Nic Gowing, veteran BBC journalist with an active academic interest in his profession, presenting ‘Skyful of Lies’ at the Albany Associates London conference, is quite right in pointing out the rate with which the ‘new media’ are having such a considerable effect on the structures of power. He noted the ”new capacity for scrutiny and accountability way beyond the assumed power and influence of the traditional media,” unveiling the ’3Fs’ of the new media environment that an organisation (whether media, corporate or governmental) should be concerned about – ‘fast, first and flawed?’

Nik Gowing, Reuters Institute, speaking Albany's Communications Conference
Despite these rapid and undeniable changes, some things remain the same, though appearances may flatter to deceive. More should be done to reconcile ourselves to the limitations of the new media; it is not a brave new world as such, more an extension of the same old environment, but freshly sprinkled with convincing jargon.
This blog will focus on the traditional media, because as Gowing suggests, the new media’s ”influence will be via the mainstream traditional media outlets” (although he also notes ”the vast and growing proliferation of usually unmediated content platforms.”)
The concern is threefold: firstly, that too much focus on the ‘new media’ serves to valorise excessively their importance. After all, whether the media are new or traditional, the same old truism applies: news is where the journalists are, not the other way round. Stories have always occurred where journalists (and now ‘citizen’ journalists) are not, and will continue to do so. A more representative picture is not a given.
There was plenty of user-generated content (UGC) from Iran recently during the unrest following the election. However, while common, it is not right to suggest that literally everyone is uploading material, for it is still a privileged action that requires an interest and an ability which is not standard among a population. Thus, the viewer was provided with a pretty clear snapshot of what was happening in North Tehran, the most affluent and technologically savvy part of Iran.
Nonetheless, it has been a feature of the coverage that Tehran was taken to be representative of Iran in general. Even before Western journalists were confined to their hotels, none ventured outside the capital to take the country’s temperature, preferring instead to arrive a few days before the election. Thus, developing a clear picture of Iran is difficult based on immobile correspondents and clips from a narrow geographical area – more footage does not necessarily mean more knowledge or understanding. Iran is an example in which the most ‘broadcastable’ voice (ie pre-packaged, not gathered) triumphed over a more representative one (which, it must be said, was not gathered either).
That arguably the citizen journalists or ‘information doers’ could cover more territory, thus bringing more valid stories to attention, is tempered by the second concern: that the ‘information transparency’ the new media bring is too often taken at face value. Whether in new or traditional media, accuracy and substantiation is exactly the same concept, although wading through the mass of user-generated content is an unenviable and time-consuming task.
Despite well-established editorial processes, things can slip the net: in the last week, Agence France Presse, the Daily Mirror, the Times, Sky, the Evening Standard, the Daily Telegraph and the Guardian all reported British Foreign Secretary David Miliband’s ‘tweet’ eulogising Michael Jackson – when in fact it was a hoax that Miliband had nothing to do with.
Thirdly, although mobile phones and cheap cameras are very common, there are plenty of people with important stories but without such tools whose voices could be drowned out in the absence of digitized pictures. It is unthinkable to receive round-the-clock Twitter updates from an internally displaced persons camp in South Darfur, yet it is a harsh call to judge that their story has less media value to anywhere else that is enhanced by digital pictures.
Credibility
Such is the importance of the reputation and credibility of a media organisation that the 3Fs may as well be one: ‘flawed?’, with the question mark bearing all responsibility. This remains the governing principle: can the media outlet still broadcast or publish a particular source or story while still being able to support the source 100% if questioned? The stakes are the same for work provided by their paid employees or for any user-generated content (USG): the professional integrity of the media outlet. A broadcaster may have a hundred clips of USG, but if they cannot be verified to an exacting standard, then the mainstream has no use for them.
In traditional media, editing is (still) a two-way process in which the correspondent can be asked to check something questionable that caught the sub’s eye, if the sub chooses not to simply omit it instead.
The principles behind the new media are the same as the old, although ethics behind the editorial process are not as stringent as before, despite assurances that ‘verification’ is a plural and through process. The new media are part of an unfamiliar environment where editorial processes are weaker than with the traditional media staffed by paid employees; there is no asking an amateur, essentially a stranger, to verify content. Unsurprisingly, an organisation’s own vouched-for material from paid employees will be preferred to USG.
Accountability
New media material transmitted via traditional media is considered the same as any material, insofar as people who decide to broadcast it can be held to account for editorial decisions. So far, this does not really seem to have happened in a controversial way, but one day a case will arise where a broadcaster will cease to be lucky in its enemy. Take for example the Mohammed al-Durra case, involving the shooting of a 12-year-old Palestinian boy by Israeli forces in 2000. Nine years and various court cases later, there is no absolute certainty as to the authenticity of the footage, despite it being edited and broadcast on France 2, an experienced, professional and credible broadcaster.
The onslaught that professionals can face in sticking to their story is enough to make the amateurs crumble in no time, and the weakened editorial process that originally verified their stories is testament to shakier ground. An organisation would hate to go to court for material that was not even theirs to start with, and so prevention, not cure, is the guiding principle. This in practice involves rejecting a huge amount of USG, and unfortunately there are no figures available to depict the proportion of material that is used compared to the material that is rejected.
However, material usually designated USG does make it on to flagship news programmes, which is testament to its usefulness, even if uncommon, and also that it is the kind of material that traditional crews could not get. People do behave differently when they know camera crews are around, and some excellent footage has been obtained by ordinary citizens and handheld cameras that do not arouse the suspicions of authorities not wishing to be filmed.
Commonly cited in this regard is B’Tselem’s ”Shooting Back” initiative (although a legal claim from the US has now obliged the name to be changed to ”B’Tselem camera distribution project”), footage from which has been broadcast on many mainstream flagship vehicles.
The crucial difference between this and other UGC is that this is a professionally managed project that is fully aware of the media ethics involved with broadcasting. B’Tselem provides the verification and contextualization necessary for a broadcaster to trust the content, making reporters and editors secure enough to use the material. This is a procedure, a ‘brand’ that can be (and is) exported to other conflict zones to enhance credibility of material shot by amateurs. Note that it is not the material so much as its credibility that convinces a broadcaster, and B’Tselem can claim credibility that your average uploader cannot. Professional ethics such as these stand B’Tselem material apart from more general USG, and identify it more closely with the traditional media, as it understands and tries to adhere to their editorial requirements.
In the same way that the advent of the internet has not brought an objective truth any closer, nor has the advent of UGC and its platforms. There is just more to sift out.
In fact, there is neither a ‘skyful of lies’ nor a ‘skyful of truths,’ but a combination of both – the question for the editor and consumer of the media remains, no matter how critical the accumulating mass of the new media becomes, where does the balance between the two lie?
(Guy Gabriel is a journalist and adviser to Arab Media Watch)