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Conflict zone reporting in the post-modern era weighs complex issues. None is more difficult than the face of extreme violence. Domestic crime stories, more than not, eschew graphic depictions of the dead and maimed. Journalist societies and associations, when possible, keep those pictures off the front pages and TV newscasts. War is different.
Well-known Italian television host Massimo Giletti, with a reputation for the dramatic, was recently sent by private TV channel La7 to Odessa, Ukraine. He has a background in journalism, far in the background. He is a favorite of populist politician Matto Salvini. For the special report (March 20) he appeared in a jacket inscribed with “press,” helmet in hand, sandbags all around. He reached into the rubble to extract a Ukrainian flag. There were the sounds, occasionally, of explosions. As the camera shot panned to a dead soldier’s body he noted the “acrid smell of death.”
"I must say that I made the risky choice to come here,” he told viewers, noted Today IT (March 21). “We are in Odessa, a very important city for trade, but also for a famous opera house and a museum where there are paintings by Italian painters, by Guercino, by Canaletto.” Then, another explosion. (See more about conflict zones here)
"This is the situation,” he continued. “I don't know how long we can stay out here. Something is happening here. There is an attack in progress, no alarm has sounded. There are anti-aircraft tracers. We are experiencing an attack probably not even announced. Do not stay on me, but on what is happening around.”
"There is perhaps a drone attack, or something,” he added excitedly. “We hear shots in the direction of the sea. They tell us that we must return.” And that was it.
Criticism was forthcoming, immediately. “A shame for journalism,” wrote Fatto Quotidiano journalist Andrea Scanzi, quoted by news portal Affaritaliani (March 22). “Self-congratulatory psychodrama,” added writer Enrico Balletto. “Nothing else to add. What pain, what embarrassment, what sadness.”
Social science researchers have long measured attitudes and beliefs about institutions. This has been a means of gauging everything from social cohesion to well-being. Shifts in public perceptions of news media’s value have undergone wild swings in recent decades. Part of this, perhaps significantly, is due to changes in the means of distribution or paywalls.
The Swedish Media Academy released this week (March 22) its annual Trust Barometer. As usual, it measures public confidence in the country’s major institutions, including media outlets. The Trust Barometer (Förtroendebarometer) has been compiled through telephone interviews since 1997, most recently by research institute Kantar Public. This year interviews with persons 16 years and older were conducted between February 21 and March 2.
Confidence in Swedish media outlets generally has again risen. Public radio broadcaster Sveriges radio (SR) leads with 70%, followed by public television SVT (66%), then local newspapers aggregated (48%), then national newspapers Dagens Nyheter (DN) (47%) and Svenska Dagbladet (SVD) (42%). By contrast, just 15% expressed confidence in tabloid Expressen. Privately owned TV broadcasters TV3 and TV4 saw drops in confidence. Attitudes of those between 16 and 29 years generally adhere to the same trajectory, rising most for SR (9%) and SVT (6%) year on year. (See more about media in Sweden here)
Political party affiliations show predictable differences. SR and STV receive high marks from the Green Party (environmentalists) and Swedish Social Democrats, modest from Christian Democrats and fairly low (31%) from conservative Swedish Democrats. Aftonbladt’s news coverage is perceived as more left-leaning, noted Journalisten SE (March 23), in contrast to Expressen. SR and SVT are generally perceived as at the mid-point politically.
Nothing informs zeitgeist - spirit of the times - like movies, particularly those offered on streaming services. All the usual sources dutifully track weekly preferences of viewers. It must be meaningful.
Ringing all the bells this week, even without hitting the top of the Netflix chart March 14 to March 20, is Black Crab. Fitting with these times it is a dystopian action thriller. It’s a new entrant, placing second between The Adam Project and Rescued By Ruby. Black Crab is a Swedish production for Netflix. (See more about streaming media here)
The movie was directed and co-written by Alan Berg, a Swedish director generally known for TV commercials. Black Crab is his first feature film. The story line follows a speed skater turned soldier, played by Noomi Rapace, on a mission to deliver a war-ending weapon across a frozen lake. There is intrigue, deceit and “thin ice.”
Professional reviewers were tepid, generally approving of the lead actor and the cinematography. What do they know? In the German Netflix chart Black Crab placed third. In France it was on top. Wrote La Parisian reviewer Pauline Conradsson (March 20): “The recipe for this suspense production is classic but works, despite a disappointing end. Perhaps because this contemporary war in Europe resonates so sadly with current events.”
The Adam Project, an American sci-fi action movie also a Netflix production, has topped the Netflix chart for the two weeks since its release. Its big draw is time travel. Rescued By Ruby is also a new release. It’s a dog story.
The old rules for reporters and editors enshrined keeping to the facts. Opinions are for the op-ed columnists. All of that has been up-ended in recent decades as publishers learned that facts are boring and opinions - especially the most fiery - win clicks. There’s no business like the publishing business.
Iconic writers association PEN International has long been a steadfast advocate for freedom of expression. Members pledge, says its charter, “to do their utmost to dispel all hatreds and to champion the ideal of one humanity living in peace and equality in one world.” The charter also adds: “In all circumstances, and particularly in time of war, works of art, the patrimony of humanity at large, should be left untouched by national or political passion.” PEN International has affiliates in 100 countries.
PEN Germany elected German-Turkish writer Deniz Yücel its president last year. He has had personal experience with freedom of expression issues. When correspondent in Turkey for German newspaper Die Welt he was arrested and imprisoned for espionage, specifically targeted by Turkey’s president Recep Tayyip Erdogan. After considerable outrage through the public and media spheres, diplomatic pressure secured his release from solitary confinement. He exited for Germany. The arrest warrant remains outstanding. (See more about media in Germany here)
Mr. Yücel spoke last week (March 15) at the Lit.Cologne literature festival in Cologne. The conversation with moderator Susanne Beyer, a former Der Spiegel executive editor, turned, quite expectedly, to current events. Frau Beyer asked: “Should the airspace over Ukraine be closed?” He answered in the affirmative: “Would be a good idea, wouldn’t it? That’s not because the Ukrainians as so keen to involve all of us in this war now.” To explain what Ukrainian’s are facing, he went on to offer a schoolyard bully analogy. (See more about press freedom here)
After several days of reflection, five former PEN Center Germany presidents called for Mr. Yücel’s resignation as incumbent president of the group, reported German news agency DPA (March 21), which obtained a copy of the letter. They did not like his position on a no-fly zone over Ukraine.“You would risk making NATO a direct participant in the war in Ukraine, then you will see how far Putin dares."
Mr. Yücel responded, in kind, on social media: he’d not be resigning. He added: "This dispute (also/actually) is about completely different things,” reported Der Tagesspiegel (March 21). “So there is really something going on with the PEN,” concluded the newspaper. “It seems that it has been rumbling since Yücel took office.”
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