李米勒從康泰納什的女模到戰地攝影師
In 1927, a chance encounter on a New York sidewalk with the media mogul Condé Nast made the gamine beauty Lee Miller a magazine cover girl and modeling sensation. Later, as the lover and muse of the artist Man Ray, her face and body were preserved in some of the most striking solarized portraits of the Surrealist age.
1927年，假小子氣的美女李·米勒(Lee Miller)在紐約的人行道上偶然遇見媒體大亨康德·納斯特(Condé Nast)，從而成爲雜誌封面女郎和轟動一時的模特。後來，作爲藝術家曼·雷(Man Ray)的情人和繆斯，她的臉龐和身體留存在超現實主義時期的一些最引人注目的過度曝光的肖像照中。
But Miller’s place in history was ultimately secured by her work on the other side of the lens, first as a fashion photographer and later with her documentation of life in Europe during World War II.
不過，米勒在歷史上的地位最終因她在鏡頭另一側的作品而確立，先是作爲時尚攝影師，後來是記錄“二戰”期間歐洲的生活。
Appointed Vogue’s official war photographer in London, Miller, who died in 1977 at the age of 70, captured scenes from the Blitz and intimate snapshots of life on the British home front. Later, as one of a handful of female front-line photographers, she accompanied American forces to document the D-Day aftermath, Allied advance and eventual liberation of the Dachau and Buchenwald concentration camps.
米勒（她於1977年70歲時去世）被任命爲《Vogue》雜誌駐倫敦的正式戰地攝影師，她捕捉到了閃電戰的情景以及英國大後方的生活情況。後來，作爲少數幾位前線女攝影師之一，她跟隨美軍記錄了諾曼底登陸之後的情況，盟軍的前進，以及達豪集中營(Dachau)和布痕瓦爾德集中營(Buchenwald)的最後解放。
Her candid and devastating photographs of victims and perpetrators of Nazi oppression were widely circulated, while a haunting shot of Miller, naked and filthy, snapped by a Life magazine photographer as she symbolically washed away the horror she had witnessed from the bathtub of Hitler’s abandoned Munich apartment became a seminal liberation image.
她抓拍的納粹壓迫的受害者和行兇者的可怕照片廣爲傳播，而《Life》雜誌的一位攝影師抓拍到她在希特勒遺棄的慕尼黑公寓浴缸裏擦洗赤裸骯髒身體（象徵着洗去她看到的恐怖情景）的照片也同樣令人難以忘懷。
Those pictures, and many more, have been included in “Lee Miller: A Woman’s War,” a current exhibition of her life and work at the Imperial War Museum in London, and an accompanying book with the same name, by Hilary Roberts. As their shared title would suggest, the two retrospectives focus specifically on her vision of gender during the war, her exploration of the role women played throughout the period and the impact it had on their position in society.
那些照片，還有其他很多照片，都被收入倫敦帝國戰爭博物館(Imperial War Museum)正在舉辦的關於她生活和作品的展覽“李·米勒：一個女人的戰爭”(Lee Miller: A Woman’s War)中，以及同時出版的同名圖書中，圖書作者是希拉里·羅伯茨(Hilary Roberts)。展覽和圖書的名字表明，重點在於回顧她對戰爭時期女性的看法，以及她對女性在那個時期發揮的作用及其對她們社會地位影響的探索。
“In many respects, Miller’s life before the Second World War had been defined by her femininity,” said Ms. Roberts, who is also curator of the exhibit. “She may have belonged to the first generation of women entitled to vote but was well aware she lived in a man’s world. Photography offered Miller an outlet for her personal frustration and a means of taking control.”
羅伯茨也是這場展覽的策展人。她說：“從很多方面講，米勒在‘二戰’前的生活主要在於她的女性魅力。她可能屬於第一代獲得投票權的女性，但是她非常清楚自己生活在一個由男人主導的世界裏。攝影給米勒提供了一個排解個人受挫感的渠道，也提供了一種獲得控制權的方式。”
Most of Miller’s subjects throughout her body of work displayed are women, and many of the 150 photographs featured have not been published before. Her prewar catalog experiments with complex lighting systems creating artful and abstract shadows, while sculptural nudes with separated limbs and portraits of women and their lovers are clearly dissections of female subjugation.
展出的主要是米勒以女人爲拍攝對象的照片，150張照片中有很多從未出版過。她戰前的作品主要是運用複雜的燈光，創造出巧妙而抽象的光影，而四肢分離的雕塑般的裸體照片以及女人和她們的愛人的肖像照顯然是對女性主導權的探究。
From 1940, Miller regularly produced glamorous shoots for British Vogue tinged with her early Surrealist leanings. As the war progressed, the magazine then became a critical strategic conduit for government ministries on persuading women how they could and should behave during times of conflict.
從1940年起，米勒經常爲《Vogue》英國版拍攝帶有她早期超現實主義傾向的迷人照片。隨着戰爭的進行，這本雜誌成爲政府部門勸導女人在戰爭時期應該以及能夠如何行事的關鍵戰略渠道。
“It seems pretty silly to go on working for a frivolous paper like Vogue,” she said, then added, “It may be good for the country’s morale, but it’s hell on mine.” But over time, her work moved from the studios, where she had documented how to dress stylishly amid rationing and how shorter hair could be chic as more and more women began working in factories, to raw photographic essays on life on the home front.
她說，“繼續爲《Vogue》這樣的無聊雜誌工作很愚蠢”，而後又說，“它也許有利於鼓舞這個國家的士氣，但對我來說卻像地獄”。但隨着時間的推移，她的工作從攝影棚（她在這裏記錄如何在配給時期穿得時髦以及如何讓短髮顯得時髦，因爲越來越多的女人開始在工廠裏工作）轉移到了對後方生活的真實記錄。
From nurses in uniform caring for the wounded, to female searchlight crews of the Auxiliary Territorial Service, the women’s branch of the British army, in their big bear coats and female fighter pilots seated stoically in their cockpits, Miller reinforced that in her sympathetic view, plucky, feisty and levelheaded women were the backbone of the war effort at home.
從穿制服的照顧傷員的護士，到身穿熊皮大衣的英軍陸軍本土女子勤務隊(Auxiliary Territorial Service)探照燈操作員，到駕駛艙堅忍的女飛行員——米勒透過鏡頭強調自己對她們的讚賞：這些勇敢、頑強、冷靜的女人才是後方的支柱。
In Europe, where subjects included shaven-headed Frenchwomen accused of collaborating with the Germans, cold-eyed nuns, homeless street urchins and women in ordinary domestic scenes amid the urban rubble, her work becomes more nuanced.
她在歐洲的拍攝對象包括因被控與德軍勾結而被剃光頭的法國女人，冷靜的修女，無家可歸的流浪兒，以及城市瓦礫堆中尋常家庭場景裏的女人。她的作品變得更加微妙。
“Germany is a beautiful landscape dotted with jewel-like villages, blotched with ruined cities and inhabited by schizophrenics,” Miller wrote in a dispatch for Vogue from the liberation front lines in 1945, taking the magazine into new editorial territory. “Mothers sew and sweep and bale, and farmers plough and harrow; all just like real people. But they aren’t. They are the enemy.”
1945年，米勒在解放前線（這擴大了該雜誌的報道領域）發給《Vogue》的新聞快報中寫道：“德國是一個美麗的地方，點綴着寶石般的村莊，遭到毀壞的城市玷污了這裏，這裏住着很多精神分裂症患者。母親們縫補打掃整理，農夫們耕種，看起來都像有血有肉的人。可實際上他們不是。他們是敵人。”
Both the book and exhibition stress the emotional and psychological toll Miller’s experiences took on her. As Antony Penrose, her son from her marriage to Sir Roland Penrose, the British Surrealist artist, writes in the book’s introduction, “There is no erase button for the traumatic images that enter our minds.”
這本書和這場展覽都強調米勒的經歷對她造成的情緒和心理傷害。就像她的兒子安東尼·彭羅斯(Antony Penrose)在這本書的序言中說的那樣：“進入我們頭腦中的創傷性畫面永遠沒有清除鍵。”安東尼是在米勒嫁給英國超現實主義藝術家羅蘭德·彭羅斯爵士(Sir Roland Penrose)後生的孩子。
Mr. Penrose also suggests that his mother, the victim of a childhood rape that infected her with gonorrhea and who later became a chronic alcoholic and depressive, battled with her many unexpressed traumas and suffered from post-traumatic stress disorder in the postwar years.
彭羅斯還說，他的媽媽童年時遭到強姦，染上淋病，後來長期酗酒，精神抑鬱，經受內心隱祕創傷的折磨，戰後患上了創傷後應激障礙綜合徵。
After a few botched assignments in which she struggled to meet deadlines, her photographic career ended along with much of her reputation. At the time Miller died, her work was near forgotten; all of the images featured in the exhibition are from the 60,000 negatives Mr. Penrose found in the attic after her death. Few publications noted her death with an obituary (The New York Times did not). He has since worked aggressively to restore her critical reputation, and his biography of his mother, “The Lives of Lee Miller,” now looks set to be made into a movie (perhaps with Kate Winslet in the lead role).
後來米勒爲了趕截稿日期而搞砸了幾次拍攝任務後，她的攝影事業因此終結，她的名氣也基本隨之消失。到米勒去世的時候，她的作品幾乎被人遺忘。這次展覽的所有照片都來自彭羅斯於母親去世後在閣樓上找到的6萬張底片。幾乎沒有哪個媒體爲她寫訃告（《紐約時報》也沒有）。後來，彭羅斯努力恢復她的聲譽，他寫的關於媽媽的傳記《李·米勒的生活》(The Lives of Lee Miller)，現在還要拍成電影（可能由凱特·溫斯萊特[Kate Winslet]主演）。
“Although I hardly knew her while she was alive,” he said, “I have become aware of much of her life and personality through the legacy of these images.”
彭羅斯說：“雖然她在世時，我幾乎不瞭解她，但是通過這些照片，我對她的生活和性格有了很多瞭解。”
