shrouded bodies to a mosque for the funeral. The photo became famous for a scandal — accusations of faking — but World Press Photo examined the RAW files: it had been color graded, with a slightly cinematic, faded feel, yet not a single pixel was moved and the truth of the colors was untouched.","b":false},{"t":"img","f":"v05","w":852,"h":480},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"它的拍摄角度也非常绝：摄影师走在游行队伍的前面，把相机明显抬高了一个角度——如果用正常人眼视角，后面的人会被挡住、层次感全无；抬高之后拍到了所有人的表情，而且当时必然抓拍了很多张，最终这一张里，每个男人的愤怒、悲伤、震惊与愤恨都表现得出类拔萃（视频 7:44 处）。","xe":"The angle is brilliant too: the photographer walked ahead of the procession and raised the camera noticeably above eye level — from a normal viewpoint the crowd behind would be blocked and the layers lost; raised, it captured every face at once. He must have fired many frames, but in this one the anger, grief, shock and resentment on every man's face stand out superbly (at 7:44).","b":false},{"t":"p","x":"再看 2007 年荷赛的年度照片（视频 8:20 处）：黎巴嫩战争轰炸结束后的贝鲁特南郊废墟前，一对当地年轻人开着跑车经过——看起来是富裕阶层。他们脸上的震惊与悲伤各不相同，而跑车、时髦的人和身后的废墟，形成了强烈的视觉与意义上的符号冲突。拍摄时找到这样的视觉符号冲突，会让照片更加出彩。","xe":"Then the World Press Photo of the Year 2007 (at 8:20): in front of the bombed ruins of South Beirut after the war with Israel, a pair of young Lebanese drive past in a convertible — clearly well-off. Shock and sorrow mix on their faces, and the sports car, the fashionable figures and the ruins behind form a fierce collision of visual and symbolic meaning. Finding such symbolic clashes is what makes a photograph sing.","b":false},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"还有一张 2007 年的获奖照片（视频 9:02 处）：用广角构图记录下一辆汽车里的场景——一家人挤在车厢里躲避以色列的轰炸。狭窄空间、广角的变形与挤迫感，让压抑几乎溢出画面。","xe":"Another award-winning image from 2007 (at 9:02): a wide-angle composition inside a car, a whole family crowded into the cabin fleeing Israeli bombardment. The tight space, the wide-angle distortion and the crush of bodies make the oppression spill out of the frame.","b":false},{"t":"img","f":"v08","w":852,"h":480},{"t":"h","x":"04 定居点、地道与封锁的日常","xe":"04 Settlements, Tunnels and Daily Life Under Blockade"},{"t":"p","x":"终于出现了一组以色列视角的照片，拍摄于 2005 年（视频 9:17 处）：沙龙计划从加沙地带撤出定居点，当地犹太定居者激烈反抗——举着国旗、设置路障、互相拥抱痛哭，与以色列军警发生激烈冲突。这组照片也解释了巴以问题为何绵延不绝：国际决议以 1967 年作为双方分界线，但以色列在此基础上侵占了大量巴勒斯坦土地；定居点一旦建成，任何一位想撤离的以色列领导人，几乎都要付出政治自杀式的代价（视频 10:13 处）。","xe":"At last comes a series from the Israeli point of view, shot in 2005 (at 9:17): when Ariel Sharon planned to pull settlers out of Gaza, local Jewish settlers resisted fiercely — waving flags, building barricades, embracing and weeping, clashing with Israeli security forces. The series also explains why the conflict never ends: international resolutions set 1967 as the boundary, yet Israel has taken large swaths of Palestinian land beyond it; and once settlements are built, any Israeli leader who tries to withdraw pays a near political-suicide price (at 10:13).","b":false},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"另一组照片全面记录了加沙地道（视频 10:41 处）：地道口深不见底；以色列给加沙人发放了非常少的工作签证名额，于是有人凌晨两点就在检查站排队，去封锁墙的另一端工作——可以想象过关的手续，以及要承受的监视与搜查；地道甚至直接藏在人们的家里，也被用来运送武器，军民因此难以分开，以色列则对地道进行了大量打击。讲地道这个故事，需要从很多人的视角、很多个角度去记录方方面面。","xe":"Another series documents the Gaza tunnels in full (at 10:41): a shaft plunging out of sight; Israel issuing only a trickle of work permits, so laborers queue at checkpoints from two in the morning to cross to the other side of the blockade — imagine the paperwork, the surveillance, the searches; tunnels hidden inside people's homes, used to carry weapons too, making civilians and militants nearly impossible to separate, while Israel strikes the tunnels again and again. Telling this story demands many perspectives, many angles, many facets.","b":false},{"t":"img","f":"v10","w":852,"h":480},{"t":"h","x":"05 仇恨的循环与和平的祈愿","xe":"05 The Cycle of Hatred, and a Wish for Peace"},{"t":"p","x":"2002 年荷赛人物新闻类一等奖是一组照片（视频 12:18 处）：摄影师 Jan Grarup 把视角对准拉姆安拉的巴勒斯坦男孩们——他们过着「分裂的生活」，在家是孩子，在前线与伙伴一起扔石头、玩耍、休息。以色列抓走、枪杀了他们的亲人；从小在没有好的经济、没有好的教育的环境里长大，他们很容易加入哈马斯这样的组织。其中一个叫 Mohammed 的男孩，在拍下照片后不久，就被一名以色列狙击手狙杀（视频 12:47 处）。","xe":"The World Press Photo 2002 first prize for People in the News went to a story (at 12:18): photographer Jan Grarup turned his lens on the boys of Ramallah, living split lives — children at home, and at the frontline throwing stones, playing and resting with their friends. Israel has taken or killed their parents; growing up without a decent economy or education, they are easy recruits for organizations like Hamas. One boy, Mohammed, was photographed hours before he was killed by an Israeli sniper (at 12:47).","b":false},{"t":"img","f":"v11","w":852,"h":480},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"2001 年荷赛突发新闻类三等奖的照片同样张力十足（视频 12:56 处）：一次反定居点抗议中，左边是以色列士兵，右边是两名巴勒斯坦警察，而中间举着枪的既不是以色列军警也不是巴勒斯坦人，而是当地的武装犹太定居者——他们本身也经常与巴勒斯坦当地人发生冲突。抓拍下的瞬间剑拔弩张，双方表情夸张，从画面上就能感受到对峙的火药味。","xe":"The World Press Photo 2001 third prize in Spot News is equally charged (at 12:56): at an anti-settlement protest, an Israeli soldier stands at left, two Palestinian policemen at right — and the man raising his gun in the middle is neither: he is a local armed Jewish settler, whose kind clash with Palestinians constantly. The captured instant bristles with confrontation, both sides' expressions exaggerated, the tension almost audible (at 12:56).","b":false},{"t":"img","f":"v13","w":852,"h":480},{"t":"p","x":"视频的最后，Thomas 把目光投向耶路撒冷与被点燃的宗教情绪：以色列控制着几乎整个耶路撒冷，阿拉伯人要去清真寺圣地朝拜，需要经过检查站，甚至被拒绝进入；而以色列前总理也经常故意挑起宗教民族情绪，以符合右翼政客的利益，把整个国家绑定在与阿拉伯世界的冲突之上，走上不归路（视频 13:41 处）。过去二十多年荷赛记录的这一切，我们唯一能做的，是祈祷和祝福这片土地早日取得最终的和平。","xe":"At the end of the video, Thomas turns to Jerusalem and to religious feeling deliberately inflamed: Israel controls nearly all of Jerusalem, and Arabs bound for worship at the holy mosques must pass checkpoints — or are refused entry; former Israeli prime ministers, too, have often stoked religious and ethnic tension to serve right-wing political interests, binding the whole country to conflict with the Arab world, a road of no return (at 13:41). For everything World Press Photo has documented here over two decades, the only thing left for us is to pray — and to hope this land finds lasting peace at last.","b":false},{"t":"quote","x":"1. 记录与见证是新闻摄影师的本职，荷赛的荣誉属于这份勇气，而非对苦难的消费；2. 单张照片要一图胜千言——信息量、预判的机位与抓拍的瞬间缺一不可；3. 组图要多视角讲全故事：从空房子到橄榄树，隐喻让战争摄影超越枪炮与废墟；4. 冲突的根源——土地、定居点与被点燃的仇恨——同样值得镜头长久注视。","xe":"1. Recording and witnessing is the photojournalist's duty; the honor of World Press Photo belongs to that courage, not to the consumption of suffering; 2. A single frame must be worth a thousand words — information, a predicted vantage point and the decisive moment are all indispensable; 3. Stories need many perspectives: from an empty room to an olive tree, metaphor lifts war photography beyond guns and rubble; 4. The roots of conflict — land, settlements and inflamed hatred — deserve the lens's long attention too."},{"t":"h","x":"高清视频：","xe":"HD video:"},{"t":"p","x":"https://www.bilibili.com/video/BV1Sh4y1q7bm/","b":false,"xe":"https://www.bilibili.com/video/BV1Sh4y1q7bm/"},{"t":"h","x":"荷赛巴以作品节选","xe":"World Press Photo Contest Israel-Palestine Works Selection"},{"t":"img","f":"img-02","w":1080,"h":755},{"t":"img","f":"img-03","w":1080,"h":720},{"t":"p","x":"‍","b":false,"xe":"‍"},{"t":"img","f":"img-04","w":1080,"h":716},{"t":"img","f":"img-05","w":1080,"h":721},{"t":"img","f":"img-06","w":1080,"h":1538},{"t":"img","f":"img-07","w":1080,"h":709},{"t":"img","f":"img-08","w":1080,"h":748},{"t":"img","f":"img-09","w":1080,"h":720},{"t":"img","f":"img-10","w":1080,"h":777},{"t":"img","f":"img-11","w":1080,"h":713},{"t":"img","f":"img-12","w":1080,"h":722},{"t":"img","f":"img-13","w":1080,"h":707},{"t":"img","f":"img-14","w":1080,"h":722},{"t":"img","f":"img-15","w":1080,"h":724},{"t":"img","f":"img-16","w":1080,"h":725},{"t":"img","f":"img-17","w":1080,"h":707},{"t":"p","x":"‍","b":false,"xe":"‍"},{"t":"img","f":"img-18","w":1080,"h":1080},{"t":"img","f":"img-19","w":1080,"h":1080},{"t":"img","f":"img-20","w":1080,"h":720}],"titleEn":"Witnessing History — The Israeli-Palestinian Conflict in the World Press Photo Contest"}