原文:http://mp.weixin.qq.com/s?__biz=MzU1MDQwNTgzMg==&mid=2247491447&idx=1&sn=c4a57107e36ad5b3925ff15885ee7d92&chksm=fba04cd0ccd7c5c6a1c1ab693397b4408fb731fccb26beadbb16c7cd62214795b8e1de988052#rd
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琚儿,英专,备考翻硕,外刊学习者
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Capturing the pandemic for posterity
为后代捕捉疫情画面
英文部分选自经济学人20200815期文艺版块
Decent Exposure
正当曝光
Capturing the pandemic for posterity
为后代捕捉疫情画面
Photographers shooting patients and carers have wrestled anew with ethical questions
医患摄影师重整旗鼓解决伦理问题
In mid-April of intensive-care beds at Lenox Hill Hospital in New York were occupied by patients with covid-19. Karen Cunningham was caring for them: intubating the worst-affected and responding to countless emergency messages on the hospital’s tannoy. She was also taking photographs, capturing images of medical staff who were, to her surprise, eager to be included. Ms Cunningham says she felt a moral obligation to relay her colleagues’ experiences to the public.
四月中旬,纽约莱诺克斯希尔医院(Lenox Hill Hospital)的重症监护室内的床位已被新冠患者占满。凯伦·坎宁安(Karen Cunningham)一边照顾着这些病人:为感染最严重的患者插管,一边应对医院广播中数不尽的紧急情况。与此同时,她还为医务人员拍照片。而让她感到意外的是,这些医务人员渴望入镜。坎宁安表示,自己有义务将同事的经历公之于众。
A professional photographer, ten years ago she also became a registered nurse. When a friend at the New Yorker had first suggested she take her camera to work, Ms Cunningham was sceptical. But at the time reporting from inside hospitals was rare, and amid the pandemic photography could be a powerful public-health tool. So she agreed to shoot on the wards, often laying down her camera to help turn patients onto their fronts to ease breathing difficulties.
坎宁安是位职业摄影师,十年前还成为了注册护士。起初,《纽约客》的朋友建议她上班时带上相机,她持怀疑态度。不过,当时从医院内部的报道十分罕见。但是在疫情期间,摄影却是一个很好展现公共健康的手段。因此,她听取了朋友的建议,开始在病房拍摄。但是拍摄时她常常要放下相机,帮助病人翻身俯卧,来缓解呼吸困难。
The results are an intimate depiction of the zone between life and death. In one image of an intubated patient (above), you can see the hair on the man’s chest and beard, his age signalled by the grey swirls among the black. His vulnerable skin contrasts with the armour-like layers of protective equipment worn by the four doctors surrounding him. Around the same time, Philip Montgomery, who previously chronicled America’s opioid epidemic, was touring New York’s public hospitals for the New York Times Magazine (NYTM). He also works in black and white, softening the garish hospital light to convey the motion and intensity of the carers. In Mr Montgomery’s pictures, their limbs blur as they rush through the wards.
这些照片真实地描述了重症监护室的生死交织。从一张插管病人的照片(见上图)中,可以看到病人胸毛和胡须,他的年龄从黑白相间的毛发中不难推断。在他周围,有四个医生都套着好几层盔甲般的防护服,和他(裸露)脆弱的皮肤形成了鲜明对比。与此同时,记录了美国阿片类药物滥用状况的《纽约时报》记者菲利普·蒙哥马利(Philip Montgomery)游走于纽约各个公立医院,寻找素材。他还以摄黑白照片的形式通过弱化医院刺眼的光线,来展示医护人员工作的工作强度和动态。在他拍摄的照片中,医护人员因为正在奔向病房而四肢被虚化了。
Photography, the critic Susan Sontag wrote, “has kept company with death ever since cameras were invented.” This year it has helped tell the story of covid-19. Photographers around the world have documented suffering and treatments that might otherwise have remained unseen. In their tragic subject-matter and informative role, images of the pandemic have resembled war photography—except that, instead of capturing far-away conflicts, photographers have turned their lenses on their own communities. As in a war, sharp ethical questions have arisen: about the camera’s intrusion on pain, and how the story of the disease is told.
评论家苏珊•松塔格(Susan Sontag)写道:“自照相机发明后,摄影就一直记录着死亡。”在今年讲述新冠疫情的故事当中,摄影也出了一份力。如果不是全世界的摄影师们记录了人们遭受的痛苦和治疗过程,人们恐怕很难能看到。谈及影像,疫情与战争类似,内容都有着悲剧色彩,并且意在传递信息。但是不同之处在于,疫情摄影师聚焦的是各自所在的社区,而非战争摄影师展现的远方的冲突。和战争摄影一样,疫情摄影也引发了尖锐的伦理问题,比如照片会让人感到痛苦,对疫情期间故事的叙述方式仍存争议。
The use of black and white is a key choice. Historically, says Jennifer Good, an expert on photojournalism at the London College of Communication, the palette “serves a particular function in the photography of war, because it negates the shocking redness of blood”. Some of the most famous images of the Vietnam war, for instance, were shot this way. But there are illustrious peacetime precedents, too. Ms Cunningham cites “Country Doctor”, W. Eugene Smith’s series for Life magazine in 1948—for which he followed a doctor in rural Colorado—as an inspiration. The subject, Ernest Ceriani, is depicted as a charismatic, slick-haired saviour (see picture below). Black and white, Ms Good says, can be “a distancing measure. It cuts out some of the more striking or shocking aesthetic elements of the picture, creating an elegance and a timelessness.”
选择黑白摄影很关键。伦敦传媒学院的摄影新闻学专家珍妮弗•古德(Jennifer Good)认为,从历史的角度看,“在战争摄影中,主色调设置成黑白色有特殊的作用,能抵消殷红鲜血给人带来的震撼。例如,一些最负盛名的越南战争记录影像就是黑白的。当然,一些摄于和平年代的著名影像也采用了类似的手法。坎宁安举了《乡村医生》的例子。《乡村医生》是W•欧仁•史密斯(Eugene Smith)在1948年为《生活》杂志拍摄的一个影像系列,记录的对象是科罗拉多农村一位名叫恩内斯特•切里亚尼(Ernest Ceriani)的医生。影像中把切利亚尼医生塑造成了一个魅力非凡、梳着油头的救世主(见下图)。古德女士称,黑白摄影“可以调节作品和观众之间的距离。它能够隐匿掉一些影像中冲击审美的元素,同时呈现优雅和永恒。”
Along with these associations, black and white can focus attention. Mr Montgomery used strobe lighting to direct the viewer’s gaze, calling attention to individual actions within the often frantic ward. In one image, the arm of a paramedic performing CPR is tensed, the force of motion clear, but the outcome unknown. When health-care staff look straight into the camera, viewers feel transported to the hospital—admiring the doctors and nurses, yet unsettled by their own voyeurism.
除却这些联系,使用黑白两色也可以抓住观众的注意力。蒙哥马利先生利用闪光灯,引导观众的视线,让观众在紧张忙乱的病房里注意到个人的动作。其中一张照片描绘了一位正在施用心肺复苏术的医护人员,其胳膊紧绷、正在用力,结果却未知。医护人员直面镜头的同时,观众感觉自己就身处医院——一边钦佩医生和护士,一边却为自己的窥视而心神不宁。
家园即前线
For both viewer and photographer, there is a fine line between compassionate observation and indecent intrusion. Hospital wards are full of sensitive information which must be repositioned or omitted while shooting. Patients and doctors must give their consent before their pictures are taken. Being a nurse, Ms Cunningham says, “gave me a certain moral and ethical freedom. I knew there was a line I would never cross.”
对观众和摄影师来说,满怀怜悯的旁观和突兀的闯入二者泾渭分明。病房内到处都是敏感信息,在拍摄时,这些敏感信息必须重新呈现或彻底清除。病人和医护人员必须首先同意接受拍摄,然后摄影师才能拍摄。坎宁安女士说身为护士给了我某种道德和伦理上的自由。我知道,有些禁区自己绝不会跨入”。
Her perspective inside the hospital was unique. But a series Mr Montgomery did at the Farenga Brothers Funeral Home in the Bronx involved even thornier ethical challenges. His images of the dead and their grieving relatives are meant to humanise the fact of mortality (see picture below). They also restore the individuality of some of the pandemic’s many victims.
坎宁安女士在医院内部的视角是独特的。然而,蒙哥马利先生在位于布朗克斯的法伦加兄弟殡仪馆(Farenga Brothers Funeral Home)拍摄的作品则引发了关于伦理问题的更大争议。他拍摄死者和他们悲伤的亲属本意在于让死亡人性化(见下图)。这些作品同时也重现了疫情的死难者个体的意义。
“The moral issues were huge,” acknowledges Kathy Ryan of the NYTM. “It’s not very often you see pictures dealing with the dead in our culture in this way.” In one image, editors blurred out a name-tag attached to a body bag. The series includes open coffins and refrigerated corpse trucks, but the most graphic scenes were omitted. The Purewals, the family at the centre of the shoot, were willing to be photographed as a way of honouring their late father. For some who were unable to give their loved ones proper funerals, Mr Montgomery’s pictures became a memorial.
《纽约时报》的摄影总监凯西•瑞恩(Kathy Ryan)承认:“这些作品涉及的道德问题非常重要。在我们的文化中,很少以这种方式拍摄死者。”在一张照片中,编辑对附在运尸袋上的姓名标签做了模糊处理。这一系列的照片中,有敞开的棺材,也有运送尸体的冷藏车,但是大多数现场照片在后期都被删除了。(例如),(一张照片中)位于照片中心的普利沃尔一家想要被镜头记录下来,以此来缅怀已故的父亲。对于那些无法为所爱之人举办像样葬礼的人来说,蒙哥马利的照片无疑能为他们留个纪念。
10.What, for the West, has been an unusually intimate encounter with death has affected views on how suffering elsewhere in the world is portrayed. In March, after seeing the devastation that covid-19 was causing in Lombardy, Nana Kofi Acquah, a Ghanaian photographer, posted an address to white journalists on Instagram. “Can you photograph Africa with the same level of respect and empathy?” he asked. Azu Nwagbogu, director of the African Artists’ Foundation, hopes the global nature of the pandemic will lead to a levelling in the way anguish in different places is covered. “I think there’s now a clear understanding of the dignity and respect for human life that needs to be given to all patients.”
对于西方人来讲,这次与死亡不同寻常的“亲密接触”,影响了他们的一些看法,即世界其他地区所经历的苦难是如何报道的。三月,在目睹新冠肺炎病毒在伦巴第造成的危害后,加纳摄影师Nana Kofi Acquah在Instagram上发表了一封写给白人记者的信,他发问道:“你们能怀有同样的尊重和同理心来拍摄非洲的状况吗?”非洲艺术家基金会负责人Azu Nwagbogu希望,在疫情全球蔓延的情况下能对不同地区的痛苦程度都加以报道。“我认为现在大家都很清楚,所有的病人都该享有尊严,得到尊重,这是生命本该享有的。”
11.Pictures are, after all, one of the ways posterity will remember the pandemic and the lives it disrupted. Arts institutions are already beginning to shape the way it will be seen—and they are not relying only on professionals. The National Portrait Gallery in London, for example, has received over 30,000 submissions for “Hold Still”, a community photography project launched in response to the virus. “I see people voicing gratitude and manifesting dreams about better times, lives and loves after lockdown,” Magda Keaney, a curator, says of the entries. Professionals still shape perceptions of crises, wrestling with their motives and responsibilities as they shoot. But they are no longer alone.
毕竟,照片只是一种手段,让后代勿忘此次疫情,记得疫情如何扰乱人们生活。艺术机构已经开始塑造疫情的呈现方式,而且他们不仅仅只依靠专业人士。例如,伦敦国家肖像美术馆已经收到了3万多张照片,都是给为抗击疫情而发起的社区摄影项目“Hold Still”的投稿。美术馆馆长Magda Keaney就这些照片谈到了自己的看法:“我看到人们都在表达谢意,表达封闭后关于美好时光、美好生活以及爱的梦想。” 专业摄影师依旧塑造着人们对危机的认知和看法,按下快门的同时,他们也和自己内心的动机和肩负的责任进行着博弈。但是他们不再孤军奋战。
翻译组:
Nikolai,爱想象的小双鱼,蒙特雷候补生,AKB49
Echo,北漂北外的江南人,央视boys and girls 的粉丝儿~
Iris, 少女心爆棚的前职场老阿姨,现国际女子修道院MTIer,外刊爱好者
校对组:
Lee ,爱骑行的妇女之友,Timberland粉
Rachel,学理工科,爱跳芭蕾,热爱文艺的非典型翻译
Anne,女,爱读书爱Borges的小翻译,热爱文艺,经济学人爱好者
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观点|评论|思考
本期感想
无忌,心怀梦想不断努力的理想主义男孩
看完这篇文章以后,我相信很多读者跟我有一样的感受:脑子里出现了《人间世》。文中的摄影师与《人间世》拍摄组所拍摄的内容虽然有很多不同,但也有很多内容是相通的。我想说,我们真的需要有更多的人来记录医院里的故事。
从医护角度来说,这样的拍摄让他们的努力和付出被更多的人看见。《人间世》第一季第一集讲的是瑞金医院心脏外科,其中的一个画面让我印象非常深刻:一名医生跪在病人的病床上做心肺复苏,其他医护人员拉着病床在跑,这名跪着的医生就跟病床一起飘移。这样的例子还有很多,急诊科主任毛恩强从早到晚都在抢救一位24岁的病患,到了晚上,还在打电话求血库多给几袋血。包括本文所说的医护人员飞奔着治疗新冠患者,这些都是他们的付出。他们没有固定上下班时间,往往是半夜被叫去做手术,做完手术睡2小时,接着是一天高强度的门诊。这些人夜以继日地守护着人们的生命,我们需要更多的曝光,让他们的汗水和牺牲被我们看见,被我们肯定。
从病患的角度来说,他们可以得到更多的理解和关爱。不光是文中提到的新冠患者,医院里所有的病患都值得更多人的关注。小到在输液厅输液的普通感冒患者,大到身患绝症,已经住进姑息治疗病区的濒死之人,他们都遭受着痛苦。不管患病之前他们姓甚名谁,此刻他们都是病患,是弱势群体,来自亲人以及陌生人的关爱是他们康复或减轻痛苦的一剂良药。尤其是精神疾病患者,他们往往遭受着外界的不理解,甚至是谩骂。对这些现象进行更多的曝光可以唤起我们的同理心,让人与人之间更好地共情,给予病患更多的爱和温暖。
从社会的角度来说,可以让更多的人愿意学医。新冠疫情过后,很多高三学生都因那几个月的经历而萌生了学医的想法,这是好事。我国的人均医生配给量是非常非常低的,所以医生的工作量非常大,再加上种种医患纠纷,晋升问题,使得愿意学医的人越来越少,变成一个恶性循环。这样的摄影作品或影视作品能让更多的人了解到医生这个职业的神圣性,或许可以激起更多血气方刚的少年少女立下悬壶济世的人生目标。我本人非常崇拜医生,常跟人说,我到了大学才知道好好读书的重要性,如果再来一次,我一定好好读书,考个浙大或复旦交大医学院,可惜太晚了。主观地认为,治病救人是这个世界上最伟大的事业,没有什么事情比挽救别人的生命,让别人能继续在这个世界上以一个人的形式存在更有价值了。说得俗一点,等棺材板盖上的那一刻,想想自己这一辈子救了多少人,眼睛都能安然地闭上了。期待更多心怀理想的少男少女能够因这些影视和摄影作品走上从医的道路,你们一定可以的。
医院里的故事很精彩,也很复杂,我们期待更多的人可以来记录这些充满人情味的时刻,让医生得到肯定,病患得到关爱,更多的人走上从医的道路。
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