Compassion Fatigue: How the Media Sell Disease, Famine, War by Susan D. Moeller

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By Susan D. Moeller

Hailed as a 'great accomplishment' through the Philadelphia Inquirer , Susan Moeller's Compassion Fatigue warns that the yankee media threatens our skill to appreciate the area round us. Why do the media disguise the area within the approach that they do? Are they only following undefined call for for tabloid-style overseas information? Or are they developing an viewers that has visible an excessive amount of - or too little - to care? via a chain of case reports of the 'Four Horsemen of the Apocalypse' - disorder, famine, dying and conflict - Moeller investigates how newspapers, newsmagazines and tv have lined overseas crises during the last twenty years, deciding upon the ruts into which the media have fallen and revealing why.

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Extra resources for Compassion Fatigue: How the Media Sell Disease, Famine, War and Death

Sample text

Images effect that more easily, partly because common ground can more readily be discovered in a photograph than in paragraphs of text: That is a picture of a child; I, too, have a child. Yet there is an instinctive distrust of allowing emotions to influence and govern our reactions. ” On one side of the balance we place the intellect, facts, truth, analytical reasoning and scientific investigation. On the other side we place the emotions, pain, pleasure, gut reactions and “women’s” intuition. This division blinds us from seeing that an emotional response to imagery is also an intellectual one.

71 Compassion Fatigue lll 29 *** The most insidious of the reasons for minimalist reporting is the constant restriction of time and space. The world cannot really be covered in the 21 or 22 minutes of news broadcast in the networks’ evening programs or in the hundred-odd pages of the newsweeklies or even in the thick wad of newsprint of the Sunday New York Times. Given newshole constraints, the stories most likely to disappear from news programs and newspapers are continuing international stories.

111 It is not the subject alone that makes the statement, it is the subject married to a technically proficient, stylishly appropriate packaging that reverberates in our memories. A simple redactiveness in the images of a crisis can be the most powerful way of calling attention to an issue. ” But the selection of those parts is a task rife with problems. Commonly, crisis images do not describe epiphanies, but formula. Crisis images feed into formula coverage. ” He observed, for instance, the TV code for “hurricane”: “Palm trees bending to the gale, surf splashing over the humbled shore, missing roofs, homeless people showing up in local gyms.

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