Do journalists have a responsibility to shield their audience from trauma and stress? We look at the ethics of publishing distressing material.
Most of the articles on Media Helping Media that deal with managing trauma and stress look at the effects on the journalists and those who work alongside them.
We cover situations where reporters in the field are exposed to distressing scenes, newsroom staff who have to process graphic footage at their desks, those who assist journalists – the drivers, crews, fixers, stringers etc, and the people we interview who have often suffered trauma.
In this piece we consider those at the other end of the editorial process, the audience.
Distressing images and language
It’s a fact of life that much of what happens in the world is worrying or upsetting in some way. Bad news is usually bigger than good news – it has more impact, literally and emotionally. Our section about what makes a news story explores this issue in some depth.
Stories of war, famine, natural and man-made disasters are all about pain and suffering. They are about tragedy, grief and loss. It is the role of journalism to report on traumatic events and their aftermath.
A plane crash is a devastating event. We report it because it’s devastating – and because the audience wants and needs to know about it.
When we report it, we do so with a certain amount of restraint. We do not, for example, use horrifying pictures or lurid turns of phrase to illustrate the damage done to people’s bodies. That would be gratuitous – unnecessary and the likely cause of distress to our audience.
It is sufficient to record the number of deaths and injuries, as well as the basic facts about where, when and how the crash happened.
Worth remembering
Reporting tragedy is part of the job. Showing every detail of it rarely is.
Why restraint?
This is a complicated subject and there is no simple answer, but basically it comes from a sense of human decency, which is in turn formed by the culture and social norms of the society in which we exist.
We at MHM trained originally in the UK and later travelled widely working with media in many parts of the world, so we are well aware that national and local culture provide the context in which journalists make decisions about what to carry.
Our practice, which is the basis of this article, is founded on what we believe to be the basic principles of good, public service journalism: accuracy, impartiality and fair-minded reporting which informs without sensationalising.
Worth remembering
Restraint comes from human decency, shaped by the culture you work in, and it sits at the heart of public service journalism.
Editorial standards
Every news organisation will have its own editorial standards, and the ethics guidelines will be carefully worded and regularly updated to ensure that they keep pace with evolving social norms, technical developments, and changing audience behaviour. For example, the BBC states that its journalists “must protect audiences from offensive and harmful material unless it has sufficient editorial purpose. Content that is potentially highly offensive will need the strongest editorial justification”.
And the words “editorial purpose” are crucial, as are the words “editorial justification”. We need to ask ourselves what is the editorial purpose of every word and every image. And is there an editorial justification in presenting material that might offend or worse?
Worth remembering
Ask what the editorial purpose of every word and every image is, and be ready to justify it.
Start with editorial purpose
Always ask yourself what is the point of the image or in describing the scene in detail.
- Is the image, and the level of detail it shows, essential to telling the story?
- Is the inclusion of the image likely to better inform the audience, or is it there for shock value?
- Do I need to sum up in words what I have seen, or is a general, less-detailed commentary more appropriate?
- Would a less graphic image from the same scene do the same job?
- If the story works without it, why include it?
Be honest in your answers. You might have an image or some footage that is horrific, but if it’s exclusively yours, and, because no other outlet has it, you might feel tempted to include it and summarise it in your script. That’s probably not a great reason for doing so.
Worth remembering
If the story works without the image, leave it out. Being the only outlet to have it is not a reason to use it.
Dignity and the people pictured
The people in any graphic images are not props. They are somebody’s child, parent, friend or neighbour. Here are some rules to bear in mind.
- Identification. Can anyone be recognised? A face, a tattoo, a distinctive piece of clothing or a street sign can all identify a person.
- Family. Have relatives been told? No one should learn of a death from a published photograph or video.
- Expectation. Would the person, or their family, reasonably expect this to be shown? Think about what you would want if it were your relative.
- Consent. Where you can get it, do so. Where you can’t, the public interest case needs to be stronger.
- Children and vulnerable people. Apply a higher bar. Children can’t give meaningful consent, and the effects of exposure can last for years.
If the story can be told without showing a face, consider doing so. A wide shot, a silhouette, or a detail of the scene can often carry the weight without stripping someone of their privacy.
Worth remembering
The people in your pictures are somebody’s child, parent, friend or neighbour, not props.
Harm to the audience
Your audience is not one person. Some viewers will have lived through similar events. A sudden graphic image can bring back memories and cause real distress. Think about three groups in particular:
- People with direct experience. Survivors, witnesses and families of victims may see the image without warning.
- Children and young people. Social platforms carry your content far beyond the audience you had in mind.
- People who never chose to see it. Autoplay, thumbnails and previews can put an image in front of someone scrolling past.
Repeated exposure to violent imagery also takes a toll on audiences in general. You cannot control who sees your work. You can control how you report the news you are covering.
Worth remembering
You cannot control who sees your work. You can control how you report it.
Legal frameworks
Try not to decide what to publish and what not to publish on your own. You will rarely be working in a vacuum.
If you work for a news organisation you should be well-drilled on what is acceptable and what is not. All media houses have their guidelines. You need to study them and make them part of your workflow.
Freelancers need to know the editorial guidelines of the newsrooms they are filing for. In all cases you must check the rules that apply to you.
- The outlet’s own editorial guidelines. Many newsrooms have specific policies on graphic content, the treatment of the dead and the use of user-generated material.
- Regulators and codes of practice. These often cover taste, decency, privacy and the protection of children. The rules differ between countries and between broadcast, print and online.
- Privacy and reporting restrictions. Consider privacy law, contempt of court, and any limits on identifying children or witnesses.
- Ongoing investigations. Publishing an image could prejudice a case or interfere with police work.
This guide is not legal advice. If you are unsure, ask a senior editor or a media lawyer.
Worth remembering
Don’t decide alone. Know your outlet’s guidelines and the rules that apply to you before you publish.
How to present an image
If you decide to publish, how you present the image matters almost as much as the decision itself.
- Warn first. Place a warning before the image. Be specific about what viewers will see, for example “This report contains images that might be distressing.”
- Let people choose. Turn off autoplay on web pages. Ask viewers to click or tap to reveal the image.
- Soften where you can. Consider blurring, cropping or pixelating. A still frame can often be more harrowing than video because it freezes an incident.
- Keep it out of teasers. Do not use graphic images in headlines, thumbnails, push alerts or social media previews.
- Give context. Explain what the image shows, when and where it was taken, and why you are publishing it.
- Offer support. Where the subject warrants it, point readers and viewers to organisations that can help those who are disturbed by your news coverage.
- Write the caption with care. Describe what you can prove. Avoid language that sensationalises the suffering.
Set a standard and apply it consistently. Audiences notice when a newsroom treats some victims with more care than others.
Worth remembering
If you decide to publish, warn first, let people choose, and keep graphic images out of teasers
A practical test
When the pressure is on, try this. Imagine the family of the person pictured, or a survivor of the event, looking at your decision. Could you explain it to them? Could you explain it to your editor, or to a member of the audience who complained?
If the only justification you can offer is that the image is powerful, think again.
There is rarely one right answer. Where you can, make the decision with a colleague and record your reasoning. If you are still in any doubt, always refer up to someone with more experience and editorial responsibility.
Worth remembering
Report the event, but show only what the story needs. Every image and every word must earn its place.
