"Aimed at reporters in conflict zones and hostile areas, this report provides an overview of security issues and includes information on training courses, protective equipment, and insurance policies. It also offer useful tips on assessing, minimizing and managing risk. This guide should be read not
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just by those in the field and those covering dangerous assignments, but also by the media managers who send journalists on those assignments. For managers, the safety of their journalists should be paramount. This means discouraging unwarranted risk-taking, making assignments to war zones or other hostile environments voluntary, and providing proper training and equipment." (http://www.reliefweb.int)
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"Journalists face unusual challenges when covering violent or mass tragedies. They face the possibility of being a first responder to a violent event. They interact with victims dealing with extraordinary grief. Journalists who cover any “blood-and-guts” beat often build a needed and appropriate
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professional wall between themselves and the survivors and other witnesses they interview. But after reporters talk with people who have suffered great loss, the same wall may impede the need of journalists to react to their own exposure to tragedy. Al Tompkins of the Poynter Institute for Media Studies wrote the following for Poynter.org on Sept. 15, 2001: “Reporters, photojournalists, engineers, soundmen and field producers often work elbow to elbow with emergency workers. Journalists’ symptoms of traumatic stress are remarkably similar to those of police officers and firefighters who work in the immediate aftermath of tragedy, yet journalists typically receive little support after they file their stories. While public-safety workers are offered debriefings and counseling after a trauma, journalists are merely assigned another story.” In the future, we know that we’ll face more tragedies — more dates that will leave lasting memories for victims, communities and ourselves. The practical tips in this booklet can help you become more effective in handling these vital areas." (Page 3)
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"The critical issue is to raise awareness among journalists. There needs to be an awareness of child rights generally but as journalists we must also understand the consequences of our reporting. The way media portray children impacts not only on society’s attitude to children; it also influences
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the way adults behave. Sensational coverage of abuse and exploitation of children does not tell the full story and, by exploiting a serious problem, can do more harm than good. While sensationalism might catch the attention of the reader and viewer, we must ask ourselves: Does it provide useful information and analysis in a way that can contribute to improving the situation for children? So how do we raise awareness? To answer this we need to look at the way we work as journalists. The IFJ has been working with journalists around the world on the issue. This includes the development of the first international guidelines for journalists covering children’s rights, developed from the experience of journalists from over 50 countries and since endorsed at two world meetings of journalists held in Recife, Brazil, in 1998 and in Seoul, Korea in 2001. As well as commentary on the human rights of children and insights into the problem of child exploitation, this handbook looks at the principles behind journalist’s guidelines and provides practical advice on how to tackle the challenging job of reporting on child protection and child rights." (Foreword)
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"O que segue aqui säo alguns conceitos, algumas dicas, orientações para o uso profissional de um dos meios eletrônicos mais populares e atuais que a humanidade já teve acesso. Esperamos que o sabor desta leitura se assemelhe ao prazer em ouvir aquela “música“ que Ihe toca ao reativar na su
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a memória lembranças boas e agradáveis. Embora com mais de um séulo de caminhada, a história do rádio padece ainda de bibliografias e obras. Tal vez seja por isso que a maioria dos profissionais aprenda o ofício na prática. De acordo com McLeish, aprende-se a fazer rádio "ouvindo os mais velhos, literalmente. lmitando, criando, algumas vezes fazendo escola. Pena que essas experiências säo pouco sistematizadas. Parece que quem fala não escreve. Pelo menos no Brasil, a bibliografia radiofónica é escassa e os manuais, raros" (2001: 11). A nossa proposta de pensar e fazer Rädio: a arte de falar e ouvir pretende preencher essa lacuna, fornecendo elementos para você melhorar a sua performance neste meio, conquistar a audiência e exercer a comunicação de forma atuante e comprometida." (Introdução, página 7-8)
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