It is difficult to get a disaster area, and we can't add to the chaos.
At 23:59 on December 18, 6Level 2**.
Hearing the disaster and moving is the mission of the journalist.
Just a few hours later, all levels of the country gathered in Gansu and used new technology to deliver the most real-time news reports from the disaster area without interruption.
New technologies have made disaster reporting easier and more possible, and minefields have naturally formed.
* People stepping on thunder warning, the following minefield, please detour.
Interfere with rescue. Putting life first is the most important principle that is easily overlooked in disaster reporting.
Such an unusual interview scene as a disaster event has its extreme peculiarities.
Journalists arriving at the scene of a disaster may have to break through many obstacles, and when they really start news reporting on the front line of disaster relief, the professional Xi of ** people will make saving people or interviewing a parallel ambivalence.
The subjects interviewed are often busy rescuers, victims waiting for rescue, and family members who are immersed in grief. The reporter's interview will affect the progress of the rescue to a certain extent.
For the news audience, as an outpost, the first person who is present at the scene can let the audience intuitively feel the real situation at the disaster scene, therefore, the news product needs to focus on restoring the scene of the incident, and any behavior that interferes with the scene should be resolutely avoided.
*It is important to remember that disaster relief comes first, reporting comes second.
Interviews and filming must not be used as an excuse to delay or ignore victims whose lives are threatened;Interviews must not interrupt the rescue effort;Journalists should, as far as possible, interview those who have the time and ability to do so;Avoid untimely interviews, and even more so avoid accidents caused by your own interviewing behavior**.
On the afternoon of February 10, 2018, a double-decker bus overturned in Tai Po, Hong Kong. The live broadcast screen shows that at about 7:50 p.m., firefighters are racing against time to rescue, when rescuers want to set up the bus, hoping to give up their positions, but some reporters asked "Can you wait a few more minutes, because there is a live broadcast to do", "Ah sir, can you give us three and a half minutes?".”
The rescuer directly replied, "I think it is more important to save people."
Screenshot of the live stream.
This scene was also bombarded by many Hong Kong netizens for "interfering with rescue", which is a violation of the principle of the supremacy of life.
Entertainment dissipation. Disasters are never easy.
We are happy to see that the people affected by the disaster are open-minded and optimistic, but it is difficult to grasp whether the scale and strength of the "ridicule" of others are appropriate.
In the new **disaster report, ** adopts a down-to-earth expression or in order to pursue traffic, or to stand out, the disaster only becomes a traffic symbol, and even ** uses "cute" and "shocking" to interpret the disaster, or the attitude of the playful report and tweets, sent to the hot search, similar behavior will gradually dissipate the authority and credibility of **, and then damage the credibility of the media industry.
In August last year, Sichuan, Chongqing and other places continued to have high temperatures, droughts, wildfires and other disasters. The people of Sichuan and Chongqing are united to fight the disaster with all their might, and entertainment and ridicule entries such as "the people of Sichuan and Chongqing are going to cry" and "Sichuan Chongqing has nothing to do with fever" rushed to the hot search.
For serious issues such as natural disasters, the dissolution of entertainment is a red flag. To a certain extent, this will make the public lose the ability to empathize and think critically in public issues.
Disaster aesthetics. Disaster aesthetics refers to the use of literary, sensational, storytelling, and exaggerated reporting when reporting on disaster events after the occurrence of disaster events.
In fact, over-sensationalizing reports on irrelevant issues, and overemphasizing human emotions and emotions, can also weaken the seriousness of the disaster itself.
In the aftermath of the disaster, there are ** keen to report on the topic of donations from celebrities or corporations. There is no doubt that such a topic is relatively easy and readable in the period of rolling updates of disaster news, and the audience also has a high enthusiasm for the ranking of donations from celebrities or enterprises, which highlights the value of life and the power of humanity to a certain extent.
But when over-publicity or even sensationalism dilutes disaster reporting, disaster events become "disaster aesthetics." Its sensational content is always suspected of a consumer disaster, which affects the professional discussion of the disaster.
This kind of news can not increase the content of effective information, but will only become noise in the normal process of information dissemination, interfering with normal news dissemination and expression.
In the 2014 Malaysia Airlines MH370 passenger plane disappearance, professional people and cultural critics launched criticism of the sensational report. In addition to ridicule such as "there are three treasures: wax dripping and prayer", they also criticized ** for responding to disasters with "girly fan, Qiong Yao accent, and little freshness", which is a "kitsch" performance.
The development of new technology allows the painful perspective in the disaster to be conveyed to the news audience in the first time, but relying on technology to set off the aesthetics of the disaster is unprofessional for the first time.
Disaster Victims' Privacy When reporting on a disaster, we should not only focus on what to say and what to report, but also on what not to say and what not to report.
Among them, protecting the privacy of the victims and avoiding secondary harm to the victims during the interview process is the top priority.
*Journalists need to carefully balance the right to report, the right to know and the right to privacy.
Journalism** Only when there is a conscious awareness of respecting the privacy of others, sympathy and care for the victims of disasters and their relatives, can the audience gain respect, recognition and trust from the heart.
In the temporary medical vehicle in the disaster area of Jishishan County, Linxia Prefecture, Gansu Province on the 19th, Beijing News reporter Ma Jun encountered a minor injured person who came to seek medical treatment during the live broadcast of the interview with the medical team.
From the perspective of protecting the victims, especially minors, Ma Jun and the photojournalist immediately avoided the positive perspective, suspended the ongoing interview, chose to withdraw from the medical vehicle, and waited outside. While protecting the privacy of the victims, it also gives them the space to receive help as soon as possible.
When the medical staff checked the injuries of the victims, the reporter kept reminding them not to "take pictures of the front", and at the same time suspended the interview, and exited the medical vehicle with the photographer. The picture shows a screenshot of the live broadcast screen.
The new ** promotes the timeliness of disaster reporting, expands the scope of reporting, and generates huge aggregate energy, but it also faces more minefields and is more lethal.
Journalists are on a mission to come to the scene of a disaster, to portray it, to respect it, and to make it accessible to a wider audience.
* The more professional the disaster reporting, the more valuable it is.
Proofreading: Wu Xingfa.
Reference: The Current Situation and Development Trend of China's Disaster News Reporting in the New Environment
Author: Lin Sanfang.
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