Behind the Lens Again A Press Photographer’s Lost Decade

シャッター 報道カメラマン 空白の10年
重返鏡頭-攝影師空白的10年

  • HD
  • Human

47min. / 84min.

[Program Catalog] Behind the Lens Again A Press Photographer’s Lost Decade シャッター 報道カメラマン 空白の10年 重返鏡頭-攝影師空白的10年|RKB MAINICHI BROADCASTING CORP.

[Program Catalog] Behind the Lens Again A Press Photographer’s Lost Decade シャッター 報道カメラマン 空白の10年 重返鏡頭-攝影師空白的10年|RKB MAINICHI BROADCASTING CORP.

[Program Catalog] Behind the Lens Again A Press Photographer’s Lost Decade シャッター 報道カメラマン 空白の10年 重返鏡頭-攝影師空白的10年|RKB MAINICHI BROADCASTING CORP.

(c)RKB MAINICHI BROADCASTING CORP. (c)RKB

In 2003, Hiroki Gomi, a photojournalist for the Mainichi Newspaper, was on his way back from covering the Iraq War when a metal fragment in his bag exploded, killing one and injuring five. The fragment was a cluster bomblet. Gomi was punitively dismissed from his job.
I (the director) used to work for Mainichi Newspaper. Gomi and I joined the company at the same time and became good friends. Later, I changed jobs to join the television industry. I first began filming Gomi six years ago, and all the while, I struggled with two big questions: why was I filming my friend and what was the meaning of airing his past offenses again?
The production staff and I discussed these issues many times. After the Great East Japan Earthquake, however, people began to criticize the media for filtering the news. But why did Gomi's photos still strike a chord? When he snapped a shot, was he not filtering information? It seems that what causes distrust is how the media applies its filter. So, is the filter we use fair?
Four years after we started filming, the theme for this program finally came to us: we would ponder the state of post-disaster media through the lens of Gomi's photos. Finally, in June 2013, we produced a 74-minute version of this program.
After Gomi watched the program, something changed: he decided to pick up his camera and go back to work. This spring, he sent me a positive message, so I decided to re-make the program.
As humans, we all try to atone for our offenses, so with this in mind, I added scenes to show how far Gomi had come after 10 years.


2003年、毎日新聞のカメラマン・五味宏基がイラク戦争取材から日本に帰る帰途。持っていた金属片が爆発、6人が死傷した。金属片は、クラスター爆弾の子爆弾だった。五味は懲戒解雇された。
ディレクターの私は、前職の毎日新聞社に同期で入社、五味とは親しい友人だった。放送に転職後、取材を始めたのは6年前のことだ。その後、繰り返し悩んだ。「私はなぜ友を撮るのか?」「過去の罪を今さら世に出す意味はあるのか?」。
番組スタッフ間で議論を重ねた。日本では東日本大震災後、マスメディアの報道に対して「フィルターがかかっている」との批判が強まっている。だがなぜ、五味の写真は心を打つのだろう。シャッターを押す瞬間、五味は自分のフィルターをかけているのではないか。メディアは、その「フィルターのあり方」にこそ不信感を持たれているのではないか? 私たちのフィルターは、果たして公正か?
取材開始から4年が経ち、私たちがたどり着いたのは、「五味の写真を通して、震災後の視点でメディアのあり方を考える」という視点だった。こうして、2013年6月に、約80分のバージョンを制作した。
この番組を見た五味は、変化を起こしてきた。「もう一度、カメラを手にとって、仕事をしてみよう」という気持ちになってきたのだ。今年春、五味から届いた前向きなメッセージを読み、もう一度「シャッター」を作り直してみたいと思った。
人は、どうしたらその罪を償えるのだろう? 10年の放浪の果てに、彼がたどりついた地平を盛り込み、リメークした。


一位新聞報導攝影師,在伊拉克戰中進行戰地採訪時,因為特赦保護而遭到解雇。心灰意冷之際,他離開了新聞攝影報導這份工作。但是,十年後,他決定要重返攝影界。這空白的十年,究竟發生了什麼事情讓他改變了自己的想法?

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2014 ~ 2014

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