‘If life is cheap in Mexico, then the life of a journalist is even cheaper’: An interview with Bernardo Ruiz, director of ‘Reportero’

By Helena Williams

Sergio Haro

An image from Bernardo Ruiz’s ‘Reportero’, which follows journalists working at Mexican newsweekly Zeta, including Sergio Haro (pictured) (Photo: Bernardo Ruiz)

Documentary film maker Bernardo Ruiz knew he had uncovered an important story when what was supposed to be a 30 minute meeting with a journalist in Mexicali, Mexico, in 2009, turned into a three hour discussion.

Ruiz met Sergio Haro, a reporter for Tijuana-based Zeta magazine, while researching a story about youth migration in Mexico. The conversation he had with the veteran reporter led to the creation of ‘Reportero’, a documentary following journalists at Zeta as they cover the cartels in Mexico, which has had its launch in the United States this week.

For decades, the journalists at the independent newsweekly have been writing about corruption and crime – despite death threats and targeted attacks. To date, Zeta has had two of its staff murdered, including co-founder Hector Miranda.

The film focuses on Haro and Adela Navarro, the current editor of the paper. Both have encountered death threats during their time there.

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‘I want to share with the next generation of journalists what I wish I knew 20 years ago’

By Helena Williams

James Rodgers has covered conflicts in Chechnya, Gaza and Iraq for the BBC (Photo: Helena Williams)

Like many former foreign correspondents, James Rodgers, who has covered conflicts in Chechnya, Gaza and Iraq, has written a book based on his experiences. But instead of taking what is fast becoming the regular line of war journalism memoirs – tales of near misses and narrow escapes – Rodger’s latest offering is an academic, in-depth study of the role of journalism in wartime. It is a fitting topic for the post he has taken as lecturer at City University London, one of the world’s leading journalism schools.

Q. Journalism and academia don’t usually go hand in hand. Why did you write an academic book rather than a punchy memoir?

My main motivation is to share with the next generation of journalists what I wish I knew 20 years ago.

Journalists don’t read much about what academics write about, but I used my experience as research material. I wanted to write a book which would give a greater understanding of the process [of war reporting].

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Hotel Libya – Journalist relives the horror story

By Helena Williams

A journalist walks under a banner which has been displayed by members of the media staying at the Rixos hotel in Tripoli August 22, 2011 (Reuters)

“We were in the lobby of the hotel with our bags because we were just waiting to leave. I remember the Red Cross representatives walking into the hotel… you could see them coming around one of the walls, with their Red Cross uniforms on… Oh my God, what a moment. I broke down crying. It felt like a huge burden had gone. I’ll never forget that moment.”

 More than 30 foreign correspondents were trapped inside the Rixos Hotel in Tripoli, Libya, during the final days of the Gaddafi regime in August 2011.

 Like Hotel Rwanda in the midst of the genocide, the Rixos was an oasis of relative safety in a world gone mad.

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“It will be messy”: An interview with Stephen Starr, author of ‘Revolt in Syria’

By Daphna Baram
GRNLive // content partners


This week we were lucky enough to chat with our Syria correspondent Stephen Starr, just as his book, Revolt in Syria: Eyewitness to the Uprising (Hurst 2012) is coming out. He sheds some light on one of the most intriguing of all the Middle East countries. The reviews are quite startling

Noam Chomsky said: “This searching inquiry is painful reading, but urgent for those who hope to understand what lies behind the shocking events in Syria, what the prospects might be, and what outsiders can and cannot do to mitigate the immense suffering as a country so rich in history and promise careers towards disaster”Fergal Keane of the BBC added: “Stephen Starr had a unique vantage point as Syria’s revolution unfolded. Written with insight and verve his book is essential reading for anybody interested in Syria”

Stephen has been travelling so much recently that we couldn’t pin him down for a live interview when he was in London, or get him in front of a computer anywhere with a reasonable connection. So eventually we resorted to a good old email exchange, which was, nonetheless, fascinating.

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Reading between the lines: Journalism in Guatemala

In Guatemala, journalism is a game of self-censorship: You say as much as you can about what is happening, and as little as you can about who is doing it.

By Anna-Claire Bevan

“Guatemala’s precarious positioning makes it one of the most dangerous places in the world to be a woman, and one of the most dangerous places in the Americas to be a journalist” (Graham Hunt)

It’s no secret that Guatemala is a dangerous country: Central America’s largest nation is teeming with gangs, violence and crime. Its precarious positioning, on the main corridor for US-bound drugs, makes it one of the most dangerous places in the world to be a woman and one of the most dangerous places in the Americas to be a journalist.

Efforts to improve security have only lead to greater militarisation, abuse within the police force and an erosion of the law. Many suggest that the war on drugs is becoming a war on women; rape, torture and killing are as common now amongst females as they were during the country’s 36-year civil war, which ended in 1996.

Journalism here is a game of self-censorship: you say as much as you can about what is happening, and as little as you can about who is doing it. Those who speak out against impunity do so with the knowledge that their words could cost them their life. So, consequently, the desire to report reality is offset by concerns for personal safety.

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In the crosshairs of reporting Syria – Channel 4′s Alex Thomson reflects

By Helena Williams

Syria independence flag behind a Free Syrian Army member (Flickr/FreedomHouse2)

An attack on a pro-government Syrian television station, in which seven staff were killed and 11 kidnapped, was a stark reminder, if one were needed, that journalists are high-value targets in conflict.

It is unclear who was behind the attack, which the Syrian government called “a massacre against freedom of the press”, but rebel or renegade army forces were top of the list of suspects.

Veteran British television correspondent Alex Thomson experienced the deadly dangers of covering Syria first hand – and learned some life-saving lessons about trust and treachery.

He believes members of the rebel Free Syrian Army set up him and his crew to be shot because “dead journos are bad for Damascus”.

“Journalists have high value as targets, there’s no getting away from that,” he said in an interview with INSI.

“Damascus got huge flack out of killing (American journalist) Marie Colvin. It was wrong, it was unfortunate, it was unforgivable – but I think both sides are capable of doing that.”

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A shot too far? Exhibition explores conflict coverage and trauma

By Helena Williams

A wounded man sits in shock above the blood-soaked floor at Jinnah Medical Centre. At least 140 people were killed in a suicide bombing aimed at assassinating former Prime Minister and opposition leader Benazir Bhutto. October 19, 2007. Karachi, Pakistan. (©Warrick Page/Getty Images)

“As a curator, you aren’t normally used to your artists dying on you.”

When photojournalist Tim Hetherington was killed while covering the war in Libya last year, curator Sarah Schuster felt the impact of his death. She had been working with him on an exhibition that will explore the psychological effects of war coverage on journalists.

“When he died I was upset. It was surprised how hard it hit, because I didn’t feel I had the right to be upset. It brought home a whole different perspective,” she said in an interview with INSI.

Schuster, 32, has curated exhibitions for 10 years. But her new project, “One Shot Over the Line: Conflict Journalists and Trauma” is a far cry from her previous endeavours, which included a Zaha Hadid retrospective at the Guggenheim in New York.

She wanted to explore the gritty lifestyle of war correspondents and bring to light the challenges they face every day.

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Interview: Documentary filmmaker Eric Matthies on the deadly cost of news

“The driving force behind the project is to call attention to the impunity journalists face… That’s a story that needs to be told.”

By Helena Williams

Journalists protest against rising violence in Mexico, 2010 (Flickr/Knight Foundation)

Eric Matthies does not consider himself a journalist. But he believes that the dangerous and often life-threatening work of journalists is a story that needs to be told.

A documentary filmmaker who’s worked for Hollywood projects, his latest venture, ‘Killing the Messenger‘ is a far cry from recent films he has worked on with his wife Tricia Todd – such as a documentary about a 74-year-old blues musician and a film about bicycles as a sustainable mode of transport in Africa.

“I would never claim to be a journalist because I think that would diminish the work that true journalists are doing, but I certainly have a great respect for what they’re doing,” he says.

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Former BBC bodyguard’s book highlights dangers of conflict coverage

By Helena Williams

An Iraqi journalist takes a photograph of local dignitaries during the grand opening for the district advisory council hall for the Rusafa political district in eastern Baghdad (Flickr/James Selesnick)

After years of working behind the scenes to help deliver some of the greatest international stories covered by the BBC, a former security adviser for the corporation has decided to step forward tell his own.

As a bodyguard for high profile BBC correspondents John Simpson and Jeremy Bowen and a plethora of international new crews for more than a decade, Craig Summers has travelled to and through some of the world’s most troubled and dangerous places.

His work as a BBC security adviser took him to war zones and scenes of natural disaster, to undercover operations involving child trafficking, football hooliganism and narcotics.

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Q&A: Dr Anthony Feinstein

“What about the journalists who are trapped, who can’t leave a conflict situation, who report difficult stories within the countries that they live?”

By Helena Williams

Dr Anthony Feinstein presented his findings at 'The War Within: The Plight of Mexican Journalists' event last month (Lee Pitts)

Dr Anthony Feinstein presented his findings at 'The War Within: The Plight of Mexican Journalists' event last month (Lee Pitts)

The University of Toronto’s Dr. Anthony Feinstein is a leading authority on the effects of traumatic stress on international correspondents. His new study on Mexican journalists underscores the realities of day-to-day reporting in a country beset by a deadly drug war. His study, to be published in the Journal of Traumatic Stress, is the first of its kind to focus on the emotional health of local journalists working in their own country.

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