Instagram and TikTok to document the war

Their names are Motaz, Bisan, Plestia and Ahmed. They are Palestinian and they are journalists. Since the beginning of October, on social networks, these reporters (and several others like them) have been documenting the war on the ground, in the Gaza Strip. Followed by millions of Internet users around the world, particularly by young people on Instagram and TikTok, they are direct witnesses to the consequences of the conflict.

“Social networks serve to better document the war, in the sense that we see the damage, we see men shooting, being killed, we see the consequences of the bombings,” notes Arnaud Mercier, professor of information and communication sciences. communication of the Panthéon-Assas University of Paris.

With the war in Ukraine, we were able to see what social networks allow in times of war: from makeshift hospitals or from their basements that have become shelters, from their ransacked cities, young Ukrainians shared images of their daily life since the Russian invasion. In the Gaza Strip, the same phenomenon is occurring, perhaps on a larger scale, both in terms of the quantity of content shared and the number of people accessing these images on their screens.

One of the proofs of an unprecedented phenomenon: the young photojournalist Motaz Azaiza, who has covered the Israeli bombings on Gaza since the beginning of October, was named Man of the Year by the magazine GQ Middle East. The 24-year-old reporter, who few people knew just a few weeks ago, now has 17 million followers on Instagram. Like Plestia Alaqad (4.4 million subscribers) or Bisan Owda (3.4 million subscribers), he publishes videos and photos in real time, captured very closely.

Motaz Azaiza’s content is particularly raw. The images of dead and mutilated bodies, seriously injured children, grieving parents, widespread destruction: nothing is censored. “What captures the attention of social media users are explicit images of violence and hate speech – hate is a more powerful driver than kindness in the attention economy of social media,” says Professor Serge Proulx, from the UQAM Media School.

In the article of GQ on Motaz Azaiza, the decision to put him on the front page is justified with these words: “In recent weeks, the Palestinian photo reporter has become a world-famous personality, the embodiment of resilience and hope for the people of Gaza and the rest of the world. » British journalist of Iraqi origin Monia Chalabia notably affirmed that “the work of Motaz and other Palestinian journalists is of prodigious power: Motaz gives us the strength to continue”.

On January 23, Motaz Azaiza made the decision to evacuate the Gaza Strip, announcing on Instagram to his 18.5 million subscribers, with tears in his eyes, that it was “the last time [qu’ils le voyaient] with that heavy, smelly jacket,” referring to his bulletproof vest identifying him as a member of the media.

Many images from Gaza are relayed by these Palestinian journalists, who sometimes comment live on the situation they are experiencing and observing.

In the current context, several journalistic rules, notably that of neutrality, no longer apply in the same way, according to Arnaud Mercier. “Neutrality is almost impossible. Because here we are talking about journalists who are still alive. Several dozen are dead now,” he says.

During reports on Al-Jazeera, for example, “we saw journalists breaking down in tears on screen,” says the expert. On social networks, even if the images speak for themselves, we see the despair and distress of journalists, like civilians, who document the attacks.

Journalism and social networks

When the lights went out in Gaza a few weeks ago and internet access was interrupted for more than a day, added to the panic of an increased offensive was the fear of no longer have any eyes on the ground. Without connection, the publications of Motaz, Plestia and Bisan ceased. As the Israeli army prepared to march on the Gaza Strip, many Internet users no longer had access to their main source of direct information on what was happening there and publications expressing concern continued. are multiplied.

Access to this information relayed online remains limited in the context of war. “As there is a lack of electricity and satellite networks are destroyed and then put back into operation, we probably have even less than we could have if Gazans could freely, as in Ukraine, film everything they see” , says Arnaud Mercier.

Importantly, the current situation does not allow traditional journalistic work to be as free as in other war contexts. THE New York Times for example reported, at the end of November, that its rare incursions on the ground, in the Gaza Strip, were guided by the Israeli authorities. “To enter Gaza, the journalist from New York Times was forced to stay with Israeli troops for the duration of his visit and agreed not to photograph the interior of the vehicle in which the journalists were traveling or any clue that would have identified the military location that the journalists visited,” reported the New York Timesbeginning of November.

“Professional journalism, which relies on facts and journalistic objectivity, is undermined from above” by the actors of “parajournalism” and is undermined at the same time “from below” by amateur production and reporting practices. dissemination of “disaffiliated” online information, where information and opinion are mixed,” observes Serge Proulx.

He also notes that individuals who produce this type of “non-journalistic” information are not subject to any professional rules or ethical standards.

“I’m not convinced that the general public makes a big difference between the content on social networks [des journalistes et des civils] and information from traditional media, says Arnaud Mercier. What matters to them is the strength of the images and what seems to attest to authenticity. Whether they are taken by amateurs, influencers or journalists, that does not change the fact that we judge the images for ourselves. »

“For the textual part, which analyzes and puts things into perspective, it’s different,” he adds. But for the documentation part of the effects of the war, there is not necessarily a hierarchy among a good part of the public between those who have an official press card and those who document as “amateurs”. »