‘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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Anger in the Nobel Peace Center

By Eric Matthies

‘Infidel’ by Tim Hetherington, on display in the Nobel Peace Center in Oslo (Eric Matthies)

Documentary filmmaker Eric Matthies recently visited the ‘In Afghanistan’ exhibition which showcases work by veteran photographers Lynsey Addario and Tim Hetherington’s. Hetherington was killed covering the conflict in Libya last year.

I recently found myself at the doorstep of the Nobel Peace Center in Oslo, Norway, staring at a banner over the entry that read ‘In Afghanistan: Tim Hetherington and Lynsey Addario‘. I took my time wandering through. The two great photojournalists’ work was exhibited throughout the main floor of the space. Hetherington’s riveting candid shots of US soldiers contrasted with Addario’s ‘Veiled Rebellion’ series, which portrays Afghani women’s struggle for a just life. Itwas a dramatic representation of photojournalism and unusual to see expressed on such a scale. Often, we get images in a newspaper, on a website, or in a book, whereas this was a well-curated exhibit with quality prints, videos andaccompanying text. It also served as a touching tribute to these two giants of war journalism, one tragically in memoriam.

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London’s Frontline Club screens Hetherington and Junger’s ‘Restrepo’

By Helena Williams

Nestled behind Paddington station in West London, the Frontline Club is where journalists, academics and wannabe hacks congregate. It’s one of London’s most vibrant media hubs – you’re just as likely to come across a veteran reporter enjoying a drink in between assignments abroad as you are to bump into bright-eyed freelancers keen to gain some experience.

Tonight the Frontline Club is screening ‘Restrepo’, a documentary made by one of the club’s founding members, Tim Hetherington, who was tragically killed in Libya last year.

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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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