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Terrorism, Coverage of

Terrorism generally refers to violence or threatened violence by nonstate actors against civilians to achieve a political or social objective. However, it is also a form of political communication—albeit a violent, public message—since publicity, transmitted by media outlets, is in fact part of its purpose, unlike most other crimes that attempt to avoid it.

The very nature of these events makes them irresistibly newsworthy. They are significant, exciting, dramatic, controversial, and emotional, all key ingredients for major news stories. Furthermore, the perpetrators of these acts recognize their attractiveness to the media. Media coverage helps create the “propaganda of the deed,” as 19th-century Italian revolutionary Carlo Pisacane put it. A number of observers of the media scene believe terrorism has a symbiotic relationship with the media and journalism. Each benefits, at least to some degree, from the other. Terrorists need publicity to communicate their violent political message to target governments and publics, inspire and possibly build followers, gain support and prestige, and help achieve their policy goals in the process. The news media in turn are provided with a subject and story that appeals to audiences and journalistic values.

This entry discusses several key issues surrounding the journalistic practices regarding these events, including: how journalists go about covering them; evaluations of that coverage; the impact of terrorism journalism on the public, the government, and the perpetrators themselves; and policy responses to these perceived effects.

How Media and Journalists Cover Terrorism

Though every case of terrorism is arguably unique, journalists appear to approach major acts of political violence in similar ways. Journalists treat these events much like other major crises. Prominent, in-depth, and even saturation coverage generally follows, sometimes driving all other news off the front pages or lead broadcasts. The September 11, 2001, terrorist attacks dominated the news for weeks after, to the extent of almost eliminating other news. Similarly, the 1998 bombings of the U.S. embassies in Kenya and Tanzania remained the top story in newspapers in the two countries struck for almost 2 weeks, replacing other stories. Scholars such as Brigitte Nacos have argued that even relatively minor terror attacks—such as the World Trade Center bombing in 1993, or the burning of various new housing developments by “eco-terrorists” in the early years of the 21st century—merit substantial coverage, due to their newsworthiness.

Terrorism journalism borrows from other reporting genres, such as those for disasters, crime, and war. Like disasters, major terror attacks create a crisis atmosphere and lead to a focus on the rescues and emergency personnel, victims, and their loved ones left behind, the damage (physical or otherwise) caused, and the healing or repair of it in the aftermath. The search for those responsible; the investigation into the meaning, planning, and execution of the attacks; and later postmortem reports such as those by blue-ribbon panels parallel quite closely the motifs of crime journalism.

If a military or police-type response from the government is launched, such as is the case after major terrorist incidents, then a combat mode of reporting is utilized, as the retaliation is chronicled and evaluated for its degree of success. The degree of adherence to these elements depends upon the nature of the violence: a hostage crisis, for example, or a lone gunman will probably be portrayed only as a crime drama. Yet, in major terror attacks, a pattern does emerge: the initial shock, horror, and disaster response followed by the investigation, the pursuit of the culprits, and a judicial or military response.

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