War correspondent


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 the nineteenth century, with American journalists covering the Mexican-American War and the European newspapermen writing reports from the Crimean War.

History

Crimean War

, 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.

Third Italian War of Independence

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."

Russo-Japanese War

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.

First and Second Balkan Wars

The First Balkan War between the Balkan League and the Ottoman Empire, and the Second Balkan War 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.

First World War

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. was imposed by the United States, though General John J. Pershing allowed embedded reporters.

Second World War

American broadcast journalist Edward R. Murrow gained great public acclaim in the United States for his vivid and compelling live radio reports from London during the Blitz, prior to U.S. entry into World War II in December 1941.

United Kingdom

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. 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.
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.

Vietnam War

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. Reporters from dozens of media outlets were dispatched to Vietnam, with the number of correspondents surpassing 400 at the peak of the war. Vietnam was a dangerous war for these journalists, and 68 would be killed before the conflict came to a close.
Many within the US Government and elsewhere would blame the media for the American failure in Vietnam, claiming that media focus on atrocities, the horrors of combat and the impact on soldiers damaged morale and eliminated support for the war at home. 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. In an era where the media was already playing a significant role in domestic events such as the Civil Rights Movement, war correspondence in Vietnam would have a major impact on the American political scene. Some have argued that the conduct of war correspondents in Vietnam is to blame for the tightening of restrictions on journalists by the US in wars that followed, including the Persian Gulf war and the conflicts in Iraq and Afghanistan.
During the Vietnam War, UPI correspondent Joseph Galloway was present at the battle of the Ia Drang. The U.S. Army awarded him the Bronze Star for his actions during the battle, a rare event for a journalist. Along with Gen. Hal Moore, who commanded U.S. forces in the battle, Galloway subsequently wrote about his experiences in the book, We Were Soldiers Once... and Young: Ia Drang - The Battle That Changed the War in Vietnam.

Gulf War

The role of war correspondents in the Gulf War would prove to be quite different from their role in Vietnam. The Pentagon blamed the media for the loss of the Vietnam war, and prominent military leaders did not believe the United States could sustain a prolonged and heavily televised 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. Those who attempted to strike out on their own and operate outside the pool system claim to have found themselves obstructed directly or indirectly by the military, with passport visas revoked and photographs and notes taken by force from journalists while US forces observed.
Beyond military efforts to control the press, observers noted that press reaction to the Gulf War was markedly different from that of Vietnam. Critics claim that coverage of the war was "jingoistic" and overly favorable towards American forces, in harsh contrast to the criticism and muckraking that had characterized coverage of Vietnam. 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.
These trends would continue into the Afghanistan and Iraq wars, where the pool model was replaced by a new system of embedded journalism.

Books by war correspondents

  • Previous ed. also available.