Archive for the ‘Events’ category

Strangelove Embraces All Central Saint Martins

Strangelove

From 16-20 March, the Strangelove festival is bringing moving image to spaces throughout Central Saint Martins.

In every programme – from Graphics to Fashion to Fine Art – moving image plays an important role. The College asked artist Terry Smith and curator David Gryn to help develop a film and video festival that brought students, staff and the public together.

David Gryn explains: “Film is a place where all our learning and experience combines into a powerful collaborative outcome. This was the essence of this festival – to encourage the college to come together to enable greater learning, collaboration, and empowerment via a medium we all use and observe daily in our work, creativity and life.”

Explaining a little more about his selections for the festival, Terry Smith says: “My choices reflect work that I am curious about, work that has made an impression on me, and work I am jealous of and wish I had made.”

Wired to respond
There is a reason why moving image is relevant to so many practices. Paul Rennie, Content Subject Leader for our Graphic Communication Design programme, explains: “At a very basic level, human beings are cognitively wired to respond, and to be attracted, to movement and light.”

Strangelove will give an insight into the ways film and video are used in disciplines across Central Saint Martins. Events range from the screening of a film essay on the street dogs of Istanbul, to a symposium on the production of fashion films.

Mark Dunhill, Dean of Academic Programmes, was instrumental in bringing the festival together. He says: “I am really delighted that the Strangelove programme will be presenting such a diverse range of content, representing so many different areas of activity across the College. Clear as much time in your diaries as possible, and see as much as you can.”

More information:
Strangelove festival
- Blog: Museum Brings Silent Film to Strangelove

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Review // Design Cultures Guest Lecture: David Kershaw, CEO, M&C Saatchi

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From l-r: Student Ernst Young (quoted below), speaker David Kershaw and Associate Lecturer Maureen Salmon

David Kershaw, CEO, M&C Saatchi, visited LCC recently to talk to students on the BA (Hons) Design Cultures course studying the Contextual and Theoretical Studies – Creative Industries unit.

LCC Associate Lecturer Maureen Salmon MA FRSA reports on a fascinating lecture on advertising agencies and leadership.

David Kershaw was educated at Bedales School and Durham University, where he obtained a BA (Hons) in Politics and Economics. He entered advertising as a graduate trainee at Wasey Campbell-Ewald in 1977.

He then gained an MBA from the London Business School, and later joined Saatchi & Saatchi UK. He became its Chairman and CEO in 1994.

In January 1995 he resigned together with Maurice and Charles Saatchi, Bill Muirhead and Jeremy Sinclair to set up M&C Saatchi. The company has 22 offices around the world.

David began by talking about his career journey. He described how, with a lucky piece of advice, he entered the corporate world of advertising. The setting of M&C Saatchi was an “entrepreneurial adventure”.

David highlighted the importance of simplicity in leading and managing. Talking about M&C Saatchi, he said: “What we do is create communication that sell things or ideas for our clients. Advertising is about trying to change people’s behaviour, sometimes their thinking.”

He explained that an agency has to answer six key questions:

1. Who are we selling to?
2. What do we want them to do?
3. What should we say?
4. How should we say it?
5. Where shall we say it?
6. How will we know if it works?

To illustrate, he showed the ‘Mighty White Bread’ (Australia) advertisement.

He also asked:

What do you need to get a job?

• Account Management & Planning: a degree, passion and personality
• Creative: a ‘book’ often put together at college/specialist courses
• Production – a trade, craft skill: college/apprenticeship

A lively discussion ensued, with some insightful questions and comments from the students on leadership, creativity, the future of advertising in the digital age and the kind of people the advertising industry is looking to recruit. In David Kershaw’s words, these are “people with a good degree plus a smart personality, passion and relentlessness.”

Student responses //

“David Kershaw’s talk on leadership was something that I had to take note of, no matter what. He gave many of his own personal insights into the importance of being an executive at M&C Saatchi. I felt thankful that he was able to make time to come in to talk with us about his experiences and remind us that apart from being skilled at what you do, having a personality and a positive attitude are something that prestigious firms look for. I hope that in the near future we will be able to invite him over again to do another talk as I feel that many students have missed this rare opportunity to listen to one of the greats in the industry.”
Ernst Young, BA (Hons) Advertising, Year 2

“I really enjoyed listening to David Kershaw and was inspired by his ideas on leadership and how to have clarity of purpose, avoid complexity and platitudes, be different, make a difference by doing good work, have courage, manage risk and encourage 100% participation. Leadership is more important than management. It’s all about people – make sure they are better than you, diverse in talent, skills and personality, passionate, and relentless.”
Nuria Urcelay, BA (Hons) Design Cultures, Year 1

“David Kershaw’s ideas on the concept of permanent revolution resonated with me. “Keep shaking things up, question yourself” when he was talking about leadership, and as an inspirational one I will also choose “Don’t absorb, radiate.”
Esther Fuentes, BA (Hons) Design Cultures, Year 1

On behalf of LCC, UAL, we thank David for sharing his ideas and experience on leadership and his entrepreneurial adventure in advertising with our students.

He is one of the UK creative industries’ most inspirational and passionate leaders who has demonstrated his commitment to developing and inspiring future leaders for the industry, through his work as a board member of the Clore Leadership Programme and as chairman of the Cultural Leadership Programme from 2006 to 2011.

Students who attended the talk have been invited to apply for the 2015 M&C Saatchi Work Placement Scheme.

Words by Maureen Salmon MA FRSA
Associate Lecturer BA (Hons) Design Cultures/Contextual and Theoretical Studies

Read more about BA (Hons) Design Cultures

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Green Week Review // Environmental Photojournalism

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COLNE VALLEY, LONDON, ENGLAND – 16 FEBRUARY 2013: An abandoned portacabin on the edge of New Year’s Green Covert, one of the many woodlands threatened by HS2 construction. Image © Toby Smith.

As part of Green Week 2015: Natural Capital last month, photographer Toby Smith visited the College to talk about his career and current projects. BA (Hons) Journalism student Sebastian Moss reports.

LCC MA Contemporary Photography alumnus Toby Smith shared his experience of working in environmental photography since graduating in 2008.

His work has been exhibited internationally and has been featured in publications such as National Geographic, The Sunday Times Magazine, The New York Times, and the Guardian.

One of his biggest projects involved walking along the route of the controversial proposed HS2 railway, following the route from London to Birmingham and photographing people, buildings and landscapes along the way over a course of several months. ‘Walk the Line’ was published by The Sunday Times, and is viewable here.

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MAIDA VALE, LONDON, ENGLAND – 02 FEBRUARY 2013: Terry Harris, owner of a garage specialising in V8 engines and classic car restorations, is preparing to have its property forcibly purchased by the HS2 line. Image © Toby Smith.

“This project I found the most enjoyable of the last few years, because it involved a bag of film and starting less than four miles from my house. It was a local issue to me, and that’s also something that’s really under-covered in journalism. You don’t need to fly to Timbuktu to shoot a great story, there can be quite poetic ones nearby.”

But while Toby has been successful in the field, it’s not an easy career to be involved in. “It’s really quite nasty out there, I’m afraid,” he told students currently studying photojournalism at LCC.

“I would really encourage you to learn what you can about the industry and try and get in it. But I would also really just do the photography that you want to do, and then see how it fits into the industry as well. Think outside the box.”

When we asked about any further advice for students, he added that “the biggest advice I’d have is just to know your subject matter and know your marketplace. Just do research.”

“I’ve become really savvy in subjects, and also where they’re published and how they’re published and what’s popular, to kind of second guess and predict it. That only came with experience, so there’s nothing to say you couldn’t do it with time.”

But most of all, it’s important for photojournalists to mix commercial, artistic and journalistic work. “I still refer to myself as having a three-way mix of a commercial approach, a contemplative approach, and journalism. I don’t think I could survive without doing all three at the same time, and I would never want to lose any of those approaches.”

Toby Smith is currently working on several new projects, including the second part of his HS2 feature and coverage of the burgeoning private space industry.

Words by Sebastian Moss.

Read more about BA (Hons) Photojournalism and Documentary Photography

Read more about MA Photojournalism and Documentary Photography

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Museum Brings Silent Film to Strangelove Festival

Sumurun (released in USA as One Arabian Night), 1920

Sumurun (released in USA as One Arabian Night), 1920.

As part of the Strangelove moving image festival, our Museum and Study Collection will be celebrating its links to the silver screen.

The exhibition German Film Posters: 1918-1922 will showcase the Museum’s silent film posters in our window galleries from 16 March to 10 April. The posters shed light on developments in graphic design, but also on political and social conditions of the time.

These posters tell the stories of the era – from stammering actors driven to suicide on the advent of the talking pictures, to stars fleeing the Nazi regime only to be blacklisted in McCarthy’s America.

On Wednesday 18 March at 1pm, Dr Paul Rennie will be in the Lethaby Gallery speaking about the exhibition. Rennie is a design historian with specialist knowledge of German film posters. Turn up early for this free public talk.

Die Puppe (The Doll), 1919 Pola Negri (poster for an unknown film), c.1920. Kohlhiesel’s Tochter (Kohlhiesel's Daughters), 1920

At 7.30pm on Thursday 19 March, The Cabinet of Dr Caligari will be screened in the Studio Theatre. One of the most influential films of the German Expressionist movement, it has a surprisingly modern aesthetic.

The Cabinet of Dr Caligari will have live musical accompaniment from musician Matt Harding. He has given the score a contemporary feel, using field recordings, samples and electronic instruments alongside a guitar and keyboard. This event is ticketed and advance booking is recommended.

The Museum will also run two free events for staff and students. On Wednesday 18 March, there will be a screening the 1921 comedy romp Wildcat in room C303. Then, on Thursday 19 March from 3-5pm, a Secret Pianist event will take place on The Street. This will give people the chance to play along with the silent film Sumurun, as musicians would have done during the original 1920s screenings.

More information:
Strangelove festival
Museum and Study Collection

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BA (Hons) Advertising graduates give employment tips to current students

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BA (Hons) Advertising student and recent Clubhouse intern Sharin Johal.

The BA (Hons) Advertising ethos at LCC means providing the advertising industry with the cutting-edge innovators of the future.

BA (Hons) Advertising Alumni Employability Talks and Workshops invite recent graduates to give lectures and employment advice to third-year students as part of their Content Creation unit.

BA (Hons) Advertising has an excellent employability record with the 2014 crop of recent graduates being no exception. Many are already in excellent jobs having graduated only eight months ago.

Laura Fontes and Nicolas Bruck, who graduated in 2014, are Creative Directors at Clubhouse, an offshoot of Mother ad agency, and gave one of the recent talks.

The success doesn’t stop there as they have so far already employed one of the course’s current third-year students, Sharin Johal, on a two-week internship.

Sharin got to shoot 15 campaigns for the advertising agency. Speaking about her internship experience, she said:

“My time at Clubhouse Studios was incredible. Nic Bruck and Laura Fontes, graduates from the previous year of BA (Hons) Advertising, gave me this amazing opportunity.

“I can’t thank them enough as they allowed me to use my creativity and photograph the digital campaigns for Ben & Jerry’s UK & Northern Europe. I loved every bit!”

Other recent alumni to give talks are Jacob Gardner, Producer at Independent Films and Gaelle De Gasquet, Account Manager at UM International.

LCC alumnus George Slokoski graduated from the course in 2012, so we asked him how the College led to his current role as a media data analyst at DTV, an agency that specialises in TV advertising for the third sector.

“I think LCC and UAL definitely carry weight on an application. I know for a fact that there are people from the industry scouting for talent at Uni and this was a few years ago.

“I know the course has come a long way so I have no doubt the links with the industry have gotten even stronger as more and more of us graduate and go on to become excellent professionals.

“My housemate, who was on the same course and works at one of the bigger integrated agencies in London, told me someone even brought LCC magazine Artefact into the office recently!”

Read more about BA (Hons) Advertising

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LCC alumna creates global platform for Congolese fashion

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Congo Fashion Week 2014. Image © Etoile Photo

Marie-France Idikayi, a graduate of LCC’s BA (Hons) Live Events and Television course, has established a global showcase for African fashion in the Democratic Republic of Congo by founding Congo Fashion Week.

The week’s first events took place in Brazzaville and Kinshasa and were inspired by Marie-France’s desire to create a stronger fashion industry in the area by bringing together style and showbusiness.

The LCC alumna is keen to promote upcoming and established Congolese and African designers to the fast-growing international market. Congo Fashion Week features fashion shows, exhibitions and talks, giving buyers, members of the public and the media the opportunity to discover the latest trends in the industry.

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Congo Fashion Week 2014. Image © Etoile Photo

Marie-France hopes that her project will ultimately boost national tourism and contribute to the country’s economic empowerment and growth, building strong brands within the Congolese community both in Congo and the wider diaspora.

Congo Fashion Week attracted attention from Vogue Italia in December 2014 – see the feature here.

As part of her LCC degree, Marie-France also launched a fashion and lifestyle magazine called Molato, meaning fashion, outfit, garment or clothes in Lingala, one of the national languages of the Democratic Republic of Congo.

The magazine’s aim is to promote African fashion and people making a difference in it. Marie-France explains: “Our societies are culturally rich but at times we fail to give them the attention required to share our pride with other nations.”

Marie-France is currently busy preparing this year’s events and building Molato’s audience after receiving business advice from the Congolese government.

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Congo Fashion Week 2014. Image © Etoile Photo

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Congo Fashion Week 2014. Image © Etoile Photo

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Congo Fashion Week 2014. Image © Etoile Photo

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Congo Fashion Week 2014. Image © Etoile Photo

Read the latest edition of Molato

Read more about BA (Hons) Live Events and Television

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The Class of 2015: MA Fashion at London Fashion Week A/W 15

Beth Postle, joint winner of L'Oréal Professionnel Creative Award

Beth Postle, joint winner of L’Oréal Professionnel Creative Award

Matty Bovan, joint winner of the L'Oréal Professionnel Creative Award

Matty Bovan, joint winner of the L’Oréal Professionnel Creative Award

Friday night saw the last of our MA Fashion students to have studied under Louise Wilson take to the catwalk at London Fashion Week Autumn/Winter 2015. 

This year the show included work from fifteen MA Fashion students from across five specialisms: womenswear, menswear, textiles, knitwear and textiles for fashion.

 “All 15 of these student collections were nervy in their own way, some dazzlingly so. But what was most impressive was that each and every effort was rigorous, the risk-taking matched by terrific technique.”
- style.com

Matty Bovan and Beth Postle, both previous CSM BA Fashion students, were this year’s joint winners of the L’Oréal Professionnel Creative Award, adding their names to a roster of talented designers including Alexander McQueen, Christopher Kane, Roksanda, Simone Rocha, Kim Jones, Craig Green, Jonathan Saunders, Mary Katrantzou and J JS Lee.

Congratulations to all the students involved, Course Director Fabio Piras and the staff of MA Fashion, and thank you to our sponsor L’Oréal Professionel.

Image credit for above and gallery below: catwalking.com

Online coverage:
Style.com
Vogue.co.uk
Vogue.co.uk
Vogue.com
Dazeddigital.com
Dazeddigital.com
I-d.vice.com
Graziadaily.co.uk
Nowfashion.com
Businessoffashion.com
Fashionista.com

More:
- MA Fashion
- Fashion Programme
- L’Oréal Professionnel Creative Award

Beth Postle, joint winner of L'Oréal Professionnel Creative Award Matty Bovan, joint winner of the L'Oréal Professionnel Creative Award Yushan Li Seyoung Hong Hayley Grundmann Ben Rice Samuel Guidong Yang Maximilian Riedlgerger Paul Thomson Erik Litzén Catriona McCauley Boyle Charles Jeffrey Krystyna Kozhoma James Theseus Buck Xinyuan Xu

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LCC Associate Lecturer for BA (Hons) Sound Arts and Design at Tate Britain

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Iris talks to visitors at Tate Britain

Iris Garrelfs, a PhD student and Associate Lecturer on LCC’s BA (Hons) Sound Arts and Design course, recently held a week-long project at Tate Britain in which she used visitors’ personal objects and stories to create a sound installation.

Part of a Radio City residency at the gallery, ‘Listening Room’ encouraged adults and children to bring along objects and stories around the theme of hearing and listening from 2-6 February 2015.

Iris recorded the stories from Monday to Wednesday, edited the audio recordings on Thursday and created a sound installation for four channels and objects for everyone’s listening pleasure on the Friday.

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Some of the objects contributed by the public

The conversations between Iris and gallery visitors often expanded into very personal areas, focusing on childhood experiences or caring for relatives, while others were responses to exploring the sonic environment of the Tate.

Iris explains: “I was struck by the generosity of everyone, as people contributed so freely even very personal experiences.

“What came out of it for me was a kind of democratisation that happened through the stories – artists next to children, local residents next to Italian tourists. But there was also a blurring between museum visitors and myself: as I had invited people into the Listening Room, I also became a listener.”

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Exploring the objects used in ‘Listening Room’

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Listening to the installation at Tate Britain

A stereo version of the recording used in the installation was broadcast on Resonance FM and is archived here.

Read more about ‘Listening Room’ on Iris’s website

Read more about BA (Hons) Sound Arts and Design

 

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Green Week: Fixing Fashion – Repair is the New Black

Bridget Harvey, Jumper: Fixing Fashion - Repair is the New Black.

Bridget Harvey, Jumper: Fixing Fashion – Repair is the New Black.

 

For UAL Green Week 2015, Bridget Harvey, CCW PhD student in the Textile Futures Research Centre (TFRC), invites you to experiment with mending your clothes and other textiles: customising them and fixing damage through patching, darning and adding new buttons.

In the UK we send over £200m of clothes to landfill each year. Mending can help keep these textiles in circulation, and help us love our clothes for longer. Learn hands-on skills for clothes mending – darning, patching and other small and simple mends. All the techniques can be done by hand, no previous skills or experience necessary.

Along with plenty of enthusiasm, all you need to bring with you are scrap fabrics or clothes with holes, stains, missing buttons etc!

Fixing Fashion | Repair is the New Black is part of Green Week 2015.

Friday 13 February
11:00 – 16:00
1st Floor – D1 Corridor
Central Saint Martins

Further information & contact:   Bridget Harvey website

Journalism Guest Speaker Review // Simon McGregor-Wood, Al Jazeera

Al-Jazeera

Al Jazeera’s Simon McGregor-Wood recently spoke to LCC Journalism students about the challenges and excitements of reporting from the Middle East. BA (Hons) Journalism student Luke O’Driscoll reports.

Simon McGregor-Wood is a broadcast journalist with over 25 years experience, nine of those working as ABC News’ Middle East Correspondent, as well as the news division’s Middle East Bureau Chief.

He came to LCC to give a talk about his experiences as a foreign correspondent, the difficulty of maintaining balance and objectivity and the changing nature of reporting news from war zones.

His time in the Middle-East, where he was based in Jerusalem, was characterised by the on-going Israeli/Palestine conflict in which he witnessed many of its defining events of the past decade including: “the second intifada, the battle between Yasser Arafat and Ariel Sharon, the emergence of Hamas, the occasional wars with Hezbollah and the spill over effect of the US-led invasion of Iraq, the growth of Jewish settlements and the Israeli right wing and the decline of Gaza.” On top of this he also had “responsibility for covering Egypt, Jordan, Syria and Lebanon.”

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LCC guest speaker Simon McGregor-Wood

Simon left Israel in 2011, just before the Arab Spring, and today he works as a freelance journalist for Al-Jazeera in Europe and the Middle East with a working schedule that sounds just as hectic: “I travel widely across Europe covering breaking news and features. I spent the New Year for example in Italy covering the Greek ferry which caught fire, and I stayed there to cover the arrival of Syrian migrants. I’m currently working on a story about the fourth anniversary of the Egyptian revolution, on Thursday I’m covering a foreign office conference on extremism, and then this weekend I will be in Auschwitz to cover next week’s 70th anniversary of its liberation.”

The importance, Simon advises, of “a proper foreign assignment is a chance to get to grips with the story and to gain real understanding of your subject. It’s a chance to gain expertise, something I think it’s important for journalists to do at some point in their career.”

Whilst the appeal of being a foreign correspondent is obvious, and something he says he is a proponent of, he acknowledges the changing face of foreign affairs reportage: “Good well-paid jobs are increasingly rare in a world dominated by freelancers like me and people on short-term contracts.

“A foreign correspondent has the luxury of time. He or she must know more than his or her editor – more than the editor reads in their morning newspaper or hears on their radio bulletin in the morning. Your role is to immerse yourself in the place you’re covering. To understand the context behind the stories of the day.”

When broaching the subject of objectivity in the field he explains: “you have to be able to provide reporting that nobody else but you can provide, you must do this whilst maintaining your objectivity and balance and this is nowhere more true than in the Middle East and nowhere more true than in reporting the core of Middle East conflict between the Israelis and the Palestinians. Possibly the most scrutinised story there is.”

The value of which, Simon notes, cannot be downplayed: “Managing your personal views on a story like this is hard but crucial!

“Where your Israeli and Palestinian colleagues may carry a natural bias you must steer a course through that and through torrents of opinion and propaganda. Personal sympathies must always be tempered by self-criticism and analysis.”

Maintaining these standards, however, is not always straightforward and there is a struggle faced by foreign correspondents: “One of the biggest challenges in the Middle East is navigating between two very well rehearsed narratives and avoiding the manipulation of both sides. There are two opposing versions of an historical dispute, two sets of people – well educated if not brainwashed into their version of the truth where even the children in Palestinian refugee camps or Jewish settlements are fluent in the discourse of their narrative.

“Furthermore help carries the risk of manipulation. Are you going to be able to get somewhere without the help of the Israeli army? What price do you pay if you accept their facilitation? How far does help corrupt your reporting?”

The showing of radical views in the Middle East is also something Simon is more than aware of: “This is also a story dominated by the extremists and too often they’re the only voices you hear. There are Israelis and Palestinians who like each other and who at least want to sit down together. And they are rarely heard. As journalists, is it our job to seek them out?”

The discourse of political language is another factor the Al Jazeera journalist believes budding foreign correspondents need to be wary of: “This is a story where even language carries the potential for bias. What do you call a settlement in occupied East Jerusalem? Do you call it Jerusalem occupied?

“Some American newspapers I have noticed have started to call East Jerusalem settlements contested neighbourhoods. What does that do? Whose interests does that serve? Whose language are you using? Are you undermining a report by politicising your language? If you refuse to use one side’s terminology does that necessarily mean you support the other side? Is there ever a perfect middle way? Is there ever a perfect word?”

This on-going self-evaluation and self-critique is something Simon refers to throughout his talk, the importance of which is made evidently clear by his experience and strength as a reporter.

“Personal sympathies must always be tempered by self-criticism and analysis. How best to develop trustworthy sources on both sides? How to avoid being tarnished with perceptions of institutional bias because you work for an American network or because you work for Al Jazeera? In the Middle East your greatest solace are the pillars of your professional standards, objectivity and balance.”

When questioned about the future for prospective foreign correspondents wishing to cover conflict in the Middle East his response is ominous: “I think one of the big problems today is that outlets, whatever their media, are in danger of exploiting young freelancers who want to get into the business, who want to go [to the Middle East]. And often you hear horrific stories of photographers who find themselves in somewhere like Syria or Lebanon or Iraq and they’re not necessarily being paid properly, they’re being paid on what they are able to provide, they don’t necessarily have the right experience, they have no backup and they are being exploited.

“While I can understand the instincts of wanting to be there, in this fractured world of young people trying to get into the business, it’s a very dangerous temptation. I think people need to be very careful. There are too many young freelancers getting killed and it’s costing the outlets practically nothing.”

He puts this largely down to the huge economic shift journalism has seen over past decade stating “the financial model of what we [journalists] do has changed beyond recognition. Twenty years ago at the BBC or ABC or ITN, if you went to cover a war, the first thing is there was a lot of experienced people who had done it before and there was the resources to do it properly, to mitigate some of the risk.”

Despite this, the longstanding journalist believes there is a future for foreign correspondents, with “foreign news [being] something I would recommend to anyone.”

You can follow Simon on twitter @simonmcgw and find out more about him through his website http://www.simonmcgregorwood.co.uk

Words by Luke O’Driscoll

Read more about BA (Hons) Journalism

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