Project Proposal

Project Proposal

Jessica Van Deventer

29 April 2016


Section 1: Rationale

I started the course with just a basic knowledge of Word, PowerPoint and what little I knew of the Internet in terms of social media on a really slow Blackberry.

I am now well versed in using Word, PowerPoint and Excel as we write up schedules, proposals, and fill in our pre-production paperwork and evaluations with these programs. From when we had to make our music video as our first project I am able to use the DSLR to record footage comfortably with changing the aperture, shutter speed, ISO and white balance. When it came to editing I really furthered my knowledge in FinalCut Pro using the blade, arrow, learning how to add special effects such as flashes on screen, overlapping clips, creating the credits for the end of the clip, renaming all my footage and cutting the clips up to make a quick flowing scene. In our sound project I learnt how to use Soundtrack Pro in layering sound clips to a scene, ADR – dubbing in a voice to a scene and creating the foley to add to the scene.

Since I chose journalism in the beginning of this year I have explored InDesign and Photoshop. I use InDesign to create my article layouts, the blocks for the text, the guttering and spacing, the colours of the headings and the leading. I use Photoshop for basics, to test for different colours, to re-shape, add a filter, crop, and layer an image.

When we worked for real clients. I was in charge of the website creation, I learnt some basic coding, how to use WordPress Pro, HTML 5 and how it can work with logo’s and basic interactive activities. I learnt how to set up call to action buttons, create entire pages and blog pages. Whilst I enjoyed creating video and working in post-production, my favourite has always been journalism. I really enjoyed working with InDesign and using powerful photography to get my message across. My absolute favourite was experimental media and creating an abstract piece to give my article an even deeper impact. This is the kind of work I want to do and for the past year I have been writing articles and developing my essay writing skills and use of English. My goal has always been to travel to both dangerous and exciting places to report on stories that the rest of the world is unaware of, to take their blinkers off. My next goal is to get my blog off the ground so that I may write independent pieces that are interesting and will get me a decent readership.

Project Concept

My aim for my FMP is to create a piece that will intrigue and also carry across a no nonsense message to try making people wake up and listen. I have taken the journalist path for this project, for my project I will be creating a magazine with a front and back cover, letter from the editor (me) and then four articles on the issues that the world is facing today. I will be focusing on the environment and social issues. I wish to take my own photography for this piece and will use a friend in class to model. For the presentation I want to make a sensory box that has different pieces to trigger some of the senses (touch, smell, sight and sound).

For this project I will be setting up a survey for each article that will be on my social media sites to get as many responses as possible. For the rest of my research I plan to use magazine and newspaper articles, websites, books such as national geographic and documentaries such as those made by David Attenborough.

To complete this project I will require Photoshop to edit my photo’s, Adobe InDesign to create the layout of my magazine, word for my drafts and final articles and the DSLR to take my photos.


I plan to do my project solo, I may use a member of my class as my model for the photographs I’m taking and will use Temi as she is punctual and understands the natural poses I would want, we have worked together before and she is very reliable. In addition, I will be using my action plan to document what I need to get done each day and then to reflect on whether I achieved my goals each day and how I am progressing. I’ll use this to track my progression. I will use a research log to record all of the research I am doing, even if I don’t use the information. I will use Harvard referencing for the official research used and this will be in my research log. I plan to blog as I work on my FMP, this will include pictures of myself working, my locations and any significant parts of the project I have completed so that I may discuss my development and see where I can improve.

I feel that I have improved with my use and knowledge of the Mac’s software and hardware and am more comfortable with thinking up creative ideas as I have the confidence now to know I can create something that is good. I hope this shows in my FMP.


UAL Level 3 Creative Media Production Year 2 Final Major Project

So this is the end… my last project with my class. This is Bittersweet….

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UAL Level 3 Extended Diploma in Creative Media Production & Technology.

Assignment Brief


Assignment Title FMP: Here we go!


Unit No(s) & Title Unit 13: Extended project in creative media production
Assignment Leader David Carter and Greg Mullins
Date issued 26th April 2016
Hand in dates

*Work can come in before deadlines, but not after*

Project Proposal hand in: Friday 29th April 2016
Research folder hand-in: Friday 6th May 2016

Pitch hand in: Week ending 13th May 2016

Production hand-in: Week ending Friday 10th of June 2016

Absolute deadline: L3 year 2 FMP Evaluation 17th June 2016


Learning Outcomes: At the end of the unit the learner will:


1.     Be able to initiate and develop a creative media production project proposal.

2.     Be able to use research, analysis and evaluation to develop solutions for a creative media production project.

3.     Be able to solve practical, theoretical and technical problems in a creative media production project.

4.     Be able to plan, organise and produce a creative media production project.

5.     Be able to use practical methods and skills in a creative media production project.

6.     Be able to use evaluative and reflective skills in the production of a creative media project.

7.     Be able to present a creative media production project.

Unit(s) covered

This project is for unit 13



To provide an opportunity for students to engage in an extended activity related to their discipline of choice. The unit will enable students to take responsibility for their learning by responding positively to the greater opportunities for individual expression and creativity afforded, and to demonstrate their achievement through proposing and realising a project which integrates the skills, knowledge and understanding acquired throughout the course.

Project Brief


As this is your Final Major Project for this course, this is a chance for you to exercise a degree of freedom within your creative output, are asked to consider your strengths within the projects carried out to date and look to play to both what you have found enjoyable as well as what you have found you have a natural ability or flair for. You will document this with a 500 word project proposal. This is the project where you can really show off what you have learned in addition to making a product that supports your future progression.
There are themes (individual words) for this project detailed later however should you feel that you would like to develop your own theme, then it could be agreed with your tutors. The ‘off-the-shelf’ themes are: Travel, Consumerism, Food, Summer, Health, Fashion, Beauty.

The outputs for your products are either:


·       a). The Film route: A ‘short’ film (either a narrative story, or a documentary piece).
Your piece must be between 10 and 15 minutes duration and include titles.


·       b). A series of short videos that link together: in a format befitting of ‘new media’ output.


·       c). A feature (1 minute) advertisement: designed to be broadcast during an advert break on UK television or the internet, for example at the beginning of a clip on youtube.


·       d). Design / Journalism: A magazine, not more than 12 pages in total but must include the expected codes and conventions of a pre-determined output specific to your Design Brief.



For this project, there is also an FMP Action Plan (on moodle) which will serve as a daily diary documenting your activity and as a guide to the timeline for your project as a whole.


This is a self-led unit and emphasis is placed on you, as the producer, to be responsible for your project planning and time management, the first stage of this is a Project Proposal (on moodle).


There is no re-submission for this project so it is essential that you meet the deadlines on time, as always, it is advised for you to make regular back-ups of your work in case of loss of data.



Assessment criteria Tasks and Criteria




Use critical and contextual perspectives to initiate a creative media production project proposal.



Use analysis and evaluation to clarify and develop ideas for a creative media production project proposal.


Use research to support the development of a creative media production project.


We begin this project with a Project Proposal, this is a 500 word document which needs to address self-analysis of progress and achievement to date, project concept and rationale and discussion of how the project will be reviewed and evaluated.

There is a guidance sheet to assist with your Proposal.


Submission checklist:

1.     Project Proposal



From here we begin researching into your chosen idea and context – good research creates good products.

Start a Research Log, available on moodle.


You must carry out both primary and secondary research.

What you research into, and how much you choose to do, is your decision, but it is expected to be a significant, concentrated effort and must be relevant – similar products, audience, codes and conventions, output, etc.

Your commentary section should relate directly to the idea of your product.
All secondary research must be highlighted and annotated and added to the research section in your folder.

The research section is a very important aspect of the project.
It is important to remember to approach your research with clear intentions and a professional attitude. Take time to develop effective research and ensure that you are positively impacting upon both the product and yourself.

Do not solely rely on class-time alone as this will not provide the time for significant investigation.


After research has been completed you need to create a word processed evaluation where you will consider:


1.     How has the research helped or guided you?

2.     What areas would you spend more time researching on and for what reasons?

3.     What issues did your research bring up in respect to your project and how will you deal with them?


Submission checklist:

1.     Research Log which will act as your bibliography.

2.     Evaluation of research.


To achieve a merit you will need to conduct research to a high standard. This will include a wide range of research that is in depth. You will carry out more than one process of research in order to develop your creative media project.
The evaluation will include sound analytical comments and reflect effectively on the research you conducted.

To achieve distinction you will carry out research to a very high standard. This will include a wide range of research that is very in depth. All routes to research will be exhaustive and valid.
The evaluation will be detailed and points will have been developed with analytical and critical consideration.


Use analytical and evaluative skills to develop creative solutions to realise a media production project.





Solve theoretical problems within a creative media production project.



Demonstrate the ability to plan, organise and produce a creative media production project within an agreed timeframe.





Use evaluative and reflective skills to make decisions for a creative media production project.







For this task you will need to develop the concept of your selected project. Once you have decided upon your pathway and product, you should begin developing this through mind maps which you will add to your folder in the development section. You need to create at least two separate and distinct ideas that could be your final product.

You will then choose one of the two ideas and develop a pitch for it. Your pitch which will be supported by PowerPoint and needs to cover the following:


1.     Synopsis (explaining the idea / what is involved)

2.     Aims of the project

3.     Target Audience and Appeal (primary and secondary)

4.     Project Schedule (pre, pro and post / evaluation)

5.     Inspirations / influences / similar products

6.     How it is representative of your subject

7.     Potential problems and contingencies

8.     Summary of important findings from research


You will be allocated a time slot for your (recorded for external moderation) pitch, this will take place under a professional and formal environment and as such requires you to rehearse and dress appropriately for the occasion.
It is important to remember that pitching is a common and popular process in the media industry, so approaching this with professionalism and dedication is vital.


Submission Checklist:

1.     Pitch – with PowerPoint detailing points 1-8 above.

2.     Two mind maps for separate ideas presented and added to folder.


To achieve a merit you will need to develop and conduct your pitch to a high standard. This will include well-considered information that reflects your idea effectively.

You will respond to questioning with confidence and also be able to deliver the content of the presentation with clarity and flair.


To achieve a distinction you will need to develop and conduct your pitch to a very high standard.

All information will be valid, relevant and accurate. The approach to the pitch will be nothing short of professional and your response to questioning will be sound and effective.



Solve practical and technical problems within a creative media production project.




Demonstrate the ability to plan, organise and produce a creative media production project within an agreed timeframe.


Management of self and contributing partners.



If successful, your project will be ‘green-lighted’ – you are ready to start the pre-production stage.

The work required for submission will vary depending on the pathway you have selected, however the production / post production phases cannot start until the Pre-production paperwork has been ‘signed-off.



·       TV / Film route, New Media & Advert route:

Paperwork could include: treatment sheet, script, location ‘recces’, storyboards, budget control, equipment booking, evidence of studio booking, talent and / or location release forms, evidence of production meetings (Agendas) and communication trails (emails / phone calls), test shoots or testing and health and safety; risk assessment; legal and ethical considerations impacting production.

·       Design / Journalism route:

Paperwork must include a Design Brief (available on moodle), discussion of typography and images to be used, test printing or testing, mock ups of design, drafts of copy. Other paperwork could include budget control, equipment booking, evidence of studio booking, talent and / or location release forms, schedule, legal and ethical considerations, evidence of meetings and communication trails, health and safety; risk assessment; legal and ethical considerations impacting production.


This process is again very important to the success of your project and product. You will need to develop the work during this stage with as much professionalism as possible.



Submission Checklist:

1.     Pre-production paperwork to include relevant planning documentation outlined above.


To achieve a merit you will need to develop your planning to a high standard. This will include well-developed paperwork that reflects the production’s approach and purpose.

Work will be maintained with care and attention.


To achieve a distinction you will need to develop plans to a very high standard. This will include all paperwork to be of near professional standards as well as relevant and accurate. Planning will go beyond what is required for merit criteria and contain well-made decisions to include other documentation to help achieve the product.




Solve practical and technical problems within a creative media production project.



Demonstrate the ability to plan, organise and produce a creative media production project within an agreed timeframe.



Demonstrate the exploration, adaptation and application of practical methods and skills in the realisation of a creative media production project.



Maintain evaluative and reflective records of the development and production of a creative media project.



Production and post-production:

With pre-production now complete, you need to begin the creation of your product. The production and post-production stages will vary for each pathway.
Continue updating your FMP Action Plan as this will be used to document the processes, skills and progress you make through the project, as well as used to measure your working practice.


You will need to complete an entry for every day you work on the project. Even if your activity for one day is only a few hours, this is still to be considered a day for entry.

In the top section of your Action Plan, you need to detail what you have planned, in the Evaluation sections underneath, examples of things to consider for each entry are:


1.     What was achieved during the day?

2.     How well did you work?

3.     What problems did you face and how did you over-come them?

4.     What skills did you learn or develop?


Note: You may want to include images of you working during the different stages to add to your blogs – remember this looks great should you be interviewing for jobs or further study programs in the future, just remember to take pictures at various stages of Pre-production, Production / Post production.


All final products need to be submitted as electronic versions, however should you also wish to supply hard copies of the Design / Journalism or Photography pathway, then these would be welcomed too.


Note: Any hard copies submitted will remain the property of the college and be used by the Awarding Body (UAL) so it is advised that you keep a personal copy too.


Submission Checklist:


1.     Completed FMP Action Plan (digital).

2.     Final product as a digital copy exported ready for playback *and a printed version (if desired for Design / Journalism route*.


To achieve a merit you will need to carry out work to a high standard. Production / post production work will be handled with care and will also demonstrate a level of flair and ability beyond the pass criteria.

You will also follow the correct procedures for health and safety.


To achieve a distinction you will work to a very high standard.

This will include appropriate procedures and a dedication beyond merit criteria with a demonstrated level of professionalism.




Explore strategies to present a creative media production project.



Present a creative media production project to a specified audience.



Presentation and Evaluation:


Now you have completed production and post-production you can begin to evaluate your output and think of ways to engage with your audience. All work will be screened or presented to allow an opportunity for peer feedback.


As your outputs will be different, you will need to think about how you could present your work to a wider audience too, this is the second from last section in your final evaluation.


Reflection is essential to aid improvement.


Your evaluation will be a detailed account of the 3 stages of your production.
1. Researching and Developing.
2. Pitching.
3. Production / Post production.


Re-read through your FMP Action Plan to assist your memory of the various activities you have conducted to complete your product, then create your evaluation. As this is your last evaluation, so it is important to push yourself as much as possible and include as much critical and analytical perspective as you are able to.


The areas of consideration for the evaluation are:


1.     Personal thoughts on the final product

2.     How well did you work during the project and why?

3.     What new skills have you learnt and what existing skills have you developed?

4.     Respond to the peer feedback of your product.

5.     How effective is the product for its intended audience and why?

6.     What would you go back and change or improve upon and why?


Note: This evaluation needs to be submitted as a typed, word processed (spell-checked) and printed document.

Submission checklist:


1.     Final Evaluation detailing the 3 stages of production and consideration to audience reception and feedback.


To achieve a merit you will need to complete the evaluation to a high standard. There will be an inclusion of examples to support your comments and your comments will be analytical.


To achieve a distinction you will need to reflect upon the agreed criteria with a critical outlook.

The discussion will be extensive and almost free of errors relating to punctuation, grammar and syntax.



English, Maths and ICT



English: Researching and presentation, reading skills, scripting writing, following spoken tutorial / learning, speaking and listening, open ended questioning, reflection and evaluation.

Maths: Research activities, budgeting time throughout the project, budget control sheets in pre-production, using linear timelines within software.

IT: Internet research, industry specific software for photographic, video-editing, animation techniques, compositing text and pictures to create presentation materials.


Work you must submit

(brackets indicate as to whether it is individual or group)


Student to ü when complete

Project Proposal.


Your research folder with evidence of both primary (your own research) and secondary research (carried out by others) secondary research must be printed, highlighted and annotated. The last page of your research folder is your evaluation of all research activities. (Individual).


Your completed (Delivered) PowerPoint outlining your project proposal: Pitch.
Your two mind maps added to folder.



Your pre-production paperwork (added to folder) specific to your output. (Individual).


Your completed (digital) FMP Action Plan. (Individual).



Your completed FMP product in a format ready for display.



Your word processed (spell-checked) evaluation as a printed version. (Individual).





Assignment prepared by:


David Carter Date: 18/04/2016
Internally verified by:


Brendan Cumberbirch Date: 19/04/2016

Final Major

Journalists in peril- then and now.

Journalists in peril – then and now.

For as long as humans have been about, there has been war. Be it of two tribes fighting over food or the great wars that many brave soldiers have fought in. Be it for freedom, greed or just plain old nastiness, wars have been around. Yes, wars have always been around and there has always been someone there to record it all. Why? Because knowledge is power, because those who don’t know their history are doomed to repeat it… because, and this is my favourite, because Western Countries are famous for disregarding terrible crimes, genocides and exploitations if they are far enough away enough to not affect them directly, and sometimes if the name of the country in ruins is a bit too difficult to pronounce. So we take notes, photograph when we can and we do this to be a voice for the people who have had theirs taken away from them.

Due to the fact that the journalists reporting in the Boer and Sudan war had caused a few let’s say, complications with the British government and what they wanted their public to think was actually going on, saying that world war one was censored is an understatement. Journalists sent to the front line were forced to submit every single article for checking and censoring before the articles were ever allowed to reach London. If these journalists dared to get the truth out there they had tribunals and possible imprisonment to face. There were a handful of journalist’s that fought for this that we are spoilt with today, Philip Gibbs and Basil Clarke lived as fugitives in France to afford the public the truth. It was strongly believed that the public could not handle the truth of the blood, guts and horrors of the war. A nation that rallied behind their army and believed they were safe and winning was a successful nation, a united nation. In doing my research you read the horror stories of men slaughtered, in their hundreds and all that would be allowed to be reported was that the fighting was even and that Britain was doing well. The biggest fear was that the journalists were in it for the glory and would write any sensational stories, stories that would inadvertently give the enemy information and help.

World War II was the equivalent to a teenager turning eighteen and being allowed to buy alcohol. The countries still under dictatorships and strict regimes were still censored and limited to what they were allowed to air on radio and print and they were subjected to ample propaganda. Ever since there have been humans, just like war, there has always been propaganda around, the Romans were known for exactly that. The space between China and the offshore island of Quemoy were littered with thousands of fake leaflets of fake families reporting to their fake relatives in the war of the fake attacks and so forth. At one point a total of 1,700 guns faced Quemoy, not for destruction but for the firing of more fake leaflets. Freelancing started to become popular around this time and along with radio stations and stringers these were the methods used in the war to report what was going on. Journalists although given a bit more freedom were still required to send their work to be censored before it could be released to the public. It is only after the creation of the OWI (Office of War Information) that journalists had a bit more liberty with graphic imagery and stories. At the end of the day, each nation in a war wants to win the war, so to censor reports does make sense, but is it worth it? Families not knowing the truth about their sons, husbands and brothers? So that the enemy didn’t find out some secret information that they probably knew anyway? In the end of it all, we can say that the journalists had more freedom in the second war but when you look at the facts, the government released what they wanted to be seen of their concerted efforts in the war.

No better than what our journalists are subjected to today, they were given a uniform to separate themselves from soldiers, they weren’t given any firearms and were expected to catch rides to the frontline to interview those in the trenches and ultimately put their lives on the line for a story that would be changed to one ending anyway, “We are doing well, we need to stay in the war.”

‘Another essential perspective in the media coverage of World War II was afforded by radio. The major broadcast- ers, ABC, CBS, and NBC, all sent journalists to report the war. Some of the most famous of these reporters were Ed- ward R. Murrow, best known for his poignant broadcasts from London during the Nazi air raids; William L. Shirer, whose riveting reports from Berlin and Paris described the Battle of Britain and the fall of Paris in 1940; and others such as Eric Sevareid, Charles Collingwood, and Howard K. Smith, who would go on to have successful careers in television news. Live radio provided an immediacy in the living rooms of Americans back home that anticipated the “television war” of the Vietnam conflict in the 1960s and 1970s’ – N/A. (N/A). journalism in WW2 on the front with Bill Mauldin and Ernie Pyle. Available: Last accessed 22 Apr 2016.

First world war: British troops go over the top in the trenches during the battle of the Somme

Photograph: Paul Popper/Popperfoto/Getty Images

When looking at these great wars and trying to spot the differences between then and now, journalists are treated no better. We may have the illusion that censorship does not happen but in it’s own way it does. Today, newspapers are left winged or right winged, representing their chosen political party and ensuring that every single article reflects said party in a good light and I mean a sparkly, bright white light. If you, as a journalist feel that you don’t wish to conform you do have independent publications as an option but their readerships aren’t as big as mainstream outlets, thus meaning your voice is not heard as loud and by as many. The way the cookie crumbles now days is that there is always someone willing to do what you won’t and for cheaper so keep your head down, get on with it and let all dreams and aspirations you have stay as just that, dreams.

Today, journalists are leaning toward free-lancing; full-time journalism is becoming a dying job option. Editor’s can no longer afford to pay for full-time war correspondents as these entail additional crew, security, hotels and all kinds of flights and insurances. In the end at the rates these journalists are being killed, it’s just not financially viable or worth it. War journalists are often seen as adventurous, brave and definitely the friend leading the conversation at every single social occasion. The glamourisation of this profession has led to a spike in the number of free-lancers heading off to war zones for both the glory, prospective money and foot in the door for that amazing columnist job you’ve always dreamed of that comes with starting ones career off as a brave, interesting journalist who got an amazing scoop in the middle of some dangerous gun fight. This trend has been allowed to continue with editors jumping at the opportunity to get their scoop without having to spend their budget on security, hotels or anything at all, just the standard $80 required to buy a story.

This wouldn’t be as scandalous if it wasn’t for the fact that since the Bosnia war in the nineties, journalists are as likely to be killed as your normal soldier with his grenades, guns, helmets and training. ‘Veterans say the Bosnia war in the 1990s changed the idea that journalists should be off-limits as targets.’ dashiell bennett. (2013). The Life of a War Correspondent Is Even Worse Than You Think. Available: Last accessed 22/04/2016.

So young journalists putting themselves out there and taking risks to make their way up the ladder, that’s a good thing right?


These journalists grab their phone and a plane ticket to Syria and believe that they will get their scoop and make it big to return home a strong and successful war journalist. This romance story does not exist. The reality is that these young people are going out there without the proper connections needed to find a safe and reliable story in safe and reliable locations. They are hitching rides with rebel forces that they don’t know and landing up in the middle of ambushes and are now the cause of 2012 bringing in the most journalist deaths in war zones. They’re captured and beheaded and there is no publication out there to take responsibility for them. The lucky few that do somehow survive and have a wicked story to tell with it, get to sell their stories to the highest bidder and because the journalist has a personal hero story to report with loads of gore and action, the story sells and the journalist has now made it for future stories. But what about those dismembered journalists that didn’t make it? The editor’s don’t care, it’s not “their” journalist, Francesca Borri knows this all too well. ‘After more than a year of freelancing for him, during which I contracted typhoid fever and was shot in the knee, my editor watched the news, thought I was among the Italian journalists who’d been kidnapped, and sent me an email that said: “Should you get a connection, could you tweet your detention?” ‘Francesca Borri. (N/A). WomansWork. Available: Last accessed 22/04/2016.

In reality nothing much has changed over the years, the journalists are still expected to spend time in the frontlines to get the stories for the public, they still have to sell or send these stories to an editor and they still have to put up with it being changed to fit in with the newspapers views or have to write in such a way it won’t need to be changed so as not to lose out on a story being published. The journalists are still putting their lives at risk every single day for a story. In the years the amount of equipment needed has severely decreased from carrying around bulky lighting, lenses, reels and other paraphernalia to everything being compacted into our thin smart phones that can fit into our pockets. We now live in a global community so travelling, once available only to the adventurers and elite – is now there for your average Joe to use, not to mention companies like Easy Jet and Ryan Air that have made flights both affordable and so easy to book. This means it takes nothing for aspiring journalists to go out there with no Intel on the area they’re headed for but enough to know they can become the next big thing if they get the story. There is just such a disregard for human life, the more danger the journalist has been put in, the better. Ed Caeser tells us about it in his article on war journalism ‘As a group of Libyan rebels entered Tripoli in August 2011, the 28-year old Sunday Times correspondent Miles Amoore was with them. As these fighters approached Gaddafi’s base, Amoore was shot in the head by a government sniper. He was wearing a Kevlar helmet and survived. In typically nonchalant fashion, he dusted himself down and continued his work. A few hours later, he became the first reporter to enter Gaddafi’s compound.

With his entry into the Libyan despot’s stronghold, Amoore had a world exclusive. But that scoop only made the inside pages of the Sunday newspaper. On the front page, the Sunday Times ran a first-person account of Amoore’s near-death experience.’ Ed Caeser. (2014). Shooting The Messengers. Available: Last accessed 22/04/2016.

No one blames the newspaper for publishing the article on his bravery, the story would obviously sell. The issue at hand is that it appears the publication’s seem to have the best of both worlds here; journalists that they have no responsibility for, both financially and security wise and then stories about their brave journalists and how they got their amazing stories that did luckily make it out alive. There wouldn’t be a story about the journalists journey through hell to get the story if the journalist dies because they put the journalist there.

The purpose of this essay was to explain the war journalists evolution over the past one hundred years and whilst people like Ed Caeser and Francesca Borri are out there reporting on the things that matter and haven’t made it about their glory, it has become evident that that is what so many other people are out there doing it for, maybe not just the glory, it could just be sheer desperation for some work and money or that they want to sound really cool the next time they try pick up a girl/boy. In this century that is filled with technology and rapid change, one thing is steadfast and will always ring true to me; there will always be people exploited and hurt and crying out for help. The people being exploited aren’t necessarily only in front of the camera. What I’m trying to get across is that even though I have researched into just how dangerous and thankless this job could be, I still want to go out there. I still want to be in the middle of it all. I still want to help. Because the people, the human beings, the innocent victims are being hurt, have had their rights and voices taken from them and they need someone to give it back to them! They need us more than ever to share their stories and to show someone does care, so to those war journalists out there with the people and for the people, to you telling their horror stories, I salute you.

An Iraqi prisoner of war

Photograph: Jean-Marc Bouju/AP 2003