The author has provided accounts from his own experiences of recent conflicts. The writing style has a light touch, with many photographic examples of his work. The war correspondent has long been a feature of warfare, but the introduction of photography, during the American Civil War, revolutionised the work of the military journalist. A readable and very informative work.
NAME: Dying For The Truth, The Concise History Of Frontline War Reporting FILE: R2453 AUTHOR: Paul Moorcraft PUBLISHER: Pen & Sword BINDING: hard back PAGES: 358 PRICE: £25.00 GENRE: Non Fiction SUBJECT: war reporting, war reporter, war photographer, war zone, embedded journalist, conflict, military journalist, news from the front ISBN: 1-47387-915-9 IMAGE: B2453.jpg BUYNOW: http://tinyurl.com/hb24ynl LINKS: DESCRIPTION: The author has provided accounts from his own experiences of recent conflicts. The writing style has a light touch, with many photographic examples of his work. The war correspondent has long been a feature of warfare, but the introduction of photography, during the American Civil War, revolutionised the work of the military journalist. A readable and very informative work. The modern war correspondent has evolved into a writer and photographer, producing rapid flows of information, often in real- time. The author has used his own experiences and those of others to provide a concise, yet comprehensive, view of the journalist's work in modern conflicts, giving examples from Korea, Falklands, Balkans, Iraq, and Afghanistan. Korea provides an example of a conventional war where both sides are equipped to meet on the field of battle in a manner common through the history of wars between nations. The Falklands provides an example that could have come from the rich history of the Royal Navy in mounting an assault a long way from the nearest friendly base and taking the enemy by surprise, achieving victory through superior feat of arms. The other conflicts have to a greater or lesser extent been examples of asymmetric warfare. The technical development of cameras has provided the combat photographer with a highly reliable device that can be carried easily into the battle zone with an ability to capture at long and short range the images of war. The movie camera has developed as rapidly as the stills camera and is now a very compact device. This enables the photographer to get close to the action and keep up with it. The move from film to digital storage has further assisted the work and is able to integrate closely with satellite communications, delivering the images to a distant news desk or studio as the action takes place. This also presents challenges for the military who no longer have effective control over the journalists operating with them. The trend to embedding journalists with the fighting units is one way of improving control and of providing their journalists with amazing new opportunities. Even responsible journalists can release information that helps the enemy and irresponsible journalists can place soldiers at risk. One example was where US Navy SEALs made a stealthy approach to a beach, only to emerge into the blinding floodlights of the media. Finding effective answers to these challenges is not easy. One of the surprising aspects of combat journalism is that most journalists are relatively unknown to those who eagerly read and watch their work. The author has gone a long way to correcting this and provided a frank picture for the reader.