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  長期專題 Long-Term Projects  
 
Valery Melnikov

俄羅斯,今日俄羅斯通訊社
長期專題 第一名

烏克蘭不幸的日子
2016年7月,在斯巴達克村,一名男子在澆花。
2014年4月,支持俄羅斯的民族獨立份子佔領了烏克蘭最東的頓內次克及盧干斯克的部份地區,烏克蘭政府對此發動了軍事作戰計劃。一個夏天過去後,衝突越演越烈,進入全面開戰的狀態。俄羅斯提供反叛軍訓練及設備上的支援。攝影師在2014年初夏首次進入盧干斯克,目睹了這個國家隨著戰事加劇所發生的改變。他相信在任何一場衝突中,最重要的一方是第三方——也就是被牽扯進戰爭暴力裡的平民。他認為溫和的人民,像是婦女、孩童以及老年人,是與衝突的毫無直接關聯的族群,卻是受苦最深的一群人。頓內次克及盧干斯克的平民需要在不時斷水斷電、反覆砲擊、經歷房子被毀、親友身亡的種種困境下存活下來。


Valery Melnikov

Russia, Rossiya Segodnya
Long-Term Projects 1st Prize

Black Days of Ukraine
A man waters flowers in the village of Spartak in July 2016.
In April 2014, pro-Russian separatists seized parts of Donetsk and Luhansk regions in easternmost Ukraine. The Ukrainian government launched a military operation in response, and over the course of the summer the conflict escalated into full-scale hostilities. Russia gave support in training and equipment to the rebels. The photographer first went to Luhansk in the early summer of 2014, and witnessed conditions change as hostilities intensified. He believes that the most important side to any conflict is the third one: that of the ordinary people caught up in the violence. He considers the peaceful people—the women, children and the elderly who have little direct concern with the conflict—to be the ones who suffer the most. Civilians in Luhansk and Donetsk had to survive often without running water or electricity, under repeated shelling, experiencing the destruction of their homes and the deaths of friends and relatives.

Hossein Fatemi

伊朗
長期專題 第二名

伊朗之旅
一名女子在聖地牙哥共乘計程車。
一些女子在Bame Tehran——意即「德黑蘭的屋頂」——眺望首都。其中一名女子臉上還貼著整形手術後的敷料。伊朗是世界上做隆鼻手術比例最高的國家。
自從1979年發生伊朗伊斯蘭革命後,伊朗就開始遵循極端保守的神權主義。西方文化勢力的介入受到嚴格的限制。據估計30歲以下的人約佔伊朗人口的百分之六十,並且對革命前的伊朗只有淺薄的認識,然而現在西洋青少年的穿著打扮和現代化事物都藉由網路和衛星電視(仍是違法)播送到家家戶戶。攝影師打算紀錄下結構複雜的伊朗社會,揭示日常生活中不常被觀察到的部份。


Hossein Fatemi

Iran,Panos Pictures
Long-Term Projects 2nd Prize

An Iranian Journey
Women on Bame Tehran, the ‘Roof of Tehran’, look out over the capital. One wears a dressing following plastic surgery. Iran has one of the highest rates of nose surgery in the world.
Since the Islamic Revolution in Iran in 1979, the country has followed a strictly conservative theocratic line. Western cultural influences have been severely restricted. An estimated 60 percent of Iran’s population is under 30 and have little knowledge of their country before the revolution, yet all the trappings of Western youth and modernity are now beamed into homes via the internet and (as yet still illegal) satellite television. The photographer aims to document parts of Iran’s complex society, showing less-observed areas of daily life.