Deni Elliott and Paul Martin Lester (E-mail and home page), The Practical Ethics Center, University of Montana
Media Ethics Goes to the Movies:
What Photojournalism Films Can Teach Us About Our
Profession
02/01
As with all professions, continuing education, particularly
when it comes to ethical issues, is a key to positive development
and satisfaction in one's chosen career. Besides on-the-job
training and experiences, sources for ethical sensitivity include
newsroom and listserv chats, heart-to-heart talks with former
professors, friends, and family members, "Flying Short
Course" and other convention presentations, books and
magazines, and one of our favoriteswatching movies. Journalism movies are a staple of Hollywood. In fact, there
have been over 2,000 movies produced that significantly involve
journalists in the plot. A sub-genre of special interest is the
photojournalism movie. Although not as plentiful as reporter
films, they nevertheless offer a unique opportunity to study the
moral and professional conduct of still and TV professionals
through the frame of Hollywood's camera. Unethical behaviors,
work and relationship pressures, and stereotypical portrayals are
typical subjects for directors. On the NPPA listserv, some members named their favorite movies
and television shows that featured still photographers and TV
videographers. Most of the movies on the list can be found at
your local video rental store. Titles in quotations are TV movies
or series:
Apocalypse Now (1979): It's a small role, but Dennis
Hopper is a classic, burned-out shooter/groupie with way too many
cameras.
Batman (1989): Kim Basinger is a whiny ex-war
photographer who finds a new boyfriend.
Before the Rain (1995): A photojournalist's dilemmas
are confronted when taking pictures of war in his home, the
Balkans.
Blowup (1966): Michelangelo Antonioni's classic about a
fashion photographer who likes to entertain young women in his
studio.
The Bridges of Madison County (1995): A National
Geographic photographer gets an assignment perk.
La Dolce Vita (1960) A character, Paparazzo, is the
source for the celebrity-stalking word.
Double Exposure aka Margret Bourke-White (1989):
Farrah Fawcett is Bourke-White, a REAL angel.
"Dying to Tell the Story" (1998): A moving
documentary of a sister's search for the meaning of
photojournalist Dan Eldon's death in Somalia.
The Eyes of Laura Mars (1978): Faye Dunaway tries to
convince us that she can perform a role besides Bonnie with
Clyde.
"Frankie's House" (1992): Named for the brothel
where photographers hung out (go figure), tells the story of
young photojournalists in Vietnam.
Full Metal Jacket (1987): A gritty, compelling tale of
war and covering the war in Vietnam, directed by Stanley Kubrick
in his prime.
Godzilla (1998): Another photojournalist (Hank Azaria)
named, "Animal" who lives up to the part (I'd divorce
him too).
The Killing Fields (1984): The story of Dith Pran, who
escaped Cambodia to become a photographer for the New York
Times (What a country!).
"Lou Grant" (1977): The origin of the stereotype of
the sloppy, isolated photographer, "Animal" as
portrayed by Daryl Anderson.
Medium Cool (1969): Directed by Haskell Wexler (One
Flew Over the Cuckoo's Nest and Days of Heaven) is a
commentary about television violence.
"Moment of Impact" (1999): Six Pulitzer Prize
photojournalists tell how they got each picture.
"The Naked Truth" (1995): TÈa Leoni as a
Pulitzer-nominated tabloid photographer. Yea, right.
Paparazzo (1995): A tabloid photographer's relationship
woes.
The Paper (1994): A young staff photographer must prove
herself to the seasoned pros.
Pecker (1998): Rediscover the joy of taking pictures in
this John Waters film.
The Public Eye (1992): Joe Pesci plays a Weegee-like
ambulance chaser.
Rear Window (1954): This movie proves that with a long
enough lens any photographer can get Grace Kelly as a girlfriend.
Red Kiss aka Rouge Baiser (1985): A French
photographer befriends a young Communist and the fun ensues.
Salvador (1986): James Woods plays a photographer who
drives to El Salvador to cover the war, directed by Oliver Stone.
"Shooter" (1988): Based on David Kennerly's book
about a group of photographers covering the war in Vietnam.
"Shooting War" (2000): Tom Hanks narrates this
tribute to those who documented WWII.
"Somebody Has to Shoot the Picture" (1990): A man on
death row demands that his state-sponsored murder be televised.
Spiderman (2002): At day, a newspaper photographer, at
night, a super-hero. Hey, they finally got it right!
Superman, TV series (1953) and movies (1978): Jimmy
Olsen is the classic photojournalist stereotypeyoung,
nerdy, and clueless.
"TV 101" (1988): A television videographer quits to
teach high school.
Under Fire (1983): Makes you remember that photo
manipulation often involves more than digital software.
Welcome to Sarajevo (1997): A journalist gets a little
too close to a story.
The Year of Living Dangerously (1982): Linda Hunt, a
photographer, supplies journalist Mel Gibson with the real story
of Indonesia.
Z (1969): A military cover-up in Greece is uncovered by
journalists.
After hearing about favorite movies, we asked members of the
listserv to respond to the following question: What ethical
lessons did you learn from the photojournalism movie you
recommended? Below is a brief sampling of the responses, used by
permission (thanks to all): THE PAPER The photographer was willfully used in an unethical way (set
up to fail on an assignment), but it's sad that photographers are
often used unthinkingly. They are often sent somewhere just to
placate a caller, either from the public or an official, when the
assigner knows it's probably a waste of time. Tom Hubbard, Ohio State School of Journalism and Communication
As a freelance photojournalist with dystonia, a neurological
movement disorder that causes my head to shake uncontrollably
(see www.dystonia-foundation.org for more information), I am
often stared at and rarely taken seriously. Although I may look
awkward when I photograph, my mind, hands and legs are steady.
Like the female photographer in The Paper, I am determined
and feel I have to prove myself more so than any other
photographer. Let people stare if they must, but I'm going to be
in the middle of things and I'm going to get my shot! Kendal Bushnell, Freelancer, Panama City, Florida THE PUBLIC EYE I loved the movie because of Joe Pesci's character, but
certainly almost ALL of the things he did on the job would be
ethically WRONG in this day and age. I loved the scenes where he
drove down the street, looking left and right, and a flash bulb
would go off in his head when he saw a moment happening. The
Public Eye is my favorite crusty-old-fart pj movie. It is a
very evocative film, but cheesy in places, that has the great
line in it where Pesci is at a murder scene with the cops.
"Hey, put the dead guy's hat in the picture. People like to
see the dead guy's hat." Jim Lavrakas, Anchorage (AK) Daily News RED KISS (ROUGE BAISER) I guess what I pick up from this movieas it relates to
photojournalismis that each of us is responsible for our
own truth. We can avoid the truth by not asking questions and we
can try to change the truth by manipulating it to our desires.
Does that change the truth? I don't believe we can or should try
to manipulate what we see. We are responsible for getting it as
right as possible. It's like we are making a base for a truth in
a picture because we are there at that moment. It must be as true
as possible because of what might/will happen to it later. I also thought it was interesting that the photographer shot
both still and videosomething that is "new"
today. Suzanne Feliciano, The (Frankfort, KY) State-Journal SALVADOR James Woods' dedication to his Salvadorian girlfriend is
admirable. I wish we, as journalists, brought that sort of
passion to our every day subjects. There's a scene, towards the end when Woods and another
photographer are caught in cross fire. The other fellow quietly
makes frames with his Leica and, in the end, is shot. Woods tries
to dissuade him from making the images, but in the end smuggles
the film out of the country for his dead colleague. There's a
dedication to the story there, as well, I suppose. Again, a
passion or commitment to the subjects at hand. Mark E. Johnson, Utica (NY) Observer-Dispatch SHOOTER This movie taught me to be honest in all situations. The
photographers were trying to get more money out of UPI by paying
fictitious photographers fees and turning the money over to an
orphanage. Certainly an honorable cause, but if you are caught,
it reflects on all aspects of the way you do your job. Dick Van Nostrand, The Bay City (MI) Times "SOMEBODY HAS TO SHOOT THE PICTURE" Roy Scheider plays a photojournalist who had won a Pulitzer
Prize and then left the grind of daily journalism to be a
commercial freelance photographer. Scheider was convincing as a
photographer because someone in the production crew (or Scheider
himself) really did their homework. He was shooting a Nikon F3
(pretty common, even then). He was using a Vivitar strobe angled
up, with a bounce card, and he carried a dark brown Domke bag. He
handled the camera in a believable way and portrayed a true
photojournalist very well. Paul Gero, Arizona Republic UNDER FIRE This film teaches several lessons: Faking images can be done
without the use of a computer, every pj should try to be
objective, no pj should think that he or she is able to be
objective in any situation, be aware that you can be used every
time you're invited to take pictures, and don't take pictures of
your editor's former girlfriendit's only trouble
(attention: joke!). Guido Frebel, Bochum, Germany Nick Nolte fakes a photo of a dead guerrilla leader because
his feelings are with the people being oppressed by the Samozan
government in Nicaragua government. Wrong again! If you are
caught doing this people will never trust you or your photography
again. Dick Van Nostrand I think this movie was unique in offering the notion that
photojournalism has incredible value and that, when used to fool
people, can actually change the course of history. It's
interesting that the idea of ethics in journalism came out in a
mainstream film. Although it is an interesting ethical situation
in photographing a dead person as though he were alive, I think I
really only saw it as entertainment. I don't think that this film
was meant to open up thought on ethics on news photography on a
national scale. It wasn't meant to implant the idea that
"hey, these news folks are tricking us" nor was it
meant to teach ethics to up and coming journalists. My training
in ethics came from school and work in the field. Oh, but then
who knows? I saw the movie before I started my training and maybe
it did have a subliminal effect. I am somewhat sensitive about
such things. Craig Kohlruss, Fresno Bee Z This movie gives an initial glimpse of the power of the image,
and of journalism, and how that continues to inspire me as a
working photojournalist. Given the awareness of the potential
power of the images we produce, we must also recognize the
responsibility that places on us, or on me, as a photojournalist,
to not misuse or abuse that power, and whatever trust our viewing
public places in us and our work. I think it is always good to
keep these things in mind. It is the responsible thing to be
mindful of. J. Michael Short, Laredo Morning Times With stars, scenery, and situations, motion pictures are
dramatic and riveting. And yet the screen is simply a mirror that
reveals all the best and worst qualities of everyone in the
theater. That is why the stories and the characters are so
familiar. So on a day off, try to see one of these
photojournalism movies, but also take a moment to think about the
ethical issues explored (or ignored) in the film. Popular culture can even provide the basis for academic
analysis. One of us (Lester) will be teaching a course in the
spring titled, "Media Ethics Goes to the Movies" in
which panelists and the student audience will discuss the ethical
issues in 14 media-related motion pictures. Check out the
syllabus at:
http://commfaculty.fullerton.edu/lester/courses/mediaethicsgoestothemovies.html.
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