She was called to report to this center in San Francisco Japantown.

她被叫去向位於舊金山日本城的這個中心報到。

So, she's standing in line waiting to get her family number on a card.

是以，她正站在隊伍中，等待在卡片上得到她的家庭號碼。

By which they would be identified for the rest of the time that they were incarcerated.

在他們被監禁的其餘時間裡，他們將通過這種方式被識別。

She's pregnant with my older brother in that photo.

在那張照片中，她懷著我的哥哥。

My name is Satsuki Ina.

我的名字是佐藤井奈。

I was born in the Tule Lake concentration camp during World War Two.

我在第二次世界大戰期間出生在圖勒湖集中營。

Satsuki Ina’s mother, Shizuko, was one of 120,000 Japanese Americans incarcerated in

伊娜的母親靜子是12萬名被關押在紐約的日裔美國人之一。

concentration camps during World War II.

二戰期間的集中營。

Satsuki told me over the phone that when this photo was taken in April 1942, her mother

櫻木在電話中告訴我，當這張照片拍攝於1942年4月時，她的母親

was living in San Francisco.

當時住在舊金山。

That sign on the wall behind her is a notice posted by the US Army.

她身後牆上的那個牌子是美國軍隊貼出的通知。

Instructing all people of Japanese descent living in the area to register themselves,

訓示居住在該地區的所有日本人後裔進行自我登記。

and their families, for “evacuation” – or face criminal penalties.

和他們的家人，進行 "疏散"--或面臨刑事處罰。

SATSUKI INA: But addressed it to “aliens and non-aliens.”

SATSUKI INA：但針對的是 "外國人和非外國人"。

And non-alien is, of course, a citizen.

而非外國人當然是指公民。

This photo was taken by Dorothea Lange.

這張照片是由多蘿西婭-蘭格拍攝的。

One of the great American photographers of the 20th century.

20世紀偉大的美國攝影家之一。

Lange took hundreds of photos of Japanese Americans in 1942.

蘭格在1942年拍攝了數百張日裔美國人的照片。

But her images remained mostly unseen until decades later.

但她的影像直到幾十年後才大部分被人看到。

SATSUKI INA: The government was so effective at distorting the true narrative of what they

SATSUKI INA：政府在歪曲他們的真實敘述方面非常有效。

did, why they did it, and what happened to the people.

他們做了什麼，為什麼這麼做，以及這些人發生了什麼。

Japanese Americans had been segregated from white American culture going back to the first

日裔美國人與美國白人文化的隔離可以追溯到第一次世界大戰。

arrival of Japanese immigrants in the late 1800s.

19世紀末，日本移民的到來。

And faced a wave of anti-Japanese legislation starting in the 1920s.

並面臨著從20世紀20年代開始的反日立法浪潮。

But after Japan’s bombing of the US Navy base at Pearl Harbor,

但在日本轟炸珍珠港的美國海軍基地後。

a surprise attack that left over 2,000 Americans dead,

一次突襲，造成2000多名美國人死亡。

Japanese Americans became targets of violence and increased suspicion.

日裔美國人成為暴力的目標，並受到越來越多的猜疑。

SATSUKI INA: Within hours of the attack, FBI agents showed up in the Japanese American

SATSUKI INA：在襲擊發生後的幾個小時內，聯邦調查局特工就出現在日裔美國人的家中。

communities and removed the Issei first-generation men.

社區，並清除了第一代伊勢的男性。

Who had been already listed as potential threats before the war broke out.

誰在戰爭爆發前就已經被列為潛在的威脅。

They were labeled “enemy aliens,” along with some German and Italian nationals, and

他們與一些德國和意大利國民一起被貼上了 "敵國僑民 "的標籤，並且

were to be interned for the duration of the war.

在戰爭期間，他們將被關押起來。

GARY OKIHIRO: They felt that that would remove the leadership.

GARY OKIHIRO：他們認為這將消除領導力。

And so that masses of Japanese could not act in concert against US interests.

而這樣一來，廣大日本人就無法對美國的利益採取一致行動。

Gary Okihiro is a scholar and author whose work, going back to the 1970s, helped pioneer

加里-奧基羅是一位學者和作家，他的工作可以追溯到1970年代，幫助開創了

the academic field of Asian American Studies.

亞裔美國人研究的學術領域。

GARY OKIHIRO: They were satisfied with the removal of just the leaders of the Japanese

GARY OKIHIRO：他們只對清除日本的領導人感到滿意。

American community and their detention.

美國社區和他們的拘留。

Not a mass removal.

不是大規模清除。

But the politicians intervened.

但政治家們進行了干預。

Even though the Japanese American leadership was already interned, newspapers and politicians

儘管日裔美國人的領導層已經被關押，但報紙和政治家們

started stoking the fear of a new threat:

開始煽動對新威脅的恐懼。

the “fifth column.”

"第五縱隊"。

FRANKLIN ROOSEVELT: The Trojan Horse.

弗蘭克林-羅斯福：特洛伊木馬。

The fifth column.

第五縱隊。

A “fifth column” is a generic term that refers to a group within a wartime country

第五縱隊 "是一個通用術語，指的是戰時國家內的一個團體

secretly loyal to the enemy.

祕密地效忠於敵人。

A hypothetical Japanese fifth column was invented in newspapers,

在報紙上發明了一個假想的日本第五縱隊。

and was used by politicians to justify anti-Japanese rhetoric.

並被政治家用來證明反日言論的合理性。

SATSUKI INA: Japanese Americans living in certain areas were identified as “fifth

SATSUKI INA：生活在某些地區的日裔美國人被認定為 "第五代"。

columnists.”

專欄作家"。

GARY OKIHIRO: They were depicted as insidious and as threats to the government.

GARY OKIHIRO：他們被描述為陰險，對政府構成威脅。

So there was a kind of shift in public opinion.

是以，公眾輿論發生了某種轉變。

Even though the “fifth column” didn’t exist,

儘管 "第五縱隊 "並不存在。

the idea of it was powerful enough for the American public to demand the government do

這個想法足以讓美國公眾要求政府這樣做。

something drastic.

激烈的事情。

And, in February 1942, the Roosevelt administration did, by passing Executive Order 9066.

而在1942年2月，羅斯福政府通過了第9066號行政命令，做到了。

Which empowered the army to forcibly remove anyone it deemed a threat from “strategic

它授權軍隊強行將其認為有威脅的人從 "戰略 "上趕走。

military areas.”

軍事區"。

In this case, the entire West Coast of the United States.

在這種情況下，整個美國的西海岸。

The order didn’t explicitly mention Japanese Americans, but there was no question they

該命令沒有明確提到日裔美國人，但毫無疑問，他們

were the target.

是目標。

SATSUKI INA: Executive Order 9066 ripped people from their homes, their jobs, their education,

SATSUKI INA：第9066號行政命令將人們從他們的家園、工作和教育中剝離出來。

their farms.

他們的農場。

And most people were never able to recover the loss that they suffered.

而大多數人永遠無法挽回他們所遭受的損失。

My parents were incarcerated for four and a half years.

我的父母被囚禁了四年半之久。

Two-thirds of the 120,000 Japanese Americans removed from their homes and forced into concentration

12萬名日裔美國人中，有三分之二被從家中帶走，並被迫進入集中營。

camps, including Satsuki’s parents, were American citizens by birth.

營地，包括佐藤的父母，在出生時就是美國公民。

Which, in a war supposedly being fought in the name of “freedom,” presented an image

在一場據說是以 "自由 "的名義進行的戰爭中，它呈現出一種形象

problem for the US government.

美國政府的問題。

GARY OKIHIRO: The government was well aware that the whole experience was a problem.

GARY OKIHIRO：政府很清楚，整個經歷是一個問題。

The Roosevelt administration wanted to frame the removal as orderly, humane, and, above

羅斯福政府希望把搬遷工作說成是有序的、人道的，而且最重要的是

all, necessary.

所有的，必要的。

The government created a new department, the War Relocation Authority, or WRA, to handle

政府設立了一個新的部門，即戰爭安置局，或WRA，以處理

the removal.

移除。

And more importantly, document it — through propaganda films, pamphlets, and news photographs.

更重要的是，記錄它--通過宣傳片、小冊子和新聞照片。

GARY OKIHIRO: They thought that documenting it would demonstrate the government's goodwill

GARY OKIHIRO: 他們認為將其記錄在案可以表明政府的善意。

and service.

和服務。

One of the WRA's high-profile hires was Dorothea Lange.

多蘿西婭-蘭格（Dorothea Lange）是WRA高調聘用的人員之一。

GARY OKIHIRO: And of course, Lange was really made famous by her 1930s Great Depression

GARY OKIHIRO: 當然，蘭格真正成名是由於她在1930年代大蕭條時期的作品。

photographs for the Farm Security Administration.

農場安全管理局的照片。

In 1942, the WRA tasked her with photographing the Japanese American removal process in California.

1942年，WRA責成她拍攝加利福尼亞的日裔美國人遷移過程。

Lange photographed the rapid changes happening in Japanese American communities.

蘭格拍攝了日裔美國人社區中發生的快速變化。

Including Japanese-owned farms and businesses shutting down.

包括日本人擁有的農場和企業停業。

She photographed families in front of the homes they owned.

她在家庭擁有的房屋前拍攝家庭。

Children attending school for only a few more weeks.

上學的孩子們只能再上幾個星期。

This final game between friends.

這場朋友之間的最後遊戲。

And a last minute barbecue.

還有最後一分鐘的烤肉。

Her captions often noted how close in time they were taken prior to evacuation.

她的標題經常指出這些照片是在疏散前拍攝的，時間上非常接近。

Weeks, then days, then hours before removal to the camps.

在被轉移到難民營之前，先是幾周，然後是幾天，然後是幾小時。

And the baggage piled up on the day of removal.

而行李在搬運的那天堆積如山。

SATSUKI INA: She captured the anxiety, the distress.

SATSUKI INA：她捕捉到了那種焦慮和苦惱。

But also captured kind of the dignity of how nicely dressed people were.

但也捕捉到了人們穿得很好的那種尊嚴。

You know, they’ve got their hats and coats and ties on, and their high heels on.

你知道，他們戴著帽子，穿著大衣，打著領帶，還穿著高跟鞋。

Photos like this one weren’t approved for circulation by the WRA.

像這樣的照片並沒有被WRA準許流通。

SATSUKI INA: They weren't very friendly to her once they saw how she was narrating, visually,

SATSUKI INA：他們一旦看到她的敘述方式，視覺上就對她不是很友好。

the story.

的故事。

This photo, along with many prints of Lange’s, have one word written across them in cursive:

這張照片，以及蘭格的許多印刷品，都有一個字以草書寫在上面。

“impounded.”

"被扣押"。

Internal WRA memos from 1942 revealed that the army was “deeply concerned” about

1942年的WRA內部備忘錄顯示，軍隊 "深切關注"

Lange’s photos.

蘭格的照片。

They described her as “highly emotional.”

他們形容她是 "高度情緒化"。

And her negatives were surrendered and the prints “impounded.”

而她的底片被交出，印刷品被 "扣押"。

By order of the press relations officer for the WRA, Major Norman Beasley.

根據WRA的新聞關係官員Norman Beasley少校的命令。

Of the approximately 700 photos Lange took for the WRA, around 80 are singled out as

在蘭格為WRA拍攝的大約700張照片中，約有80張被挑出來作為

“impounded.”

"被扣押"。

Since the WRA owned the rights to all of Lange’s photos,

由於WRA擁有蘭格所有照片的版權。

and army permission was necessary to publish any of them,

軍隊的許可是出版其中任何一個的必要條件。

it’s unclear what exactly the distinction was.

目前還不清楚具體的區別是什麼。

But the “impounded” images seem to fall into a couple of categories.

但 "被扣押 "的影像似乎分為幾類。

One was photos of the removal process that included armed US soldiers.

一個是包括美國武裝阿兵哥在內的清除過程的照片。

So this photo showing Satsuki’s mom, Shizuko, was impounded.

所以這張顯示佐藤的媽媽靜子的照片被扣留了。

This one, from another angle, wasn’t.

這個人，從另一個角度看，並不是。

This photo shows soldiers boarding Japanese Americans onto buses to the so-called “assembly

這張照片顯示阿兵哥們將日裔美國人送上巴士，前往所謂的 "集合地"。

centers.”

中心"。

Temporary prisons used while the concentration camps were built, that included racetracks

在建造集中營時使用的臨時監獄，其中包括賽馬場

in disuse.

廢棄的。

Where Japanese Americans were housed in horse stalls.

日裔美國人被安置在馬廄裡的地方。

A lot of these photos were labelled “impounded” too.

這些照片中有很多也被貼上了 "扣押 "的標籤。

SATSUKI INA: My parents were in a racetrack just outside of San Francisco.

SATSUKI INA：我的父母在舊金山外的一個賽馬場。

My mother’s pregnant, placed inside of these horse stables.

我母親懷孕了，放在這些馬廄裡面。

So she had to endure the horse stables while she was in this very fragile condition.

是以，在她處於這種非常脆弱的狀態下，她不得不忍受馬廄的折磨。

And, you know, it's a dehumanizing process

而且，你知道，這是一個非人化的過程

The other types of photos labelled “impounded” were images of incarcerated Japanese Americans

其他被標記為 "被扣押 "的照片類型是被監禁的日裔美國人的影像。

waiting in line for food at the assembly centers.

在集結中心排隊等待食物。

And Japanese Americans wearing US army uniforms.

還有穿著美國軍隊制服的日裔美國人。

Other impounded photos don’t fall into a clean category.

其他被扣押的照片並不屬於乾淨的類別。

Like this one of a Buddhist priest locking the doors of his church before evacuation.

比如這個佛教徒在疏散前鎖上教堂的門。

SATSUKI INA: She, I think, captured the fact that they're being victimized, but also held

SATSUKI INA：我認為，她抓住了一個事實，即他們是受害者，但也是被拘留者。

on to the humanness of who they were.

在他們的人性上。

GARY OKIHIRO: While she was working for the government, she was also working for the subjects

GARY OKIHIRO：當她為政府工作的時候，她也在為受試者工作。

of her photographs.

她的照片。

And I think that's why it was obvious that the government had to impound those pictures

我認為這就是為什麼政府必須扣押這些照片的明顯原因。

for the duration of the war.

在戰爭期間。

In July 1942, the WRA released Lange from the program, just four months after she started.

1942年7月，WRA將蘭格從該項目中釋放出來，這距離她開始工作僅僅四個月。

They withheld most of her photos from the public for the rest of the war.

在戰爭餘下的時間裡，他們對公眾隱瞞了她的大部分照片。

Both the ones marked impounded and the others.

無論是標明被扣押的還是其他的。

With a few exceptions, like this WRA pamphlet, “Relocation of Japanese Americans” that

除了少數例外，比如這本WRA的小冊子，"重新安置日裔美國人"，這本小冊子

included a few Lange photos.

包括幾張蘭格的照片。

When asked in the early 1960s about her wartime experience, Lange said

在20世紀60年代初被問及她的戰時經歷時，蘭格說

“They had wanted a record, but not a public record.”

"他們曾想要一個記錄，但不是一個公開的記錄。"

Lange wasn’t the only WRA photographer whose photos were “impounded.”

蘭格並不是唯一一位照片被 "扣押 "的WRA攝影師。

These images by press photographer Clem Albers, who also briefly worked for the WRA, were

這些由新聞攝影師克萊姆-阿爾伯斯（Clem Albers）拍攝的圖片，他也曾短暫地為WRA工作。

given the same label.

被賦予相同的標籤。

The WRA did endorse other photos at the time.

WRA當時確實認可了其他照片。

Most notably from photographer Ansel Adams.

最值得一提的是攝影師安塞爾-亞當斯的作品。

Whose photos from the Manzanar concentration camp depicted happy, smiling faces and grand

誰的曼薩納集中營的照片描繪了幸福的笑臉和宏偉的

Western landscapes.

西方的風景。

As opposed to the more candid approach in Lange’s images.

相對於蘭格影像中更坦率的做法。

GARY OKIHIRO: Dorothea Lange, she understood that humanity was comprised not just of happy,

GARY OKIHIRO：多蘿西婭-蘭格，她明白人類不僅僅是由快樂組成的。

smiling faces.

笑臉相迎。

But also those that are fearful, apprehensive.

但也有那些恐懼的，忐忑不安的。

Amidst a whole process that sought to dehumanize them, to take away their humanity.

在整個過程中，試圖將他們非人化，奪走他們的人性。

By 1943, the government acknowledged that “no known acts of sabotage, espionage, or

到1943年，政府承認，"沒有已知的破壞、間諜或其他行為。

fifth column activity were committed by the Japanese” before or after Pearl Harbor.

第五縱隊活動是由日本人實施的 "在珍珠港之前或之後。

But the last camps weren’t closed until 1946, the year after Japan surrendered.

但直到1946年，也就是日本投降後的第二年，最後一個集中營才被關閉。

That year, Satsuki’s father, who had been held in a separate camp during the war, reunited

這一年，戰爭期間被關押在一個單獨營地的櫻木的父親重聚在一起。

with them in a detention facility in Crystal City, Texas.

與他們在德克薩斯州水晶城的一個拘留所裡。

SATSUKI INA: So my earliest recollection is being on the train leaving Crystal City.

SATSUKI INA：所以我最早的記憶是在離開水晶城的火車上。

So it was 1946 when our family was reunited.

是以，當我們的家庭團聚時是1946年。

That same year, US President Harry Truman terminated the WRA, and all of its records,

同年，美國總統哈里-杜魯門終止了WRA，以及它的所有記錄。

including 10s of 1000s of negatives photos, were moved into the National Archives

包括1000多張底片照片，被移入國家檔案館。

in Washington, DC.

在華盛頓特區。

It would take another 25 years for Lange’s WRA photographs to be widely seen by the public.

又過了25年，蘭格的WRA照片才被公眾廣泛看到。

When her former assistant requested they be pulled from the National Archives.

當她的前助理要求從國家檔案館調出這些資料時。

For a 1972 exhibit by the California Historical Society, Executive Order 9066.

對於加州歷史學會1972年的展覽，行政命令9066。

The exhibit toured the country, and was featured in a 1972 NBC TV documentary, “Guilty by

該展覽在全國巡迴展出，並在1972年美國全國廣播公司（NBC）的電視紀錄片 "有罪 "中出現。

Reason of Race.”

種族的原因"。

SATSUKI INA: I think the fact that it was Dorothea Lange that chronicled what happened

SATSUKI INA：我認為，是多蘿西婭-蘭格記錄了所發生的事實。

– her notoriety and the fact that the photos were released after they had been suppressed

- 她的惡名和照片被壓制後被公佈的事實。

brought a lot of validation.

帶來了很多的驗證。

The photos revealed, for many, the cruelty unleashed by Roosevelt’s Executive Order.

對許多人來說，這些照片揭示了羅斯福的行政命令所釋放的殘酷性。

They were also published in a book of the same name.

它們還被髮表在一本同名的書中。

The book, like the exhibit, showed photos of the removal process next to headlines and

這本書和展覽一樣，在標題和內容旁邊展示了拆除過程的照片。

quotes from the time.

當時的引言。

Like this one from a Los Angeles Examiner article from 1943.

比如這篇來自1943年《洛杉磯考察者》的文章。

GARY OKIHIRO: EO9066, the exhibit, I learned of it through the publication of the images

GARY OKIHIRO: EO9066，這個展覽，我是通過圖片的發表而得知的。

and the text.

和文本。

It helped to galvanize our generation, the third generation’s, efforts towards redress

它有助於激發我們這一代人，即第三代人的努力，以實現糾正。

and reparations.

和賠償。

That movement finally resulted in reparations for survivors of the camps.

這一運動最終導致了對集中營倖存者的賠償。

When US President Ronald Reagan signed the Civil Liberties Act of 1988.

當美國總統羅納德-里根簽署1988年《公民自由法》時。

RONALD REAGAN: This action was taken without trial, without jury.

羅納德-里根：這一行動是在沒有審判、沒有陪審團的情況下采取的。

It was based solely on race.

這完全是基於種族。

Here we reaffirm our commitment as a nation to equal justice under the law.

在此，我們重申我們作為一個國家對法律下平等正義的承諾。

Nearly 50 years after the government had violated 120,000 individual people’s civil liberties,

在政府侵犯了12萬個人的公民自由近50年後。

the US admitted it had made a mistake.

美國承認它犯了一個錯誤。

SATSUKI INA: So I took a picture of my mom, she must have been in her seventies, standing

SATSUKI INA：所以我拍了一張我媽媽的照片，她應該有七十多歲了，站在那裡。

in front of that photograph taken by Dorothea Lange.

在多蘿西婭-蘭格拍攝的那張照片前。

This is shortly after reparations.

這是在賠償之後不久。

She felt like it was concrete evidence about her history and what happened to her.

她覺得這是關於她的歷史和發生在她身上的事情的具體證據。

It gave her permission to talk more about her experience.

這讓她有機會更多地談及她的經歷。

GARY OKIHIRO: She has a photograph of a grandfather and a grandson in Manzanar.

GARY OKIHIRO：她有一張祖父和孫子在曼薩納的照片。

And she's shot it going upward, so the humans stand immense in front of the Sierra Nevadas,

她的鏡頭是向上的，所以人類在內華達山脈前站得很高。

the mountains.

山上。

She also shows the older people who suffered most in the camps.

她還展示了在難民營中受苦最深的老年人。

And the children, the future generations.

還有孩子們，未來的幾代人。

Continuity, that we have a future here in this country.

連續性，我們在這個國家有一個未來。

Her photographs demonstrated the complexity of human relationships around oppression

她的照片展示了圍繞壓迫的人類關係的複雜性

and resistance.

和阻力。

Pretty much all of Lange’s photos of Japanese Americans in 1942 have their own whole story

幾乎所有蘭格在1942年拍攝的日裔美國人的照片都有自己的完整故事

behind them.

在他們身後。

Like this one, of the Wanto Shokai grocery store in Oakland, CA.

就像這張照片，是加利福尼亞州奧克蘭市的Wanto Shokai雜貨店。

Lange wrote in the caption that the owner, Tatsuro Masuda, hung this sign outside of

蘭格在標題中寫道，店主增田達郎（Tatsuro Masuda）將這個牌子掛在商店外面。

his family’s store the day after the attack on Pearl Harbor.

在珍珠港被襲擊的第二天，他家的商店。

Masuda was born in California.

增田出生在加利福尼亞。

His father had emigrated from Japan in the 1890s, and opened the family store in 1916.

他的父親在19世紀90年代從日本移民過來，並在1916年開設了家庭商店。

When Lange took this photo in March, 1942, the Masudas had closed the store, following