Question: What is the name of the 1984 photograph taken by an American photographer that depicts an adolescent girl with green eyes in a red headscarf looking intensely at the camera?

Context articles: Tomoko Uemura in Her Bath
Steve McCurry
Peter Stackpole
A Woman Hitting a Neo-Nazi With Her Handbag
Flower Power (photograph)
Afghan Girl
Impending Death
Why I Live at the P.O.
Barbara Carrasco
The Slave Market (Boulanger painting)

Tomoko Uemura in Her Bath is a photograph taken by American photojournalist W. Eugene Smith in 1971.
 Many commentators regard "Tomoko" as Smith's greatest work.
 The black-and-white photo depicts a mother cradling her severely deformed, naked daughter in a traditional Japanese bathroom.
 The mother, Ryoko Uemura, agreed to deliberately pose the startlingly intimate photograph with Smith to illustrate the terrible effects of Minamata disease (a type of mercury poisoning) on the body and mind of her daughter Tomoko.
 Upon publication the photo became world famous, significantly raising the international profile of Minamata disease and the struggle of the victims for recognition and compensation.
 At the wishes of Tomoko Uemura's family, the photograph was withdrawn from further publication in 1997, 20 years after Tomoko's death.
Steve McCurry (born April 23, 1950) is an American photographer who has worked in photojournalism and editorial.
 He is best known for his 1984 photograph "Afghan Girl", which originally appeared in ""National Geographic"" magazine.
 McCurry is a member of Magnum Photos.
Peter Stackpole was an American photographer.
 Along with Alfred Eisenstaedt, Margaret Bourke-White, and Thomas McAvoy, he was one of "Life Magazine"' s first staff photographers and remained with the publication until 1960.
 He won a George Polk Award in 1954 for a photograph taken 100 feet underwater, and taught photography at the Academy of Art University.
 He also wrote a column in "U.S. Camera" for fifteen years.
 He was the son of sculptor Ralph Stackpole.
A Woman Hitting a Neo-Nazi With Her Handbag (Swedish: "Kvinnan med handväskan" , lit.
 "The woman with the handbag") is a photograph taken in Växjö, Sweden on 13 April 1985 by Hans Runesson.
 It depicts a 38-year-old woman hitting a marching neo-nazi with a handbag.
 The photograph was taken during a demonstration of the Nordic Reich Party supporters.
 It was published in the next day's "Dagens Nyheter" and a day later in some British newspapers.
 Runesson's photograph was selected as the Swedish Picture of the Year ("Årets bild") 1985 and later as the Picture of the Century by the magazine "Vi" and the Photographic Historical Society of Sweden.
Flower Power is a photograph taken by American photographer Bernie Boston for the now-defunct "The Washington Star" newspaper.
 Taken on October 21, 1967, during the National Mobilization Committee to End the War in Vietnam's "March on The Pentagon", the photo shows a Vietnam War protestor placing a carnation into the barrel of a rifle held by a soldier of the 503rd Military Police Battalion.
Afghan Girl is a 1984 photographic portrait by journalist Steve McCurry which appeared on the June 1985 cover of "National Geographic".
 The image is of an adolescent girl with green eyes in a red headscarf looking intensely at the camera.
 It has been likened to Leonardo da Vinci's painting of the "Mona Lisa" and has been called "the First World's Third World "Mona Lisa"".
 The image became "emblematic" of "refugee girl/woman located in some distant camp" deserving of the compassion of the Western viewer.
Impending Death is a photograph taken by freelance photographer Thomas Dallal on September 11, 2001.
 The photograph depicts the North Tower (1 WTC) of the World Trade Center, on fire after being struck by American Airlines Flight 11 at 8:46 AM, and shortly before its collapse at 10:28 AM.
 Visible in the photograph are numerous people trapped in the upper floors of the building, hanging out of windows because of the intense smoke and heat.
 They were unable to escape because of all stairwells and elevators above the 91st floor being severed by Flight 11's impact.
"Why I Live at the P.O." is a short story written by Eudora Welty, American writer and photographer.
 It was published in her collection of stories named "A Curtain of Green" (1941).
 The work was inspired by a photograph taken by Welty that depicts a woman ironing at the back of a post office.
 The story is classified as an example of Southern realism.
 "Why I Live at the P.O." is one of Welty's most popular and frequently anthologized stories.
Carrasco was born in El Paso, Texas to Mexican-American parents.
 She was the second-oldest child and oldest girl in her family.
 She had two brothers and two sisters growing up.
 When she was around a year or so of age, her family moved to Los Angeles.
 They lived in government Veteran's housing in Culver City since her father was a Korean War Navy veteran.
 She recalls that they were poor and lived off of food stamps.
 Carrasco's childhood growing up in the predominantly Mexican-American and African-American community of Mar Vista Gardens was sometimes painful, because she was teased for having lighter skin than her peers and stood out for her green eyes; being called "white girl," "green eyes" and ""güera"."
 Her experiences with being simultaneously perceived as not truly Mexican-American and being told to "take advantage of being light skinned" makes up of part of her artistic subject matter later on in life.
 Carrasco said that her father encouraged her to broaden her horizons, go to college and encouraged her artwork.
 He had appreciated art and he was considered artistic.
 Her father, who worked as a bus driver for Santa Monica Bus Lines said that "anybody could be a bus driver but not everybody could be an artist."
 Carrasco's father died of a heart attack when she was twelve and it was difficult for her because she was always close to her father.
 Carrasco's mother, who also volunteered as a Girl Scout leader, was also artistically inclined.
 Her mother admired Japanese art and decorated the house with it.
 Carrasco felt that growing up with Japanese images influenced her sense of line.
 She also felt that her mother was a personal role model because she was a strong woman.
 Her mother was also, however, very protective of her girls, and she expected Carrasco to act as a role model of traditional femininity for her sisters.
The Slave Market is a painting of about 1882 by the 19th century French artist Gustave Boulanger, who specialized in classical and Orientalist genre scenes.
 It depicts an Ancient Roman slave auction.
 It shows the marketing of seven young people, ranging in age from children to young adults, as slaves.
 Both male slaves, as well as three of the female slaves, bear a similarity in appearance perhaps suggesting that they are members of a family forced into slavery by economic conditions.
 All are wearing tags to indicate their availability as slaves.
 The youngest boy is completely naked, while the young man next to him is wearing a loincloth.
 The young woman sitting next to them is topless, wearing only a skirt, but she is covering her breasts with her legs.
 The standing African woman is also topless, wearing a white loincloth, and she is covering her breasts with her hands.
 The taller, standing, young woman is wearing a translucent garment which clearly shows her breasts and pubic hair—she is trying to shield her eyes, perhaps because her potential buyers include former friends and neighbors, who are probably seeing her nude for the first time.
 The adolescent girl next to her is also topless and barefoot, wearing a skirt.
 The young woman sitting next to them is wearing a loose garment which leaves both her breasts and her genitals exposed.
 The auctioneer eats his lunch with a very casual attitude.