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| The American company Eastman Kodak has deleted an Instagram post featuring images of Xinjiang, a western Chinese region where the government is accused of grave human rights violations, after an online backlash from Beijing’s supporters. | 在网上遭到北京支持者的强烈反对后，美国伊士曼柯达(Eastman Kodak)公司删除了一条Instagram帖子，内容是中国西部地区新疆的图片，该地区政府被指控严重侵犯人权。 |
| The post was promoting the work of the French photographer Patrick Wack, who made several trips to Xinjiang in recent years and has collected his images into a book. The project received a lift last week when Kodak shared 10 of his images — all shot on Kodak film — with its 839,000 Instagram followers. | 该帖是为了宣传法国摄影师帕特里克·瓦克(Patrick Wack)的作品，他近年来多次前往新疆，并将拍下的照片整理成书。上周，柯达在Instagram上向83.9万名粉丝分享了他的10张照片（全部用柯达胶片拍摄），其项目知名度也得到提升。 |
| In the Kodak post and on his own Instagram account, Mr. Wack described his images as a visual narrative of Xinjiang’s “abrupt descent into an Orwellian dystopia” over the past five years. That did not sit well with Chinese social media users, who often object vociferously to Western criticism of Chinese government policies. In addition to deleting the post, Kodak apologized for “any misunderstanding or offense” that it might have caused. | 在柯达的帖子和他自己的Instagram帐号上，瓦克称他的照片是一种视觉叙事，描述过去五年新疆“突然陷入奥威尔式反乌托邦”的状态。这让中国社交媒体用户感到不满，他们经常大声反对西方对中国政府政策的批评。除了删除帖子之外，柯达还为其可能造成的“任何误解或冒犯”道歉。 |
| Kodak is not the first international company to apologize for perceived transgressions over Xinjiang, where Western politicians and rights groups say that Uyghurs and other Muslim minority groups have been subjected to forced labor and genocide by the Chinese government. | 柯达并非第一家因被视为在新疆问题上越线而做出道歉的国际企业，西方政客和人权组织声称，新疆维吾尔人和其他穆斯林少数民族遭受了中国政府的强迫劳动和种族灭绝。 |
| Now Kodak is facing criticism online not only from Chinese social media users, but from people in the West who still see its products as the industry gold standard for analog photography. | 而今，柯达不仅在网上面临中国社交媒体用户的批评，同时也遭受了西方人的批评，后者仍将其产品视为冲印摄影界的黄金标准。 |
| “A company working in photography should not have been afraid to take a stand on a project that’s so important for human rights,” said Ariane Kovalevsky, the Paris-based director of Inland Stories, an international cooperative of 11 documentary photographers, including Mr. Wack. | “一家摄影行业的公司不应该害怕捍卫一个对人权如此重要的项目，”位于巴黎的“内陆故事”(Inland Stories)总监阿丽亚娜·科瓦列夫斯基(Ariane Kovalevsky)说，这是一个由11名纪录片摄影师组成的国际合作组织，瓦克也是其中一员。 |
| Mr. Wack, 42, said that Kodak’s decision was notable in part because its products have been used for decades to document political events. | 42岁的瓦克表示，柯达的决定之所以值得注意，部分原因在于数十年来，其产品一直被用于记录政治事件。 |
| “So for them, one of the main actors historically in photography, to say they don’t want to be political is what’s upsetting so many people,” said Mr. Wack, who lived in China for 11 years and is now based in Berlin. | “所以，他们作为摄影历史上的主要角色之一，却说不想被政治化，这才让那么多人感到不安，”瓦克说，现居柏林的他曾在中国生活了11年。 |
| Mr. Wack grew up outside Paris and has taken pictures on assignment for The New York Times and many other Western publications. His book, “Dust,” will be released in October by André Frère Éditions, a publisher in the French city of Marseille. | 瓦克在巴黎郊区长大，曾为《纽约时报》和其它许多西方出版物拍摄过照片。他的书《尘埃》(Dust)将于10月由法国马赛市的出版商André Frère Éditions出版。 |
| The book includes photographs he took in Xinjiang from 2016 to 2019, along with essays by academic experts on the region and the journalist Brice Pedroletti, the former China bureau chief for the French newspaper Le Monde. Many of the pictures show construction sites amid muted, dusty landscapes; Mr. Wack has said that the book captures the “uneasy” relationship between local residents and settlers from China’s majority Han ethnic group. | 这本书收录了2016年到2019年间他在新疆拍摄的照片，还有新疆问题学者以及法国报纸《世界报》(Le Monde)前中国分社社长布莱斯·佩德罗莱蒂(Brice Pedroletti)撰写的文章。许多照片展示了建筑工地周围一片昏暗、尘土飞扬的景象；瓦克说，这本书捕捉到了当地居民与中国占多数的汉族移居者之间的“紧张”关系。 |
| The first part of the book is based on analog pictures from 2016 and 2017, and drawn from “Out West,” a series in which Mr. Wack tries to draw visual parallels between the Chinese government’s settlement of Xinjiang and the westward expansion of the United States. | 书的第一部分由2016和2017年的冲印照片构成，取材于“向西进发”(Out West)系列，在该系列中，瓦克试图将中国政府向新疆的人口移居与美国向西部扩张进行视觉上的对比。 |
| “I wanted to make a parallel between the founding American mythology — the 19th-century mythology of the conquest of the West — with all the dreams it carries for those settlers and all the despair and mystery it brought to all the natives,” Mr. Wack said in an interview. | “我想把美国的建国神话——即19世纪征服西部的神话——和它承载的那些移居者的所有梦想，以及它带给所有原住民的绝望和迷惑做个对比，”瓦克在接受采访时说。 |
| The lead image in the Kodak post was a somber portrait from the “Out West” series. It shows a Uyghur man gazing out from the door of his home, southeast of Urumqi, the capital of Xinjiang Autonomous Region, as his shadow falls directly behind him. | 柯达帖子中的第一张照片是“向西进发”系列中的一张灰暗的肖像。照片上，在新疆自治区首府乌鲁木齐东南部，一名维吾尔族男子站在家中，从门口向外凝视，身后拖着影子。 |
| The second part of the book, “The Night Is Thick,” consists of digital images that Mr. Wack took on two separate trips to Xinjiang in 2019, as the Chinese government was escalating its crackdown on the Uyghurs. None of those images were included in Kodak’s Instagram post. | 这本书的第二部分“夜色正浓”(The Night Is Thick)包含了瓦克在2019年两次分别前往新疆时拍摄的数字照片，当时中国政府正在加大对维吾尔人的镇压力度。这些图片均未包含在柯达的Instagram帖子中。 |
| Mr. Wack said that he was initially approached by a social media manager from Kodak who was enthusiastic about his work — and who later apologized after the company Instagram post about him was removed, saying the decision had been made by upper management. Eastman Kodak did not respond to requests for comment during the Asia business day on Wednesday. | 瓦克说，最初是柯达的一位社交媒体经理联系了他，他对他的作品非常感兴趣——在公司决定删除关于瓦克的Instagram帖子后，他向瓦克道歉，称这个决定是由高层管理人员做出的。伊士曼柯达在周三亚洲时区工作时间内未回应置评请求。 |
| Mr. Wack’s Instagram post for Kodak said that the Xinjiang region had “been in recent years at the center of an international outcry following the mass incarceration of its Uyghur population and other Muslim minorities.” | 瓦克在为柯达发布的Instagram帖子中称，“在维吾尔族和其他穆斯林少数民族被大规模监禁后，新疆地区近年来一直处于国际抗议的中心”。 |
| In the post that Kodak uploaded this week to replace Mr. Wack’s photos and commentary, the company said that its Instagram page was designed to “enable creativity by providing a platform for promoting the medium of film,” not to be a “platform for political commentary.” | 柯达在本周上传的帖子中替换了瓦克的照片和评论，该公司表示，其Instagram页面旨在“通过提供一个宣传胶片媒体的平台来激发创造力”，而不是成为“政治评论的平台”。 |
| On its Chinese-language website, Kodak said in a statement that it had identified a “supervision loophole” in its content production that it promised to “review and correct.” | 在其中文网站上，柯达在一份声明中表示，它已发现其内容制作中的“监管漏洞”，并承诺“自查自纠”。 |
| Global Times, a Chinese state-run tabloid, said in an article on Wednesday about Kodak’s decision that some companies and individuals were catering to “the Western demand to demonize Xinjiang” for publicity and financial gain. | 中国官方小报《环球时报》周三在一篇文章中就柯达的决定称，一些公司和个人为了宣传和经济利益而迎合“西方妖魔化新疆的需要”。 |
| Kodak, which was founded in 1888, was once a household technology brand in the United States. Now it is a cautionary tale about what happens when a tech company is slow to change. In 2012, the company filed for bankruptcy protection after fumbling the shift to digital images. | 创立于1888年的柯达在美国曾是一个家庭科技品牌。现在成了科技公司不愿做出改变的警示故事。2012年，该公司在摸索着向数字图像转型后申请破产保护。 |
| Corporate records show that Kodak China has five companies registered in mainland China, all of them linked to a holding company in Hong Kong. | 公司记录显示，柯达中国有五家公司在中国大陆注册，均与一家香港控股公司有关。 |
| On the Twitter-like Chinese platform Sina Weibo, some users asked this week why such an “ancient” American brand was posting about China. Others said that Mr. Wack’s criticism of the Chinese government’s mass-incarceration policies in Xinjiang was at odds with his benign-looking landscape photography. | 本周，一些微博上的用户问为什么这样一个“古老”的美国品牌要发布有关中国的信息。其他人说，瓦克对中国政府在新疆的大规模监禁政策的批评与他看起来温和的风景摄影格格不入。 |
| “Xinjiang is so beautiful, but Kodak tries to stealthily slip in its own bias to get attention” read the headline of an article on Guancha.com, a nationalistic news site, that was shared on Weibo by the Central Committee of the Communist Youth League. | 共青团中央在微博上分享了民族主义新闻网站观察者网的一篇文章，文章标题写道：“新疆这么美，柯达却偏要夹带私货”。 |
| Mr. Wack said on Wednesday that the landscapes were made partly for aesthetic reasons, but also practical ones: He was heavily surveilled by the authorities during his trips to Xinjiang and would not have been able to photograph arrests, internment camps or other obvious signs of repression. | 瓦克周三表示，这些景观部分是出于审美原因，但也有实际原因：他在新疆旅行期间受到当局的严密监视，无法拍摄逮捕、拘禁营或其他明显的压制迹象。 |
| “The only thing you can photograph is the grim atmosphere, and the change in the landscape,” he said. | “你只能拍到阴森的气氛和变化的风景，”他说。 |
| “That’s what the book is about: showing how in only a few years the region radically changed and became another world,” he added. “In 2016 it was still full of colors: You had golden domes and Muslim symbols everywhere and women wearing veils. In 2019, all of this had disappeared.” | “这就是这本书的内容：展示该地区如何在短短几年内发生翻天覆地的变化，变成了另一个世界，”他还说。“在2016年，它仍然色彩缤纷：到处都是金色圆顶和穆斯林标志，还有戴着面纱的女性。2019年，这一切都消失了。” |
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