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Every two seconds a person is displaced, caught in one of the more than 40 active conflicts around the world that show no sign of ending. Since 1994, there has been ongoing war in the Democratic Republic of Congo, which has uprooted millions of people and resulted in the deaths of millions more. In the West, we have entered a political era where our border policies are underpinned by unending wars. At this critical juncture, how can journalists, especially those engaged in foreign correspondence, tell these stories? How can they make connections across time and space, and across politics, economics, environments, and crucially, people? Given its colonial history, are these connections possible for the profession of foreign correspondence? In Borderland, Chrisanthi Giotis argues that decolonization is possible and necessary for the development of a truly global, public sphere. New global narratives need to meaningfully include the voices, and knowledge, of those with the least power who are caught in resource-fuelled wars. Drawing on insights from postcolonial studies, international relations, development studies, and philosophy, which are brought to life through auto-ethnographic descriptions and analysis of'behind-the-scenes'events, Giotis introduces new reporting techniques for foreign correspondents. Borderland argues that decolonized reporting techniques will help journalists--and their audiences--move beyond the sociohistorical and political myopia that prevents us from communicating and understanding the reality of a complex world.

Conflict in all its guises is usually at the centre of news and whenever wars, natural disasters or divisions erupt, the media are there to report, record and commemorate. This collection of essays explores the complicated relationship between the messengers bringing news of catastrophic upheaval and the recipients of that message. It concentrates on the journalists, photographers and film-makers, reflecting not only the motivations behind their work, but also the psychological consequences of witnessing extreme suffering. The audience interpret the news according to their circumstance, be it with anger sympathy or with compassion-fatigued indifference. The book explores that reaction, which is always more nuanced than anticipated. Finally, the modern communication circle is completed by exploring the potential of the media to diminish conflict. This is demonstrated by the media bringing together communities that are either geographically or historically divided.

يعبر الصراع الأمريكي- العراقي عن واقع سياسي عالمي جديد نسبياً و عبر عنه الرئيس الأمريكي جورج بوش الأب فى خطابه الذى ألقاه فى قاعدة ماكسويل الجوية بعد انتهاء حرب الخليج الثانية عام 1991 ، إلا إن تلك الحرب هى الاختيار الحقيقي الأول للنظام العالمي الجديد.

Description based on print version record.

′...it will appeal not only to students of journalism and media but also to anyone interested in the world around them′ - Marie Kinsey, Times Higher Education Supplement ′Professor Tumber weaves together traditional and topical themes to produce a comprehensive overview of the media′s role at times of conflict′ - Stewart Purvis, City University London ′Presents a vivid picture of what it's like to be working as a journalist on the front line during a ‘modern'war. Through the eyes of leading correspondents in the field the authors examine their experience and its impact on the audience, their profession and their own lives′ - The Information Centre about Asylum and Refugees in the UK (ICAR) Journalists Under Fire is the first book to combine a conceptually audacious analysis of the changing nature of war with an empirically rich critical analysis of journalists who cover conflict. In Journalists Under Fire, authors Howard Tumber and Frank Webster explore questions about the information war and journalistic practices. Frontline correspondents play a key role in information war, but their position is considerably more ambiguous and ambivalent than in the epoch of industrial war. They play a central role in the presentation of what is often spectacle to audiences around the world whose actual experience of war is far removed from combat. In the era of multi-national journalism, of the internet and satellite videophone, the book highlights central features of media reporting in contemporary conflict. Drawing on over fifty lengthy interviews with frontline correspondents, the authors shed light on the motivations, fears and practices of those who work under conditions of journalism under fire. Journalists Under Fire is designed for undergraduate and postgraduate students and for scholars, academics and researchers in the fields of journalism, media and communication, Media Studies, sociology, international relations and war studies.