紐時賞析／以巴衝突假消息、殘殺照流竄 媒體報導陷天人交戰

以色列和哈瑪斯戰爭的視覺記述，成爲假訊息時代又一件值得擔心的案例，如今這場激烈衝突的雙方，皆把相片和攝影紀實的行動化作武器。 法新社

How Editors Evaluate War Photos

媒體審度戰場畫面 陷入天人交戰

Gruesome photographs of Palestinian children killed in rocket strikes and Israeli infants murdered by terrorists. Digitally doctored images that whip around social media before they can be verified. Accusations — since rejected by multiple news outlets — that photojournalists had advance knowledge of the Hamas surprise attack on Oct. 7.

巴勒斯坦孩童命喪火箭彈襲擊與以色列嬰孩被恐怖分子殘殺的可怕照片。經過數位竄改的影像獲得驗證前就在社羣媒體流竄。有指控稱攝影記者預先得知哈瑪斯10月7日的突襲，隨後遭多家新聞機構駁斥。

The visual chronicle of the war between Israel and Hamas has become its own disturbing case study of the age of disinformation, where photographs, and the act of photojournalism itself, are weaponized by both sides of a highly charged conflict. For newsrooms in the United States and Europe, the question of which images to publish — and which are too graphic or misleading to be published — has rarely been more complex.

以色列和哈瑪斯戰爭的視覺記述，成爲假訊息時代又一件值得擔心的案例，如今這場激烈衝突的雙方，皆把相片和攝影紀實的行動化作武器。對於在美國和歐洲的新聞編輯室而言，哪些照片要發佈，而哪些照片太過於露骨或具有誤導性而不應該發佈，這個問題從未如此複雜。

“In every war, there is a war of narratives,” said Jonathan Levy, the executive editor of Sky News. “You’ve got to be really mindful, not just of the potential harm to the audience of being exposed to some of that imagery, but also how you manage it.”

「每一次戰爭，都有一場敘事之戰」，英國天空新聞總編輯李維表示，「你必須深思熟慮，不只要考量接觸某些圖像對於閱聽人造成的潛在傷害，還有要如何控管」。

In interviews, editors at newspapers, TV stations and wire agencies said they had devoted countless hours in recent weeks to what many said was ultimately a delicate judgment call: deciding what their audiences saw and heard about the war. Among the factors is how much horror a viewer or reader can tolerate, and whether an image sensationalizes or trivializes violence. News outlets also feel a responsibility to victims and their families, who may not be aware that a relative has been killed or badly injured.

報紙、電視臺和通訊社編輯人員受訪時都說，最近幾周花了無數個小時，以做出許多人所說的最終微妙判斷：決定閱聽人對這場戰爭要看到和聽到什麼。其中的因素包括觀看者或讀者對駭人內容的承受度有多少，以及一幅影像是否將暴力過分渲染或輕描淡寫。新聞機構對受害者和其家屬也萌生責任感，這些家屬未必得知親人已喪生或受重傷。

“You want to get the most realistic view of what’s happening on the ground; you want to show the pictures,” said Greg Headen, who oversees domestic and international coverage at Fox News. “In many cases, though, we cannot. Some of the images we have seen are so gruesome, they can’t even be described on TV.”

「你想要就現場發生的一切取得最寫實的圖像；你想把照片公諸於世」，督導美國福斯新聞國內和國際報導的海登說，「但在很多的情況下，我們做不到。我們看到的一些影像實在是慘不忍睹，甚至無法在電視上描述」。

War photography has resulted in some of the most indelible images of global conflict, from a flag-raising on Iwo Jima in World War II to a screaming Vietnamese girl burned by napalm. That visceral power is why Israeli and Hamas authorities, along with their supporters, have used social media and other channels to circulate images intended to rally public sympathy to their side.

戰地攝影已造就全球衝突中一些最不可抹滅的影像，從二戰在硫磺島上豎起旗子，到遭燒夷彈燒傷尖叫的越南女童。那種動人肺腑的力量，正是爲何以色列和哈瑪斯當局還有雙方支持者，持續使用社羣媒體和其他渠道來散佈影像，以博取公衆對己方同情。

In deciding whether to amplify such pictures, news organizations assess their newsworthiness using similar editorial criteria as applied to facts and written reportage. Editors might consider the motivations of the source of the picture, and whether it contributes to a balanced portrayal of events.

在決定是否放大這類照片時，新聞機構使用與處理事實或文字報導類似的編輯標準，評估照片的新聞價值。編輯可能會審酌圖片來源的動機，以及該圖片是否有助於平衡的描述事件。

文／ Michael M. Grynbaum and Katie Robertson 譯／高詣軒