玛格南资深摄影师回忆到访西贡的三次经历
从战火纷飞中的异国风情到标准的全球化大都市
历史的碎片折射出越南1964—2014翻天覆地的变化
编辑推荐
◎ 战场内外的现实
德帕尔东用尊重且带有同情的镜头，力图贴近在越南遇到的形形色色的人，又不让他们变形失真。战场上神情紧绷的越南士兵，村庄里镇定自若的老太太，安静撤离基地的美军士兵，练习过马路的失明的战争受害者……他冷静地展示多年的战争给越南平民和日常生活带来的种种影响。
◎ 越南城市面貌的变迁
与其说本书是一本战地摄影集，不如说是越南战时生活图景集。德帕尔东的图像印证了西方游客对许多热带殖民地的想象，西贡街头身穿传统白色长袄的年轻女性、东西方风格混杂的建筑、聚在一起闲聊的三轮车车夫等，被摄影师一一收入镜中。这些异域风情后来被摩天大楼、航空公司广告牌、连锁餐饮店稀释，西贡成为一座与其他国际化大都市别无二致的城市。
◎ 摄影师的难忘回忆
德帕尔东第一次到访西贡时年仅22岁，已经历过三场战事，呼啸的子弹声依然让他紧张，目睹士兵伤亡令他惘然。他在西贡与心仪的女孩去电影院约会，与同行的摄影师彻夜畅谈，享受战争边缘的悠闲。50年后当他旧地重游时，每一个熟悉的街口都有了新的面目。他用这本书纪念在战场上牺牲的同行、朋友，也纪念自己曾经的岁月。
内容简介
雷蒙·德帕尔东在他的摄影师生涯中曾多次前往越南。他目睹被誉为“东方小巴黎”的西贡经历了法国殖民时期、南越政府治理时期，再到被解放与更名，直到成为一座与其他国际化大都市别无二致的城市。本书按时间顺序呈现了在法越战争结束后的1964年、1972—1973年越战末期、2014年西贡解放40周年之际德帕尔东在越南拍摄的照片。这些历史的碎片折射出过去几十年里越南翻天覆地的变化。

Raymond Depardon occupe une place singulière dans le champ de l'image contemporaine. Cinéaste autant que photographe, il met l'image fixe et l'image animée au service d'une écriture unique, d'une interrogation permanente sur l'éthique, l'essence et le rôle du reportage, qu'il s'agisse de raconter quotidiennement New York, de témoigner de l'institution psychiatrique ou du sort de .l'enfance abandonnée. Introduction de Michel Guerrin 62 photographies en noir et blanc reproduites en duotone notices biographique, bibliographique, et filmographie

Acclaimed French photographer, filmmaker and journalist Raymond Depardon arrived in New York in the winter of 1980. He came to visit a friend who had just taken a job in the city, and to kill time he strolled around the streets with his Leica. As a self-imposed constraint, and to encourage serendipitous results, he decided to take pictures without ever using the camera's viewfinder. Working incognito throughout the nooks and crannies of New York City, Depardon amassed two or three rolls a day--but when the time came to assess the results, he was thoroughly disappointed. He never mentioned the experiment to anybody and has only now decided to unveil these blind" pictures to his public. Reexamining the work some 27 years "after the photographs were taken, Depardon was surprised to discover that most of his subjects were aware that they were being photographed, and that consequently the images contain more artifice than he had expected. His subjects project an affect of indifference in their knowing glances towards the camera lens, thereby immortalizing the very spirit and charm of 1980s New York, a period for which there is increasing fondness and nostalgia today. With an essay by the great philosopher Paul Virilio, this monograph opens up an exciting and hitherto lost chapter in Depardon's storied career."

"At the age of twenty-two I was sent to Saigon to cover the war as a photojournalist. I was too late for Indochina, and too early for Vietnam. Muggers robbed me on my arrival, and I lived in a small hotel by the river. I drove towards the front in an old Citroën. I think I was happy. I returned some years later. It was for another war, and the famous reporters had left. The streets were full of GIs and their girlfriends, of blind bomb victims and so many children returning to school. It was the end of an epoch, people would hand flowers to the soldiers. Everybody wanted to leave, and it was cheap to stay at luxury hotels. To forget my heartache, I got drunk and walked the streets all day. The city was very generous and welcomed me with open arms, so I lost sense of time. I stayed for months in this city that no longer exists. The last time I went there I was at peace with things, and at the War Remnants Museum I visited my friends who had died on the battlefield. Today, the city has another name and has become fully globalized."

During the 1990s and 2000s, Raymond Depardon crisscrossed agricultural France with his 6 x 9 view camera. From this exploration of the rural world, he made black-and-white photographs that tell the story of the land, the people, manual labour, the isolation and fragility of small farms, but also the beauty of the French countryside.
“These men and women who lived and persisted in cultivating these desolate lands were sages, philosophers, heroes, ahead of the impending, inevitable diminution. This political and ideological shock was a driving force for my project.” Raymond Depardon