Военные корреспонденты: История и опасность профессии

Journalist specializing in coverage of armed conflicts

A war correspondent is a journalist who covers stories first hand from a war zone. War correspondence stands as one of journalism's most important and impactful forms. War correspondents operate in the most conflict ridden parts of the world. Once there, they attempt to get close enough to the action to provide written accounts, photos, or film footage. It is often considered the most dangerous form of journalism. Modern war correspondence emerged from the news reporting of military conflicts during the French Revolution and Napoleonic Wars. Its presence grew in the middle of nineteenth century, with American journalists covering the Mexican American War (1846 1848) and the European newspapermen writing reports from the Crimean War (1853 1856).

People have written about wars for thousands of years. Herodotus's account of the Persian Wars is similar to journalism, though he did not himself participate in the events. Thucydides, who some years later wrote a history of the Peloponnesian War was a commander and an observer to the events he described. Memoirs of soldiers became an important source of military history when that specialty developed. War correspondents, as specialized journalists, began working after the printing of news for publication became commonplace. In the eighteenth century the Baroness Frederika Charlotte Riedesel's Letters and Journals Relating to the War of the American Revolution and the Capture of the German Troops at Saratoga is regarded as the first account of war by a woman. Her description of the events that took place in the Marshall House are particularly poignant because she was in the midst of battle. The first modern war correspondent is said to be Dutch painter Willem van de Velde, who in 1653 took to sea in a small boat to observe a naval battle between the Dutch and the English, of which he made many sketches on the spot, which he later developed into one big drawing that he added to a report he wrote to the States General. A further modernization came with the development of newspapers and magazines. One of the earliest war correspondents was Henry Crabb Robinson, who covered Napoleon's campaigns in Spain and Germany for The Times of London. Another early correspondent was William Hicks whose letters describing the Battle of Trafalgar (1805) were also published in The Times. Winston Churchill in 1899, working as a correspondent, became notorious as an escaped prisoner of war. Early film newsreels and television news rarely had war correspondents. Rather, they would simply collect footage provided by other sources, often the government, and the news anchor would then add narration. This footage was often staged as cameras were large and bulky until the introduction of small, portable motion picture cameras during World War II. The situation changed dramatically with the Vietnam War when networks from around the world sent cameramen with portable cameras and correspondents. This proved damaging to the United States as the full brutality of war became a daily feature on the nightly news. News coverage gives combatants an opportunity to forward information and arguments to the media. By this means, conflict parties attempt to use the media to gain support from their constituencies and dissuade their opponents. The continued progress of technology has allowed live coverage of events via satellite up links and the rise of twenty four hour news channels has led to a heightened demand for material to fill the hours.

William Howard Russell, who covered the Crimean War, also for The Times, was perhaps the first modern war correspondent. The stories from this era, which were almost as lengthy and analytical as early books on war, took numerous weeks from being written to being published.

Another renowned journalist, Ferdinando Petruccelli della Gattina, Italian correspondent of European newspapers such as La Presse, Journal des débats, Indépendance Belge and The Daily News, was known for his extremely gory style in his articles but involving at the same time. Jules Claretie, critic of Le Figaro, was amazed about his correspondence of the Battle of Custoza, during the Third Italian War of Independence. Claretie wrote, "Nothing could be more fantastic and cruelly true than this tableau of agony. Reportage has never given a superior artwork."

When the telegraph was developed, reports could be sent on a daily basis and events could be reported as they occurred. That is when short, mainly descriptive stories as used today became common. Press coverage of the Russo Japanese War was affected by restrictions on the movement of reporters and strict censorship. In all military conflicts which followed this 1904–1905 war, close attention to more managed reporting was considered essential.

The First Balkan War (1912–1913) between the Balkan League (Serbia, Greece, Montenegro and Bulgaria) and the Ottoman Empire, and the Second Balkan War (1913) between Bulgaria and its former allies Serbia and Greece, was actively covered by a large number of foreign newspapers, news agencies, and movie companies. An estimated 200–300 war correspondents, war photographers, war artists, and war cinematographers were active during these two nearly sequential conflicts.

The First World War was characterized by rigid censorship. British Lord Kitchener hated reporters, and they were banned from the Front at the start of the war. But reporters such as Basil Clarke and Philip Gibbs lived as fugitives near the Front, sending back their reports. The Government eventually allowed some accredited reporters in April 1915, and this continued until the end of the war. This allowed the Government to control what they saw. French authorities were equally opposed to war journalism, but less competent (criticisms of the French high command were leaked to the press during the Battle of Verdun in 1916). was imposed by the United States, though General John J. Pershing allowed embedded reporters (Floyd Gibbons had been severely wounded at the Battle of Belleau Wood in 1918).

At the beginning of the war the matters of war reporting came under the authority of a Public Relations Section created as part of the British Expeditionary Force (BEF). At the beginning of World War II, the War Office urged all the major newspapers to nominate men to accompany the BEF. While the official process of vetting journalists took place, the War Office authorised to provide a limited ‘eye witness’ coverage. Journalist Alex Clifford became one the first ‘eye witness’ who joined the BEF units in France in September 1939. The first official group of British, Commonwealth and American correspondents arrived in France on October 10, 1939 (among them were O. D. Gallagher, Bernard Gray). All of the war reporting was subject to censorship, directed by the chief press censor George Pirie Thomson. At the start of the war the Royal Navy implemented a policy that curtailed war correspondents' presence on its ships. This positioned them as the most conservative branch of the British military in terms of media engagement.

The US conflict in Vietnam saw the tools and access available to war correspondents expanded significantly. Innovations such as cheap and reliable hand held color video cameras, and the proliferation of television sets in Western homes give Vietnam era correspondents the ability to portray conditions on the ground more vividly and accurately than ever before. Additionally, the US Military allowed unprecedented access for journalists, with almost no restrictions on the press, unlike in previous conflicts. These factors produced military coverage the likes of which had never been seen or anticipated, with explicit coverage of the human suffering produced by the war available right in the living rooms of everyday people. Vietnam era war correspondence was markedly different from that of WWI and WWII, with more focus on investigative journalism and discussion of the ethics surrounding the war and America's role in it. Vietnam was a dangerous war for these journalists, and 68 would be killed before the conflict came to a close. Unlike in older conflicts, where Allied journalism was almost universally supportive of the war effort, journalists in the Vietnam theater were often harshly critical of the US military, and painted a very bleak picture of the war. As a result, numerous restrictions were placed on the activities of correspondents covering the war in the Gulf. Journalists allowed to accompany the troops were organized into "pools", where small groups were escorted into combat zones by US troops and allowed to share their findings later. Journalists like CNN's Peter Arnett were lambasted for reporting anything that could be construed as contrary to the war effort, and commentators observed that coverage of the war in general was "saccharine" and heavily biased towards the American account.

Previous ed. also available. Fisk, Robert (2005). The Great War for Civilisation. Fourth Estate. ISBN 1 4000 7517 3.

War correspondents are protected by the Geneva Conventions of 1949 and their additional protocols. In general, journalists are considered civilians so they have all rights related to the civilians in a conflict.