Name: 【人權教育】拯救美國童工的不是政府，而是這位用照片說故事的攝影師 (These photos ended child labor in the US)
Uploaded: 2019-07-27T21:01:20.000Z
Duration: 6 min 36 s

基礎被動語態

Sadie Pfeifer was 9 years old when this photo was taken.

這張照片被拍下來時，Sadie Pfeifer 才 9 歲。

程度副詞

Operating heavy machinery that's nearly twice her height in a cotton mill in Lancaster, South Carolina, in 1908.

1908 年，在南加州蘭開斯特的棉紡廠，她操作著比她高上兩倍的機器。

She was just one of many children working in mills, fields, factories, and mines.

她還只是其中一個在製造廠、田地、工廠和礦井工作的孩子。

And although these kids were spread across the United States, working in separate industries, they all had one thing in common.

雖然這些童工散佈在全美各處，為不同企業賣命工作，但他們有一個共通點。

At the turn of the 20th century, the United States knew it had a child labor problem.

在即將邁入 20 世紀時，美國人知道它們有童工的問題。

The 1900 federal census revealed that 1.75 million children under the age of 16, more than one in five, were working at this time.

1900 年，聯邦調查統計當時 16 歲以下的童工有 175 萬人，每 5 個之中就超過 1 個。

The Industrial Revolution had mechanized American and European manufacturing, and a cheap labor force was needed to complete repetitive tasks for hours on end.

工業大革命讓美國和歐洲的製造業工業化，他們開始需要低廉的勞動力來執行重複的動作好幾個小時。

Children from poor families were targeted for these jobs because they would work for next to nothing and were less likely to strike than adults　

來自貧困家庭的孩子就是這些工作的主力，因為他們願意為微薄的薪資工作，罷工的機率跟成年人比起來也較低。

State legislatures and the American public knew this was happening on a mass scale, but didn't act.

各州議會跟美國大眾都知道童工問題正大規模上演，但沒有人採取任何行動。

Until they saw what it actually looked like.

Starting in 1908, the newly formed National Child Labor Committee hired a photographer to investigate and report on the industries employing children.

自 1908 年起，新成立的國家童工委員會雇用了攝影師，來調查並回報企業雇用童工的情況。

That photographer was Lewis Wickes Hine: educator, sociologist, and member of the Progressive Movement.

這位攝影師就是 Lewis Wickes Hine，他是一名教育家、社會學家，也是進步運動的一員。

A period in the United States that saw a wave of political activism and social reform.

在此時期，美國正在經歷一波政治運動和社會改革的浪潮。

Hine emphasized the potential power of photography as a tool for social reform in a speech he gave in 1909 called "Social photography: how the camera may help."

在 1909 的演說《攝影社會：相機如何幫助我們》，Hine 強調攝影作為社會改革工具的潛在力量。

He said, The dictum, then, of the social worker is "Let there be light;" and in this campaign for light we have for our advance agent the light-writer — the photograph.

他說：社會工作者的格言就是「要有光」，在這起「尋光」的運動中，為我們發聲的代理人就是「攝影」。

He traveled extensively, gathering information, interviews, and images of working children across the country.

他為此四處在美國奔波、收集資訊、進行訪談，並拍攝孩童工作的照片。

Where adolescent "breaker boys" worked underground for hours, separating impurities from coal.

正值青春期的採礦工人在地底下工作數小時，將雜質從煤中分離出來。

Oyster shuckers in Louisiana, some as young as 4 years old.

在路易斯安那州剝牡蠣的孩子，有些年紀才 4 歲這麼小。

在麻薩諸塞州採收蔓越莓的孩子。

And young messengers and newsboys in cities all over the country.

在全國各個城市的小小信差和小小送報人。

Many of the photos captured adults nearby, supervising the children as they worked.

許多照片都捕捉到這些孩子附近站著大人，監督他們工作。

When Hine wasn't allowed access to the mills and factories, he waited outside and documented the comings and goings of its workers, whose shifts often lasted late into the night.

當 Hine 不被允許進入製造廠或工廠時，他就會坐在外面，記錄下來來往往的工人們，他們通常都到很晚才輪班。

Laborers would pose for portraits and tell Hine a bit about themselves, their wages, and their work conditions.

這些勞工會擺姿勢給 Hine 拍照，並告訴他一些自己的事，像是他們的薪資或工作狀況。

Sometimes they showed their horrific injuries and described what happened.

有時他們會給他看那些可怕的傷口，並告訴他事發經過。

Like this boy from Bessemer City, North Carolina, whose hand got crushed in the gears of a cotton spinner.

這名來自北加州貝瑟默城的小男孩，他的手就被棉紡織機的齒輪碾碎。

We know that because each photo, numbering over 5,000, includes a detailed caption written by Hine.

我們會知道這些細節是因為在這 5000 多張照片中，都有 Hine 詳細記下的說明文字。

Hine coined the term "photo stories" to describe this marriage of images and text.

他自創「用照片說故事」這個詞，來形容圖片和文字的結合。

And it's a big part of how the photos humanized the lives of child laborers to an indifferent public.

圖文並茂的作法將童工的生活賦予人性，並讓冷漠的社會大眾看見。

But it's also his photographic technique that makes them feel so personal.

但這也是因為他的攝影技術，才讓看到這些相片的人感同身受。

Let's use the photos of cotton mill workers like Sadie as an example.

讓我們用棉紡織廠的工人 Sadie 來做個例子。

First, many of these photos are framed the exact same way, just substituting a different worker.

首先，有很多相片的架構都如出一轍，只是換了不一樣的童工。

Hine was trying to show that each child's experience was part of a widespread problem, and the repetition in the images signals that.

Hine 試著表現每個孩子的經驗都屬於這個普遍問題的一部分，而每張相片的重複之處便突顯了這個特質。

You can really see how intentional the framing is when you look at how the image of Sadie appeared when it was first published in a Progressive magazine, in 1909.

Sadie 的照片首度在 1909 年出版的《進步》雜誌中亮相，其中你會發現她的照片很刻意地被安排過。

It's opposite a nearly identical photo of a different worker, set so that the symmetry of the two images makes the machinery seem to go on and on.

照片的對面是另一張幾乎一模一樣的照片，只是是另一名工人，這兩張照片對稱的排版，會讓機器看起來好像是一台接著一台，無盡地延伸。

The left-hand caption says, "Spinner. A type of many in the mill."

左手邊的標題寫著：紡紗工，眾多紡織廠的其中一個。

Hine's photographs are also shot with a very shallow depth of field, which basically means a narrow part of the photo is in focus, and the rest is blurred out.

Hine 常以「淺景深」的手法拍攝，意思是離照片較近的物體會被聚焦，其餘則會變得模糊。

A photo with a deep depth of field would look like this one by Jacob Riis, who was photographing New York City slums around the same time.

深景深的照片看起來會像 Jacob Riis 拍攝的這張，他在同時期拍攝紐約的貧民區。

Notice how the playground in the background is in focus, just like the kids in the foreground.

有注意到背景的運動場連同跟前景的孩子一起聚焦了嗎？

In this one, the factory this boy works at looms behind him, but it's almost totally blurred out.

在這張照片中，這個小男孩工作的工廠在他後方若隱若現，但基本上已經完全糊掉了。

This was a recurring visual theme — to include the machinery or the workplace in the frame, but obscure it, favoring the worker instead.

這是一種再現的視覺主題，照片中雖然也包含了機器或工作場所，但卻只突顯工人，將背景模糊化。

This narrow point of focus, combined with shooting from a lower angle.

聚焦在一個點，並搭配由低角度拍攝的手法。

The eye level of these children is why these images are so effective at humanizing their subjects.

這些孩子的視線高度就是照片在人性化主體這方面如此成功的原因。

Photos like the ones from the South Carolina cotton mills changed the public perception of child labor in the United States,

這張在南卡羅萊納州的棉紡廠所拍攝的照片，改變了美國大眾對童工的認知。

Ultimately pressuring state legislatures to introduce laws regulating work for those under the age of 18 and sending kids back to school.

終於讓各州議會設立法律，規範 18 歲以下的童工，讓孩子回到學校上學。

Lewis Hine went on to photograph the construction of the Empire State Building in New York City, using the same dignifying techniques he photographed child laborers with.

Lewis Hine 運用能夠替人像增添威嚴的拍攝手法，拍攝興建中的紐約帝國大廈，就如同他當初在拍攝童工一樣。

Considering the perspective of his subjects with a narrow focus, emphasizing the worker, not the machinery.

考量到聚焦的方法來呈現主體的視角，他強調的是工人，而非背景。

Hine was one of the first to use a camera as a tool for social documentary, to shine a light on the mostly unseen.

Hine 是將相機作為工具來拍攝社會紀錄片的第一批人，照亮那些不被大多數人所見的陰暗角落。

He understood early on the power images have to tell stories.

他早前就了解，那些富有影響力的照片要能夠說故事。

As he said in that 1909 speech: Take the photograph of a tiny spinner in a Carolina cotton mill.

如同他在 1909 年的演說中說到：拍下羅萊納州紡織廠那小小紡織工的身影。

With a picture thus, sympathetically interpreted, what a lever we have for the social uplift.

當人們以充滿同情心的方式來詮釋一張照片，我們就有了一支可以提升整體社會的槓桿。

Hey everyone, that was Darkroom season 1!

大家好，這是「暗房」的第一季。

I'm going to take a break from it and work on some other stuff, like History Club with Phil.

我要暫時先從這個系列休息一下，改拍其他影片，像是跟 Phil 一起拍「歷史俱樂部」。

If there are photos you think would make good stories for the next season, make sure to leave a comment below.

如果你手邊有可以提供給下一季的優質照片，別忘了在下方留言區留言。

In the meantime, if you're looking for more great videos on photography in history, check out the documentary "The Man Who Shot Tutankhamun", available on CuriosityStream.

如果你剛好也在尋找歷史方面的攝影好片，你可以看看這部紀錄片「射殺圖坦卡門的男人」，目前在 CuriosityStream 上映。

CuriosityStream is a subscription streaming service that offers thousands of documentaries and nonfiction titles from some of the world's best filmmakers.

CuriosityStream 是訂閱串流服務，裡面提供了幾千部製片大師製作的紀錄片和紀實作品。

You can get unlimited access starting at $2.99 a month — and because you're a Vox fan, the first 31-days are free if you sign up at curiositystream.com/Vox and use the promo code "vox."

你第一個月花費 2.99 美元無限觀看，但因為你是 Vox  的粉絲，只要你到 curiositystream.com/Vox 註冊，並使用我們的優惠碼「vox」，你前 31 天就可以免費使用。

Curiosity Stream doesn't impact our editorial, but their support makes videos like this one possible.

Curiosity Stream 沒有影響我們的編輯自主權，但有他們的贊助，我們才能做出這支影片。