摘要：This article explores how La ragazza con la Leica (The Girl with the Leica) (2017) by Helena Janeczek
implicates photography in a continuous motion from production, human practice, and technical work to
circulation and use of the photo-image where forms of untruths--fabrications, manipulation, deception, fiction,
conjectures--disclose the authority and essence of an existence. Janeczek retells the story of Gerda Taro--the
young German Jewish photographer who died in the Spanish Civil War, and who was Robert Capa’s lover--
through a combination of narrative layers, games of mirrors, and coincidences. In La ragazza con la Leica,
veracity and invention interlock on two main levels: on the level of the protagonists’ personal and professional
lives and on the level of the photographs in the text. In the book, writing and photography diachronically
collaborate in the retrieval and construction of life and history through forms of un-truths--or other truths--
that reveal lost, forgotten, or unseen realities and, eventually, auto/biographical coincidences.
其他摘要： This article explores how La ragazza con la Leica (The Girl with the Leica) (2017) by Helena Janeczek implicates photography in a continuous motion from production, human practice, and technical work to circulation and use of the photo-image where forms of untruths--fabrications, manipulation, deception, fiction, conjectures--disclose the authority and essence of an existence. Janeczek retells the story of Gerda Taro--the young German Jewish photographer who died in the Spanish Civil War, and who was Robert Capa’s lover--through a combination of narrative layers, games of mirrors, and coincidences. In La ragazza con la Leica, veracity and invention interlock on two main levels: on the level of the protagonists’ personal and professional lives and on the level of the photographs in the text. In the book, writing and photography diachronically collaborate in the retrieval and construction of life and history through forms of un-truths--or other truths--that reveal lost, forgotten, or unseen realities and, eventually, auto/biographical coincidences. Résumé Cet article examine comment La ragazza con la Leica (The Girl with the Leica) (2017) de Helena Janeczek implique la photographie dans un mouvement continu de la production, pratique humaine et travail technique à la circulation et l’usage de l’image photographique dans laquelle les formes de non-vérité – invention, manipulation, tromperie, fiction, présomption – dévoilent l’autorité et l’essence d’une existence. Janeczek raconte l’histoire de Gerda Taro – la jeune photographe Juive allemande morte pendant la guerre civile espagnole, qui a été l’amante de Robert Capa – à travers une combinaison de couches narratives, jeux de miroirs et coïncidences. Dans La ragazza con la Leica, la véracité et l’invention se rencontrent à deux niveaux principaux : le niveau des vies personnelles et professionnelles des protagonistes et le niveau des photographies dans le texte. Dans le livre, l’écriture et la photographie collaborent d’un point de vue diachronique pour retracer et construire la vie et l’histoire à travers des formes de non-vérités – ou autres vérités – pour révéler des réalités perdues, oubliées ou invisibles ainsi que des coïncidences (auto)biographiques.
关键词：Gerda Taro; Robert Capa; untruth; photography; fiction; life writing
