In modern warfare, the camera is no longer a mere observer; it has become an integral part of the event.
The photojournalist is no longer simply a neutral witness, but a clear target in a field where the military front lines intersect with civilian spaces, blurring the lines between the filming location and the sleeping quarters, between the moment of action and the moment of survival.
This interactive project documents the experiences of Lebanese photographers and journalists who worked at the heart of the war, not from a distant vantage point, but from the front lines:
Under bombardment, inside moving vehicles, in threatened homes, and on roads monitored by drones.
The project does not aim to recount the war, but rather to deconstruct the experiences of those who documented it:7
How are professional decisions made under fire?
What does it mean to be a journalist in an environment where journalists are targeted?
And where do the boundaries of passion, professionalism, and safety lie?


In individual interviews, the conversation delves into the practical aspects of the profession.
The filming doesn't begin with turning on the camera, but rather with studying the location:
• Dividing the front into sectors
• Understanding the nature of the villages
• Identifying entry and exit routes
• The constant question: If this route is hit, what's the alternative?
Journalist Ibrahim Dhawi emphasizes that passion alone is not enough, and that academic courses, despite their importance, do not protect against reality.

In individual interviews, the conversation delves into the practical aspects of the profession.
The
War tests journalists suddenly, and those who lack safety equipment pay the price.
Hence, a clear demand emerges:
Incorporating public safety, first aid, and dealing with hazardous environments into university media curricula, not as elective courses, but as a professional foundation.

 

This website was created with Nicepage