How much should be depicted by news media in a world of instant public access to news data?
We now live in a world in which raw news data is readily available to the public before any type of veracity checking, editorial judgment or even outright censorship can be exercised. In the past few days alone we have been able to watch, even experience the struggle in Tehran as citizens attempt to protest what they percieve to have been a rigged election. We have been able to do so with Twitter tweets, YouTube videos and even satellite imagery in close to real time.
Yesterday within the course of 45 minutes one could read tweets that the Australian Embassy in Tehran was accepting injured for medical treatment, within minutes several people were tweeting their intention to take their injured there, in a few more minutes warnings were tweeted that police were blocking access and that if anyone was going to attempt to take injured to an embassy they should only go in a large group. As if this wasn’t enough, others then cross referenced these tweets with still photographs of the police blockades.
While we have no way to verify the accuracy of each byte of this raw news data stream there is a cumulative accuracy process. Were those pictures of police blocking the access to the Australian Embassy or some other building? We may never know for certain, but when other photographs depict the same storefronts and advertising billboards in the background, while still circumstantial, the evidence of veracity becomes compelling. An axiom lawyers frequently use when discussing circumstantial evidence to jurors is this:
“Imagine you are in your house with a friend, the weather outside is dreadful, you her thunder and lightning and hear raid pounding on the roof and windows. You decide to warm up and take a shower, and exiting the shower you see your friend standing by the door, their hair is wet, they are shivering, they have an umbrella in one hand and in another a book you had left in your car.”
Do you have first hand knowledge that your friend went out of the house to retrieve the book from the car – no – you were in the shower. However, you do have strong circumstantial evidence; the wet hair, the shivering, your perceptions of the storm outside, the book which was in the car and now is in the house and the wet umbrella.
In December 2008 with opportunity to engage in editorial discussion, contemplation and review, Skye Real Lives, a new cable channel in England elected not to show the “moment of death” even in a documentary which set out to chronicle the planned assisted suicide of Craig Ewart. Tom Sutcliffe of The Independent wrote:
The first thing to say about a film that will have been heard about by vastly more people than actually saw it – since it was transmitted on a new cable channel, Sky Real Lives – was that the reports that it featured the moment of Ewert’s death were a little wide of the mark. You saw him falling asleep after he’d taken the medication that had been prescribed to kill, and you saw him pronounced dead, but the camera cut away in between, as if reluctant to linger in prurience for the precise moment. The second would be that it was far more nuanced and troubling than some of the press coverage might have led you to expect. Ewert, a college lecturer who was suffering from motor neurone disease, was the central subject.
Craig Ewert was a man bowed by his disease. He spoke with a detached dry forensic clarity about the options that faced him and struck you as a man who was far more frightened of dying than of death itself, worried that his disease would advance to the point where his ability to choose would disappear. “I’ve got two choices,” he said, his speech measured out by shallow breaths. “I go through with it or I say, ‘You know what? I’m too scared right now. I don’t want to do it.’ If I go through with it, I die as I must at some point. If I don’t go through with it, my choice is essentially to suffer, and to inflict suffering on my family and then die! Possibly in a way that is considerably more painful and stressful than this way.” More pointedly, he addressed the standard religious objection to human decisions about the ending of a life. “The Christians never say, ‘We have to stop organ transplants. We have to stop helping premature babies.’ No, then it’s all right to play God.”
After his death his wife stated:
“Craig wasn’t interested in this as his personal story, he was interested in people actually coming to grips with death, with the fact of death – I think that is often hidden from us. It’s very sanitized.”
So – education and information there is one argument in favor of showing death.
Then there is the so called “Live Internet Suicide” of Abraham Biggs Jr. a mentally ill 19 yo who swallowed a fatal overdose of prescription medications on a bodybuilding website after declaring he was going to kill himself. Biggs then posted a link to Justin.tv a video streaming site, trained the camera on himself and even posted his suicide note online. Online gawkers watched live video for 12 hours before police arrived – some even taunted him with comments like “Go ahead and do it”.
In a prepared statement afterward Abraham’s family said:
“Do not feel sorry for us, we lost a beautiful but troubled soul. Instead, please use your energy to “see” with your heart. Mental illness, like depression and bipolar disorder, are not temporary situations. It is something victims live with and battle with privately.”
So – to serve as a basis for empathy or to punctuate the severity of an issue such as mental illness, there is another argument in favor of showing death.
The first time I saw the moment of death was Eddie Adams’ Pulitzer Price-winning photo of the execution of a Vietcong in 1968. I will show the aftermath, if you wish you can follow the link to the photograph which captured the moment. In fact this was so significant to me that I have a clear recollection that the execution was filmed not just a still photograph, though I cannot find any trace of such a film after a reasonable search.
That photograph became so famed because in one picture it captured the abject horror of war as evidenced by the almost casual way in which this prisoner was executed. Others looked on and didn’t appear to think anything of it, as we’ll see in a moment, even the photographer really didn’t care. The rest of the world, however arrived at a completely different conclusion and it came to become a symbol of the horror of the time.
So – another argument in favor of showing the moment of death. The “free press” argument, that on occasion graphic horror necessary to reflect the horror of the reality being reported.
There is no doubt this was effective in the Saigon picture. The odd thing about that picture though is despite it becoming a seminal image of the horror of war, when Eddie Adams took it he gives the following account:
“All of a sudden to my left, somebody came out of nowhere, and I saw him go for his pistol, and as soon as he raised his pistol, as soon as he brought it up I took the picture. I thought absolutely nothing of it, went back to the AP office, and dropped it off. I said “I think I got some guy shooting somebody.” And er, I went to lunch, so like so what. It was a war, I’m serious it’s how I felt, I had seen so many people die at that point in my life, it’s not nice, but I mean he shot him, he was a prisoner and he shot him. I might have done the same thing. I was about a day later or more when we started getting reports back on what was gong on with the picture. I had no idea of the impact and I still don’t understand it – even to today. General Luong, back then he was like a colonel, the whole thing is that picture destroyed his life and that’s what bothers me more than anything else.
What strikes me about this account is that the man on the ground, Eddie Adams’ experience of it was so radically different from anything I could have imagined. He ultimately wasn’t concerned at all about the victim of the gunshot, instead he bears great remorse, to this day, that his picture destroyed the life of the “murderer.” So without context are we even getting the right message?
Which brings me to the currently circulating video of Neda Agha-Soltan. Neda participated in the Tehran protests on June 20, 2009. She is said to have been shot by members of the Iranian Basiji volunteer militia. Undated amateur videos of Neda’s apparent death were uploaded to Facebook and YouTube. In the video Neda can be seen being assisted to the ground as she falls limp backward, two men, one who is reported to be her father are applying pressure to her upper chest. As she lies there limp her eyes follow the camera which moves from her feet around her right side to alongside her head at which point she appears to have a catastrophic drop in blood pressure and lose consciousness. Immediately blood starts to flow profusely from her nose and mouth. These details are still changing, just an hour ago she was listed as Neda Soltani aged 17, now she is being identified as Neda Agha-Soltan aged 27. CNN has aired the video in its entirety now both censored and uncensored (they blur out her face a second or two after the blood flows) and it seems that every 5th tweet on Twitter for the past 12 hrs or more has carried a link to the video of her death.
WARNING this link depicts what I believe to be the moment of Ms. Neda Agha-Soltan’s death.
As disturbing as it all is, the video appears to have had an impact on the tenor of the events unfolding in Tehran. Neda’s name has become a rallying cry for the opposition protestors. Neda is young, clearly didn’t appear to be acting in a violent manner, she is attractive, she is female and even her name in Persian means “Voice” or “Calling.” She has become the “voice of Iran,” a symbol of the pro-democracy opposition and evidence of a government turning on its own citizens.
Perhaps here is our last argument in favor of the death – so it shall not have been in vein. This one death, so grotesque because of its needlessness seems so disturbing, perhaps because it is so “close up.” The images of the first bombing raids of Baghdad – though they likely killed hundreds if not thousands, while shocking, did not have the same effect.
And so I expect that soon voices accusing the media of exploitation of Neda’s death, of sensationalism, of ratings grabbing will soon come to the forefront. I imagine the video of her death will also serve as a catalyst to discuss the new phenomenon of global access to raw news data in media and editorial circles. I hope the debate will grow to include even reality TV. So far we have people picking life partners on TV, raising 8 children on TV, trying to find out “who’s my Dad” on TV, we even have celebrity drug rehab. What comes next is predictable in this logical progression, celebrity oncology where we can watch people die of cancer, perhaps we’ll progress to pay-per-view executions who knows.
It’s a difficult issue naturally, so can broadcasting or showing death ever be really justified or are we catering to our most base prurient interests? Whatever the conclusion I offer my sincere condolences to the family of this young women who’s death will now be used by so many people for so many reasons, some good some not.
What are your thoughts?