ABSTRACT During the Spanish Civil War, photojournalism established itself as a modern practice. Photographers situated themselves as autonomous agents, offering passionate, implicated coverage of a war that engaged collective emotions. Their photographic practices were staunchly rooted in the tenets of observation without eschewing political commitment. In this paper, we argue that Spanish Civil War photographers, specifically Robert Capa, Gerda Taro, Kati Horna and David “Chim” Seymour, developed a range of visual practices that were entangled with questions regarding gender and politics. Both in the production of images and in their circulation and reception, photographers were acutely attuned to the politics of visually representing human suffering. Although ideals linked to the male soldier were essential to establishing the figure of the modern photo-reporter, we argue that war photographers produced something far more complex than a simple “masculine” gaze. By considering photographs that captured experiences of wartime displacement, we analyze the figure of the mother as a key visual trope in the Spanish Civil War archive. We argue that photographs of mothers on the move provide a window into understanding how, despite humanitarian claims to political neutrality, humanitarian photographic practice is deeply political in its ability to situate practices of care at the center of visual strategies deployed to narrate and represent the horrors of war.

中文翻译：

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他们携带的东西：西班牙内战期间流离失所照片的性别重读

摘要 在西班牙内战期间，新闻摄影成为一种现代实践。摄影师将自己定位为自主代理人，对一场涉及集体情感的战争提供热情、牵连的报道。他们的摄影实践坚定地植根于观察原则，而不回避政治承诺。在本文中，我们认为西班牙内战摄影师，特别是罗伯特·卡帕、格尔达·塔罗、卡蒂·霍纳和大卫·“奇姆”·西摩，开发了一系列与性别和政治问题纠缠在一起的视觉实践。无论是在图像的制作还是在它们的传播和接受中，摄影师都敏锐地适应了视觉表现人类苦难的政治。尽管与男性士兵相关的理想对于塑造现代摄影记者的形象至关重要，但我们认为，战地摄影师拍摄的东西远比简单的“男性化”凝视复杂得多。通过考虑捕捉战时流离失所经历的照片，我们将母亲的形象分析为西班牙内战档案中的一个关键视觉比喻。我们认为，移动中的母亲的照片提供了一个窗口，可以让我们了解，尽管人道主义声称政治中立，但人道主义摄影实践如何能够将护理实践置于视觉策略的中心，以叙述和表现恐怖的战争。通过考虑捕捉战时流离失所经历的照片，我们将母亲的形象分析为西班牙内战档案中的一个关键视觉比喻。我们认为，移动中的母亲的照片提供了一个窗口，可以让我们了解，尽管人道主义声称政治中立，但人道主义摄影实践如何能够将护理实践置于视觉策略的中心，以叙述和表现恐怖的战争。通过考虑捕捉战时流离失所经历的照片，我们将母亲的形象分析为西班牙内战档案中的一个关键视觉比喻。我们认为，移动中的母亲的照片提供了一个窗口，可以让我们了解，尽管人道主义声称政治中立，但人道主义摄影实践如何能够将护理实践置于视觉策略的中心，以叙述和表现恐怖的战争。