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  • LYNSEY: Pummeled with tank fire mortar rounds.

  • Riots for bread.

  • Women who tried to commit suicide

  • by setting themselves on fire.

  • Many, many women were dying in child birth.

  • I was kidnapped by Gaddafi's troops.

  • There was no place to hide.

  • (applause)

  • So I was 26 the first time I went to Afghanistan.

  • And I had been living in India at the time.

  • And I had a roommate who went to Afghanistan

  • under the Taliban and he came back

  • and he said, "You know, you are a woman.

  • You should go to Afghanistan

  • and photograph women living under the Taliban,

  • because no one's doing it."

  • And he didn't tell me

  • that photography was illegal at the time,

  • that you couldn't photograph any living thing.

  • And that there was no American Embassy,

  • and that the only governing body was the Taliban,

  • which was ruled by Sharia law.

  • But I was 26 and I didn't care, and so, I went.

  • And I took some pictures of women.

  • I kept my cameras in my bag,

  • and I ran around to people's homes.

  • And I went to the hospitals--

  • this was a women's hospital in 2000.

  • There was no medicine, very few doctors.

  • This was a woman in labor.

  • This is a very typical scene on the streets of Kabul.

  • This was the capital at the time.

  • There were almost no cars.

  • Women beggars were really the only women

  • you would ever see on the street.

  • Any form of entertainment was illegal.

  • There was no music, no television,

  • and no cell phone.

  • So, when I would go to Afghanistan at the time,

  • I would literally fall off the face of the planet.

  • I would have no idea what was happening

  • outside of Afghanistan.

  • This scene happened. I was out at a refugee camp

  • because there was a drought in Herat,

  • which was western Afghanistan.

  • And I was with my driver and he said,

  • "Madam, I have to go early,

  • because my brother is getting married."

  • And I said, "Great.

  • Let's go to your brother's wedding."

  • So, he took me in.

  • I brought one camera, one lens and I hung out.

  • And I had been on a street, like the picture

  • you had just seen.

  • And we descended down these stairs

  • and the Titanic was blasting.

  • And men and women were dancing together.

  • And this was all under the Taliban in secret.

  • About 9 years later, National Geographic

  • assigned me to photograph women in Afghanistan.

  • And I spent about 2 years photographing.

  • And the changes that had been made

  • were astonishing to me.

  • I had been working pretty much consistently

  • in Afghanistan since 2000, so I went almost every year.

  • And my last trip was about 5 months ago.

  • This is a wedding.

  • The man on the right is the father of the groom

  • and he is a filmmaker in Afghanistan.

  • This is a typical scene of a midwife.

  • This is in Badakhshan Province.

  • And that province has very few roads.

  • So, many, many women die in childbirth in Afghanistan,

  • mostly because of the lack of access to hospitals

  • and doctors.

  • So, what you see here is a woman,

  • a midwife from Merlin, and she would go out

  • into very remote villages

  • and they would make an announcement at the mosque.

  • And pregnant women and women with young children

  • would come and meet with her.

  • And after spending about two weeks

  • in Badakhshan Province, I was driving back to Fayzabad,

  • which is the capital.

  • And I notice these two women on the side of the mountain.

  • And I said, "That's strange,

  • there's no man with those women."

  • And anyone who's worked extensively in Afghanistan

  • knows that there was always a man with the women.

  • So we stop the car and Dr. Zieba,

  • who was my translator and an amazing Afghan woman,

  • she jumped out and we ran up the mountain

  • and she said, "What's going on?"

  • And the woman on the right was in labor,

  • and her water had just broken.

  • And they had rented a car and her husband's first wife

  • had died in childbirth.

  • And he was so determined to not have a second wife die

  • in childbirth that he rented this car,

  • and they were driving from their village to Fayzabad,

  • the capital, and their car broke down.

  • And so I said, "Get in my car

  • and I'll take you to the hospital."

  • And they said, "We can't.

  • We need the permission of her husband."

  • And so I said, "Dr. Zieba, go find the husband."

  • And fortunately there was a one road

  • that led throughout the whole province.

  • So, she took our car and she found

  • the husband. They all came in my car,

  • and she delivered.

  • Everyone always asks me if I took--

  • if I have pictures of her delivering.

  • And I stopped photographing at the point

  • that I left them, that I put them in my car,

  • because I changed the story as a journalist

  • and I didn't feel like it was ethical

  • to keep photographing.

  • Many women in Afghanistan end up in prison

  • simply for asking for a divorce, for doing things

  • that in the west, we would see

  • as not justifiable to end up in prison.

  • This is Mida Hall. She was married

  • at a very young age to a man who was decades

  • older than her.

  • He was handicapped, so every day her duties

  • as a wife were to bathe him and to take care of him

  • and feed him.

  • When she was 21, she asked for a divorce

  • and she was thrown in prison by his brothers.

  • This is a young woman.

  • Women in Afghanistan who are unhappy

  • or who are ashamed, they don't take a gun

  • and try and commit suicide the way that we would try to

  • or that's more typical in the west.

  • They set themselves on fire.

  • And many of those women don't die.

  • So, I did a series for The New York Times

  • on women who tried to commit suicide

  • by setting themselves on fire.

  • This young woman had been accused

  • by her neighbors of stealing. And she was so ashamed

  • that she tried to kill herself.

  • And she died a few days after that picture.

  • With the Americans in Afghanistan,

  • one thing they tried to do was train up

  • a police force of women.

  • And this is at a shooting range outside of Kabul.

  • Education has really picked up in Kabul,

  • that's something when I first I used to go,

  • there were secret girl schools in people's homes,

  • hidden from the Taliban.

  • And now you see women graduating.

  • This is a women's boxing team.

  • This is a woman in parliament.

  • They're women in parliament, sorry.

  • There are soap operas with women and women actresses.

  • This is a soap opera set, in Kabul.

  • This is Trina. She is an actress.

  • She did soap operas and she was also in some movies.

  • So, in 2009 and 2010, I accompanied the Marines'

  • female engagement teams, throughout Helmand Province.

  • This was a program, started by the Marines,

  • to have American women engage Afghan women,

  • because many of the Marines--

  • all the Marines operating in Helmand Province were men.

  • And there was a whole 50% of the society,

  • they couldn't-- they couldn't engage.

  • And they couldn't go into people's homes.

  • So, they brought women in. And they had them

  • talk to Afghan women, look at them

  • for basic medical treatment.

  • It was fascinating for me,

  • because I had been embedding with the military

  • for many, many years, but I was always the only woman.

  • So, it was the first time

  • that I was able to be around women,

  • to go around and see how they operate

  • in this hostile environment.

  • This is a female Blackhawk Pilot, Jesse.

  • And she used to go in and pick up the injured.

  • She was working with the Medevac Team.

  • This is them, training.

  • This is all in Helmand Province:

  • cleaning their guns,

  • relaxing at night.

  • And it was the first time-- You know,

  • usually when I embed with the military,

  • there's no place for me to sleep.

  • It's always this big crisis,

  • where is the female journalist gonna sleep.

  • And so, I finally was able to sleep

  • in a normal cot with a bunch of women,

  • which was really fun.

  • And I loved seeing them still try and do their makeup

  • and be feminine even on the front lines.

  • And we patrolled.

  • And we were shot at.

  • This was before 2013,

  • when women were allowed on the frontlines.

  • So, this is all in 2010.

  • (audience laughing)

  • I love this picture.

  • In 2009, I was given a MacArthur Fellowship

  • and I wanted to focus on maternal mortality,

  • and why women die in childbirth.

  • And so--

  • And it's a body of work that I have been doing

  • now for about 5 years.

  • I went to Sierra Leone, to photograph

  • in the Magburaka government hospital.

  • It was a place that I knew many, many women

  • were dying in childbirth.

  • I went there one day and met Mama Sise.

  • She was a woman who was pregnant with twins.

  • She gave birth to the first twin in the village,

  • and the second twin wouldn't come out.

  • So, she took a canoe across the river.

  • There was an ambulance waiting

  • for her across the river.

  • And she drove about 4 hours, across bumpy roads,

  • to get to the hospital.

  • And this is when I met her.

  • She had delivered the first baby about 24 hours earlier.

  • She was so scared and tired to push,

  • because she was just exhausted.

  • And she finally gave birth and the baby was--

  • I thought, was still born. But the nurses spent about

  • 45 minutes resuscitating the baby.

  • And they have very little there.

  • They don't have traditional machines

  • like we do that can-- oxygen and everything.

  • They're literally smacking the baby

  • and trying to bring the baby back to life.

  • In that time, Mama Sise started bleeding.

  • I thought there was something wrong,

  • but I'm not a doctor, I'm just a photo-journalist.

  • And so I kept asking, "Why is she bleeding so much?"

  • And they were just mopping up the blood

  • and saying she's fine.

  • Finally, I went to go get the doctor,

  • and he was in surgery.

  • When I came back, her blood pressure was down

  • to 60 over 40.

  • They picked her up and carried her across

  • the hospital where the doctor was.

  • There was one doctor in the entire province.

  • And by the time she got there, she died.

  • This is her sister who was also a midwife,

  • who had arranged to send her that ambulance

  • because she didn't want her to die.

  • This is the mother finding out that her daughter

  • has just died.

  • And this is in the ambulance. I went home with her body...

  • and photographed the rituals

  • surrounding her death

  • and her burial.

  • So, two years later I got a call from Doctors

  • Without Borders, MSF.

  • And they said, "We saw the story you did.

  • And since then we've put five ambulances in Bo province,"

  • in this one province next to that province

  • I'd been in.

  • And they offer 24 hour emergency service

  • to women in Sierra Leone, in that province,

  • and they gave each of the small clinics

  • in the villages a radio.

  • So, when a woman went into the clinic

  • with complications,

  • they could call for an ambulance.

  • And they said, "With that, we've reduced

  • the maternal mortality rate by 60%."

  • ( indistinct chattering )

  • ( indistinct chattering continues )

  • ( speaking in foreign language )

  • You're almost there.

  • ( Aboriginals singing )

  • ( speaking in foreign language )

  • ( baby crying )

  • ( Aboriginals singing )

  • ( applause )

  • In 2011-- It was February of 2011,

  • and I had watched the Arab Spring unfold from--

  • On TV while I was sitting in Iraq.

  • And when I was in Afghanistan,

  • and then, Bahrain. I was always in the wrong place.

  • So, I called The New York Times

  • and I said, "I am going to Libya,

  • whether you want to send me or not."

  • So, I went to Libya.

  • Like most journalists, I crossed illegally

  • from Egypt into Eastern Libya.

  • That was really the only way to do it,

  • because any journalist who wants to cover an uprising,

  • the government generally

  • doesn't want journalists there.

  • So, you have to sneak in.

  • When I got there, it was very euphoric.

  • People were really celebrating the uprising.

  • A parallel government was being set up.

  • There were demonstrations. People were really happy.

  • They thought Gaddafi was gonna fall quickly.

  • They called people to fight against

  • Gaddafi's troops, and they were clearly untrained.

  • There were doctors, engineers,

  • teachers, learning how to use weapons.

  • Immigrants were fleeing.

  • People who had gone to Libya to work, were trying

  • to get boats out of the country.

  • They felt that the fighting was imminent.

  • And in Benghazi, there was really an air of tension.

  • About a week after I got there,

  • some rebels started pushing forward

  • towards the front line.

  • And a handful of photographers--

  • It's always the crazy photographers who go forward.

  • We started moving forward with Gaddafi's troops.

  • We ended up on the front line.

  • This is Ra's Lanuf.

  • What you see in the background is an oil refinery.

  • And we followed them, as cities fell

  • from Gaddafi's hands into rebel hands.

  • They went in, they would shoot out

  • pictures of Gaddafi, go into homes.

  • The fighting was really disproportionate.

  • Gaddafi had a trained military, and we were with the rebels.

  • So, this is an example of -- We were on the front line.

  • It was one road that sliced through the desert,

  • from west to east.

  • One day, we were on the front line

  • when a helicopter gunship came in directly

  • above us and started spraying the ground around us with

  • .50 caliber bullets, like this big.

  • They had to fight back with Kalashnikovs.

  • Some of the soldiers-- Some of the rebels

  • were throwing rocks up into the air.

  • Many times, they just turned around

  • and fled when Gaddafi's military approached.

  • We had been sort of spoiled by being

  • with the American military, the Marines in Afghanistan

  • and Iraq. And it was very different.

  • This particular day, we were being pummeled

  • with tank fire, mortar rounds.

  • We would just follow the front line,

  • as it pushed back and forward.

  • We were really trying to get a sense of what was happening.

  • And it was before the no-fly zone was put in place.

  • So, as journalists, we really wanted to show

  • what was happening so that--

  • While the no-fly zone was being deliberated,

  • we can provide a firsthand picture

  • of what was happening on the ground.

  • The rebels were really getting injured

  • and killed around us.

  • The fighting was very, very intense.

  • There was no place to hide.

  • We would be on the front line and we would hear

  • the hum of an aircraft. And you would literally

  • just hope that the bomb didn't land on top of you.

  • Cower in fear.

  • This particular bomb landed about 100, 200 feet

  • from where we were standing.

  • And we pushed forward with them, as they took more ground.

  • Several days after that I took this picture,

  • I was kidnapped by Gaddafi's troops

  • with three other journalists for The New York Times.

  • So, that was the last picture in that series.

  • Luckily, I had a premonition that something might happen,

  • so I sent a hard drive out with a colleague

  • and said, "if I get taken,

  • please send this to my agency."

  • And that's how I was able to salvage all my pictures.

  • Last year, I wanted to cover what was happening in Syria.

  • But my family begged me not to go into Syria.

  • So, I started covering the refugee crisis.

  • I've made eight trips to the region: Turkey,

  • Jordan, Lebanon, Northern Iraq,

  • and I did go once into Syria.

  • And so, this is a collection of photos

  • with the Syrian refugees.

  • These are refugees streaming into Northern Iraq.

  • And this is them waiting for handouts

  • in Northern Iraq, after arriving.

  • This is a food distribution in Zaatari,

  • when there were riots for bread.

  • This is a family arriving in Zaatari

  • for the first time,

  • and when they're getting

  • registered with the United Nations, in Zaatari.

  • And a family sleeping outside, at dawn, in Iraq.

  • This is a funeral for a rebel fighter.

  • And they're cooking.

  • The body was still in Syria, but this is the family cooking.

  • People were living in caves, in Lebanon.

  • I went back to these caves several months ago,

  • and the families have all been moved into makeshift camps.

  • There are no camps in Lebanon,

  • because the Lebanese government is--

  • Does not want formal camps set up.

  • This is at a bread distribution, in Zaatari.

  • And these are the camps on the Syrian side of the border.

  • People were living in raw sewage.

  • There were no NGOs working there except IHH,

  • a Turkish NGO at the time.

  • And this is in Syria.

  • He was a former fighter and he was living in a school

  • with his family.

  • This is outside of a smuggler's village in Turkey.

  • I was waiting to try and photograph

  • the exodus of refugees coming out of Syria.

  • And it's a picture that's very, very difficult

  • to get as a photographer now,

  • because all of the neighboring countries have really

  • shut down their borders.

  • So, I stood outside of the smuggler's village,

  • because I knew that they were crossing there.

  • And every hour or so, someone would come up

  • to me and say, "Get out of here,

  • we're gonna kill you."

  • And one guy came up to me and he said,

  • "I'm gonna go get my knife."

  • Another guy came up to me and said,

  • "Just wait until dark, because when dark comes,

  • you'll see all the refugees."

  • So, I put my cameras in my bag and I waited.

  • And, of course, at dark they all started streaming out.

  • This is a family living in a camp

  • across from a formal camp, in Turkey.

  • They were literally living under the trees.

  • And this is that same camp.

  • I just want to show you a few on-assignment pictures,

  • because I think it's funny.

  • This was me in 2001, in Pakistan.

  • This is me, in Fallujah.

  • Crossing illegally into Darfur, to cover the war in Darfur.

  • We had to walk for three kilometers,

  • most of that through wadis.

  • This is--

  • We had lived on the back of this pickup truck

  • for five days, driving through the desert in Darfur.

  • This is the Korangal Valley, in Afghanistan.

  • I was embedded with the 173rd.

  • That's me and my colleague, in Afghanistan.

  • That's me and that same colleague.

  • ( laughter )

  • Sort of like being an actor.

  • And this is us hiding in that silo, in Libya,

  • on the front line.

  • And this is us on the front line.

  • That's me with Tyler Hicks.

  • And we were taken together.

  • That's Gary Cosgrove and Nikki Sobecki.

  • And this is an example of where we stay typically,

  • in Libya, on the front line.

  • People-- Libyans would just open their homes

  • to journalists who were there.

  • And for example, in this particular house,

  • there were 17 journalists sleeping.

  • And every night , we got a knock on the door

  • at about 6:00, and it was a 10-year-old Libyan boy.

  • He would come with a giant tray of food

  • and just set it down and leave.

  • And so, the women who were still in the village would

  • cook for us every night.

  • And on the upper right is Anthony Shadid.

  • He is a colleague, and he died in Syria last year

  • of an asthma attack.

  • And that's it.

  • ( applause )

LYNSEY: Pummeled with tank fire mortar rounds.

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國家地理現場!林西-阿達里奧。鏡頭在前線 (National Geographic Live! - Lynsey Addario: Lens on the Front Line)

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    稲葉白兎 發佈於 2021 年 01 月 14 日
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