The politics of war reporting

Authority, authenticity and morality

Tim Markham

• Publisher: Manchester University Press
• Year: 2013
• Print ISBN: 9780719085284
• eBook ISBN: 9781847797995
• Edition: 1
• Topic: Politics & International Relations
• Subtopic: American Government
• Index: Politics & International Relations

This book challenges the assumptions that reporters and their audiences alike have about the way the journalistic trade operates and how it sees the world. It unpacks the taken-for-granted aspects of the lives of war correspondents, exposing the principles of interaction and valorisation that usually go unacknowledged.

1
Introduction: why use political phenomenology to analyse war reporting?

that abominable, voluptuous act called ‘reading the paper‘, whereby all the misfortunes and cataclysms suffered by the universe in the last twenty-four hours – battles which have cost the lives of fifty thousand men, murders, strikes, bankruptcies, fires, poisonings, suicides, divorces, the cruel emotions of statesman and actor, transmuted into a morning feast for our personal entertainment, make an excellent and particularly bracing accompaniment to a few mouthfuls of café au lait. (Proust,[1919] 1970: 200, cited in Bourdieu, 1984: 21)

Why is war reporting important and how should it be analysed? The obvious answer to the first question is that it is naturally significant in that it addresses itself to human suffering and conflict. This book, however, while in no way seeking to relativise or understate suffering, starts from the premise that instead of seeing its representation in deontological terms – that is, as something which makes sense in and of itself – we should unpack it in terms of its contexts, its contingencies and its effects. There are three broad approaches to this unpacking. First, it could be argued that there is nothing special about suffering and conflict that makes its media representation significant. Instead, these should be seen as subsets of the representation of humanity generally, which, after the work of Roger Silverstone (2007), is morally implicated insofar as it is obliged to commit to particular conceptions of relations between media subjects and their often distant others. This view rests on the proposition that morality is itself a natural object of analysis, and without being fatuous it bears emphasising that morality too can be unpacked in terms of its contexts, contingencies and effects. Second, it is arguable that conflict and suffering have significance in the contexts of particular cultures, that they emerge as meaningful objects in relation to the specific discourses by which we make sense of the world. This is not to resort to cultural relativism (Norris, 1992; Baudrillard, 1995; Wilcken, 1995) or suggest that there are contexts in which suffering is meaningless, but rather that the way journalists and their audiences care about it is contingent upon particular ideas about power, aggression, victimhood, human rights and so on which are sufficiently universalised in our everyday lives to appear natural but which are in fact bounded by time and place.

Third, it is possible that the content of war reporting is not as important as its function, either within the field in terms of relations between journalists and news organisations, in terms of the relations between journalism and other professions and spaces of cultural production, or in terms of the way that audiences make use of their media consumption (and increasingly production) in their relations with colleagues, family and friends. What does this mean? With regard to explaining the abilities of an individual journalist, it means seeing authority not as innate but as relational. It means identifying the practices which that journalist has mastered in order to be recognised (and to see herself) as authoritative, open to the possibility that these practices may not emerge directly out of the ‘stuff’ of journalism – the multifarious demands of doing journalistic work. If there is a cultural romanticisation of the war correspondent as heroic and ruggedly individualistic, we can see this not simply as the product of doing a dangerous and difficult job well, but also as marking out a particular position of power. Power too is relational rather than something one simply has, and while it of course takes myriad forms in the context of cultural production it is primarily a matter of status relative to other cultural producers and in public life more generally, and influence over the same (Lukes, 1973). Whether considering the position of individual stars of war reporting or established myths of the genre, there are political implications in that the contingent and often misrecognised criteria by which these symbolic forms are established within the field and in the public imagination reproduce structures of gatekeeping and hierarchy – making it a more natural or unthinkable thing to embark on a career in journalism, depending on one’s social position, and to advance to a position of power once inside. A pre-emptive disclaimer needs to be made that this is not about reducing good war reporting to self-interest. Nor is it to call for a radical opening up or democratisation of the field: indeed, it will be seen that conflict journalism benefits greatly from its being a subfield of relatively restricted production. But by detailing how categories such as authority and communicative authenticity are not natural but conditional on various structures and practices, some explicit and others obscured, it becomes possible to discern trends in media and culture more widely. In particular, it points to two parallel shifts: from the institution to the individual as the functional unit of authority, and from professional expertise to the authenticity of personal experience as the dominant form of that authority.

Living journalism

The phenomenological premise of this book is that conscious experience of the world is not pre-given but determined by the multiple contexts in which we are situated – material, economic, historical, social, cultural and mediated. None of these can be considered as discrete, nor should they be thought of topographically in layers: they are overlapping, mutually constitutive and sometimes in conflict. This does not mean that consciousness is false, nor that this book claims to know journalists better than they know themselves. However, the power relations of the journalistic field – what will be described in Bourdieusian terms as the ‘structuredness’ and ‘structuringness’ of cultures of journalistic practice – are embedded in everyday life. They in part determine and are entrenched and obscured by that which is experienced as common sense, instinct, nature and the sense of corporeality (the experience of living as a body in the physical world) and temporality (how time is experienced, particularly in terms of routines but also in the case of war reporting in terms of ‘passing’ and ‘killing’ time). So while conflict journalism is in many ways extraordinary and unpredictable, this research looks at the processes by which some things become normalised, such as the dominance of specific valorised qualities – symbolic capital, as it will be characterised¹ – and the practices by which they come to be embodied. It will be seen that these processes matter because they reproduce relations of power which have no teleological solidity or natural defensibility.

To be sure, there are hurdles to overcome in this approach. One is primarily methodological: a commitment to finding meaning in what is to interviewees the unremarkable and the obvious – that which is in specific contexts simply too insignificant to emerge to consciousness. Another is reflexivity: while both Bourdieusian and Foucauldian perspectives emphasise the implicatedness of processes of subjectification in unacknowledged and unacknowledgeable regimes of power, the interview data frequently throw up instances of acute insight and self-awareness. Both of these are superable through a combination of methodological pragmatism and a normative injunction on the limits of inquiry: simply put, there is a point beyond which to look for power structures and effects is counter-productive. But this book takes its cue from Husserl that the experience of the quotidian is determined and conditional, and from Merleau-Ponty, Goffman and Bourdieu that determination and conditionality are implicated in social structures and associated power relations (Bourdieu, 1977: 94; Schmidt, 1985: 86–9, 166; Crossley, 1994; Marcoulatos, 2001; Jenkins, 2008).² This does not equate to the claim (e.g. Baudrillard, 1995; Clark, 2005) that professional cultural producers inhabit a symbolic world which is entirely arbitrary and disconnected from another, more real, world. And yet there are a series of established commonplaces which underpin the experience of war reporting but whose unremarkable universality can be unsettled. Why is the world seen as facts to be gathered? Why are these facts encountered as things to be wrestled with and tamed? Why do conflict and suffering have more symbolic value than other aspects of the human condition? Why does inhabiting one of a limited range of dispositions, encompassing not only journalistic skills but character traits, equip one to be a ‘natural’ war reporter? By unpicking the symbolic economies in which these questions have decontested, obvious answers, it becomes possible to ask how different war reporting and journalism more broadly could be, rather than seeing the contemporary journalistic field as the product of either ongoing organic refinement or inevitable, immovable structures of power – and this is the meaning of the politics in this book’s title. War reporting is traditionally conceived in terms of information retrieval and processing structured according to wider cultural values such as bearing witness, giving voice and holding power to account. Beyond these mechanical descriptions and characterisations of journalism’s role in society, there are many ways to define what war reporting is: a profession, an economic enterprise, an institution, a culture, an ideological mechanism, a discourse, a deliberative space and so on. While all these are valid, this book aims to contribute to our understanding of journalism by focusing on how relations between reporters and the world they inhabit is ordered, and what it can tell us about the political aspect of our specific orientations towards information, authority, authenticity and professionalism in mediated culture more broadly.

Audiences of war reporting

While the overarching focus of this work is on professional journalists and others active in the field of war, audiences are not conceived as passive receivers of news but as social actors who have an active interest (or several interests) in consuming news about conflict.³ Likewise, while debates over ethics often regard audiences as innocents who need to be protected from both the visceral excesses of war and the unchecked behaviour of war correspondents, here journalists and audiences alike are seen as having a strategic interest in ethics. This does not cast news consumers as agents free to derive any meaning whatsoever they choose from news, or to use it as an unfettered resource in any aspect of their lives. But it does ask what cultures of practice news consumption is articulated with: that is, what audiences do with news (Schrøder and Phillips, 2007; Höijer, 2008). In particular this means looking at how audience consumption of war reporting contributes to two related sets of practice: subjectification and social positioning.

Recent developments in the field

It has been widely observed that the boundaries between media consumption and production, and between professional and nonprofessional journalism, are dissolving, and this is true in war reporting as for other specialisations. These trends are part of a larger debate about professionalism, democratisation and technology, but this book will focus in particular on how shifts in cultures of media production impact upon authority and authenticity, particularly in relation to the traditional individualisation of authority in war reporting relative to other fields, and the enduring value accorded to first-person witnessing, whether by war reporters or local nonprofessional eyes. Technology is a recurring theme, and illustrates above all else that war reporting, like war and like journalism, should not be thought of as static. That said, the research behind this book makes clear that technological development does not simply produce new cultures of journalistic practice. Indeed, it will be seen that the way war correspondents have adopted or reacted to technological innovations is determined less by the technology itself than by historic structures which are proving more durable than is often thought. For now, however, let us turn to the thinker whose work provides the theoretical backbone of this study.

Who is Bourdieu?

Pierre Bourdieu’s corpus of work is strongly interdisciplinary, combining qualitative and quantitative research methodology with a theoretical framework that draws on sociology, anthropology, philosophy, political science and the history of ideas. This means that there are in effect many Bourdieus. But while there is considerable variation in his writing, perhaps to the point of inconsistency, it is possible to characterise the basic ethos of his work as an attempt to expose and explain the naturalised, everyday instantiation of the generative power structures which constitute the conditions of possibility of the experience of the world. Bourdieu rejects certain elements of the philosophical frameworks of Husserl, Schutz, Merleau-Ponty and Mauss, and indeed explicitly positions himself in opposition to them in certain regards (Bourdieu, 1977: 3),⁴ but his emphasis on describing how phenomena come to be experienced as objects in the world means that he can be located in the phenomenological tradition. It will be seen in chapter 2 that there are divergences over the status of intention and reflexivity, but these approaches have in common the premise that the determinants of consciousness and everyday practices are mutually constitutive. In focusing on the preconditions of consciousness and the positing of conscious meaning by consciousness, Bourdieu is concerned in much of his work with that which is taken for granted, so naturalised as not to emerge to consciousness in normal situations – that is, without the epistemological ‘double break’ (Bourdieu, 1977: 3) central to Bourdieu’s philosophy of social science.

Thus, like Husserl (1931; 1982), Goffman ([1959] 1971; 1972) and Berger and Luckmann (1966), Bourdieu’s work aims analytically to reconstruct the determination of things like common sense, instinct and normalcy. This is a process in which all agents are engaged: there is a collectively embodied common sense or habitus by which individuals become self-aware and construct ‘objective’ realities. It is in this sense that the lifeworld⁵ is not simply the context by which we make sense of the world; the lifeworld is itself actively constituted by collective subjective anticipation, interpretation, intention and action. In linguistics this is close to Austin’s view of language as something which is spontaneously enacted as the situation demands, rather than carried with us as a continuous, solid interpretative matrix. This mutual constitution suggests a closed system of meaning production, but it is important at the outset to distinguish Bourdieu from traditional phenomenology which treats the lifeworld as self-contained and ‘brackets out’ what it sees as the irresolvable, chicken-and-egg question of the origin of consciousness. Bourdieu’s genetic structures (Frère, 2004) and (to a lesser extent) Husserl’s formal or ‘eidetic’ terms both aim to describe that space outside of or prior to meaning: that is, the metalevel at which categories easily regarded as universal or natural (such as meaning, explanation and subjectivity) are only a finite case of a wider set of possibilities. In reality we can always invoke outsides or origins which elude detection or logical reasoning, and limits to philosophical and empirical enquiry have to be set somewhere. For Bourdieu, this is the point beyond which the normative impetus of his work – showing how the experience of historical contingencies as universal and natural reproduces political inequity – is compromised.

What else is Bourdieu? Key concepts

Because Bourdieu is best known for work that dissects how the differentiated symbolic worlds of culture and education reproduce material differentiation between classes, he is often referred to as a Marxist or neo-Marxist (e.g. Eder, 1993: 63–4) in the mould of Weber’s account of status, Althusser’s model of ideological state apparatuses, Williams’ reworking of base and superstructure or Adorno and Horkheimer’s work on cultural production. There are similarities to be sure, but Bourdieu’s focus on the structuring of practices at the microscopic level and his insistence that such structures are ‘genetic’ and actively brought into existence through these practices means that his conception of power is less monolithic than that of the Frankfurt School (Bourdieu, 1991a; Neveu, 2005). In interviews (Eagleton and Bourdieu, 1992) Bourdieu was either ambivalent or elusive when asked if he identified himself as a Marxist, though this is likely to have been a conscious strategy for avoiding the acrimonious tribalism of the left in France after 1968. If Bourdieu is a Marx...

Table of contents

• Cover Page
• Title Page
• Copyright Page
• Contents
• 1. Introduction: why use political phenomenology to analyse war reporting?
• 2. Theoretical preliminaries
• 3. Methodological issues
• 4. Practical mastery of authority, authenticity and disposition
• 5. Journalistic ethics and moral authority: being right, knowing better
• 6. How do audiences live journalism?
• 7. New developments in the field: brave new world or plus ça change?
• 8. Conclusion: implications for war reporting, journalism studies and political phenomenology
• Appendix: interviewee profiles
• Bibliography
• Index