Reporting War explores the social responsibilities of the journalist during times of military conflict. News media treatments of international crises, especially the one underway in Iraq, are increasingly becoming the subject of public controversy, and discussion is urgently needed. Each of this book's contributors challenges familiar assumptions about war reporting from a distinctive perspective. An array of pressing issues associated with conflicts over recent years are identified and critiqued, always with an eye to what they can tell us about improving journalism today. Special attention is devoted to recent changes in journalistic forms and practices, and the ways in which they are shaping the visual culture of war, and issues discussed, amongst many, include: the influence of censorship and propaganda 'us' and 'them' news narratives access to sources '24/7 rolling news' and the 'CNN effect' military jargon (such as 'friendly fire' and 'collateral damage') 'embedded' and 'unilateral' reporters tensions between objectivity and patriotism. The book raises important questions about the very future of journalism during wartime, questions which demand public dialogue and debate, and is essential reading for students taking courses in news and news journalism, as well as for researchers, teachers and practitioners in the field.

`No book is more timely than this collection, which analyses brilliantly the Western media′s relentless absorption into the designs of dominant, rapacious power′ - John Pilger `A most timely book, with many valuable insights′ - Martin Bell O.B.E `It has long been known that the outcome of war is deeply influenced by the battle to win ′hearts and minds′. This book provides a stimulating set of perspectives which combine the analyses of prominent academics with the experiences of leading journalists′ - Professor Tom Woodhouse, University of Bradford `This volume represents an all-star cast of authors who have a tremendous amount of knowledge about media and world conflict. One of its strengths is that it doesn′t focus entirely narrowly on media, but puts the discussion of media issues in the context of changes in the world order in military doctrine′ - Professor Daniel C. Hallin, University of California `This book comes just in time. A coherent and wide-ranging collection of data, analyses and insights that help our understanding of the complex interaction between communication and conflict. A major intellectual contribution to critical thinking about the early 21st century′ - Cees J Hamelink, Professor International Communication, University of Amsterdam With what new tools do governments manage the news in order to prepare us for conflict? Are the media responsible for turning conflict into infotainment? Is reporting gender specific? How do journalists view their role in covering distant wars? This book critically examines the changing contours of media coverage of war and considers the complexity of the relationship between mass media and governments in wartime. Assessing how far the political, cultural and professional contexts of media coverage have been affected by 9/11 and its aftermath, the volume also explores media representations of the `War on Terrorism′ from regional and international perspectives, including new actors such as the Qatar-based Al-Jazeera - the pan-Arabic television network. One key theme of the book is how new information and communication technologies are influencing the production, distribution and reception of media messages. In an age of instant global communication and round-the-clock news, powerful governments have refined their public relations machinery, particularly in the way warfare is covered on television, to market their version of events effectively to their domestic as well as international viewing public. Transnational in its intellectual scope and in perspectives, War and the Media includes essays from internationally known academics along with contributions from media professionals working for leading broadcasters such as BBC World and CNN.

The republics of Greece and Rome proved incapable of waging war effectively and remaining free at the same time. The record of modern republics is not much more encouraging. How, then, did the United States manage to emerge victorious from the world wars of this century, including the Cold War, and still retain its fundamental liberties? For Karl-Friedrich Walling, this unprecedented accomplishment was the work of many hands and many generations, but of Alexander Hamilton especially. No Founder thought more about the theory and practice of modern war and free government. None supplied advice of more enduring relevance to statesmen faced with the responsibility of providing for the common defense while securing the blessings of liberty to their posterity. Hamilton's strategic sobriety led many of his contemporaries to view him as an American Caesar, but this revisionist account calls the conventional "militarist" interpretation of Hamilton into question. Hamilton sought to unite the strength necessary for war with the restraint required by the rule of law, popular consent, and individual rights. In the process, he helped found something new, the world's most durable republican empire. Walling constructs a conversation about war and freedom between Hamilton and the Loyalists, the Anti-Federalists, the Jeffersonians, and other Federalists. Instead of pitting Hamilton's virtues against his opponents' vices (or vice versa), Walling pits Hamilton's virtue of responsibility against the revolutionary virtue of vigilance, a quarrel he believes is inherent to American party government. By reexamining that quarrel in light of the necessities of war and the requirements of liberty, Walling has written the most balanced and moving account of Hamilton so far.

“Imagine George Costanza from Seinfeld being sent off to cover the Iraq War . . . Hilarious.” —Michiko Kakutani, The New York Times Chris Ayres is a small-town boy, a hypochondriac, and a neat freak with an anxiety disorder. Not exactly the picture of a war correspondent. But when his boss asks him if he would like to go to Iraq, he doesn’t have the guts to say no. After signing a one million dollar life-insurance policy, studying a tutorial on repairing severed limbs, and spending twenty thousand dollars on camping gear (only to find out that his bright yellow tent makes him a sitting duck), Ayres is embedded with a battalion of gung ho Marines who either shun him or threaten him when he files an unfavorable story. As time goes on, though, he begins to understand them (and his inexplicably enthusiastic fellow war reporters) more and more: Each night of terrifying combat brings, in the morning, something more visceral than he has ever experienced—the thrill of having won a fight for survival. War Reporting for Cowards tells, with “self-deprecating wit”, the story of Iraq in a way that is extraordinarily honest and bitterly hilarious (The New Yorker). “Heartbreakingly funny.” —Anthony Swofford, author of Jarhead “Chris Ayres has invented a new genre: a rip-roaring tale of adventure and derring-don’t.” —Toby Young, author of How to Lose Friends and Alienate People “Darkly entertaining.” —Los Angeles Times “Ayres’s stories of life with Marines are gripping—in part because he’s the perfect neurotic foil.” —People

Introduction -- Risk and war journalism -- Bearing witness: morality, risk and war reporting -- Organisational and occupational risks and war reporting -- Technology and risk management: telegraph, telex and Twitter -- Media on the battlefield: risk and embedding -- Asymmetrical wars: reporting post war Iraq -- Risk and reporting new forms of conflict -- Covering victims, casualties and death -- Gender, risk and war reporting

Reporting the War features the lives and work of journalists who brought news of the war from the European and Pacific theaters to the home front. More than one hundred captioned illustrations accompany Frederick Voss's account of the correspondents, photographers, and field artists who braved enemy fire, slept in foxholes, and were prisoners of war. With a pantheon of talent including Ernie Pyle, Edward R. Murrow, Helen Kirkpatrick, Margaret Bourke-White, Carl Mydans, Bill Mauldin, and Ernest Hemingway, the Fourth Estate's reporting of World War II surpassed all previous war coverage. For the first time, new technologies enabled almost instantaneous transmission to a waiting audience back home. Radio listeners heard the voice of Edward R. Murrow, speaking from a London rooftop during a German air raid, and newspapers ran stories and pictures of battles in the Pacific and Europe, sometimes only hours after the reporters witnessed the scenes. And for the first time women covered the war, earning the respect of their male colleagues for insightful, accurate reporting. This book also profiles the combat artists who visually portrayed the war. George Biddle's paintings of the war in Italy, Bill Mauldin's cartoons that enraged General George S. Patton, Tom Lea's paintings of the Battle of Peleliu - these and other depictions captured both the grisly and humorous sides of war. Describing the censorship that often restricted the dispatches war correspondents sent from Axis countries, Reporting the War also discusses journalists' efforts to accommodate national security needs at home. Finally, Voss examines the African American press, whose campaign for "Double V"--Victory over fascism abroad and racism at home - was viewed with suspicion by the white establishment. -- Publisher description.

This book takes a fresh look at the history of war reporting to understand how new technology, new ways of waging war and new media conditions are changing the role and work of today’s war correspondent. Focussing on the mechanics of war reporting and the logistical and institutional pressures on correspondents, the book further examines the role of war propaganda, accreditation and news management in shaping the evolution of the specialism. Previously neglected conflicts and correspondents are reclaimed and wars considered as key moments in the history of war reporting such as the Crimean War (1854-56) and the Great War (1914-18) are re-evaluated. The use of objectivity as the yardstick by which to assess the performance of war correspondents is questioned. The emphasis is instead placed on war as a messy business which confronts reporters and photographers with conditions that challenge the norms of professional practice. References to the ‘demise of the war correspondent’ have accompanied the growth of the specialism since the days of William Howard Russell, the so-called father of war reporting. This highlights the fragile nature of this sub-genre of journalism and emphasises that continuity as much as change characterises the work of the war correspondent. A thematically organised, historically rich introduction, this book is ideal for students of journalism, media and communication.