Browse content similar to 2012. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
He was shot by police who were trying to break up the riot. Now on | :00:10. | :00:13. | |
BBC News, we pay tribute to the freelance journalists who risk | :00:13. | :00:16. | |
their lives to bring you pictures from the world's most dangerous | :00:16. | :00:25. | |
places. We heard the militia smashing doors, breaking windows | :00:25. | :00:30. | |
houses... They shot at me as well, they targeted us. I saw people | :00:30. | :00:34. | |
being crucified and I wondered if that what was what was going to | :00:34. | :00:44. | |
:00:44. | :01:05. | ||
happen to us. This is Al-Qaeda in the Arabian | :01:05. | :01:12. | |
Peninsula. They control a whole city. In order to get these shots, | :01:12. | :01:16. | |
way.rm's way. There are not enough coffins, | :01:16. | :01:20. | |
so men are wrapped in white shrouds. people | :01:20. | :01:25. | |
taken at great risk in remote and window | :01:25. | :01:31. | |
window on events that affect our lives. The lookout warns that the | :01:31. | :01:38. | |
militia was on our street. These are some of the best pictures of | :01:38. | :01:48. | |
:01:48. | :02:01. | ||
the year. All shot by freelance video journalists. | :02:01. | :02:11. | |
:02:11. | :02:35. | ||
We step behind the camera to those who were filming on the front lines. | :02:35. | :02:39. | |
freelance journalists nominated in the categories of the Rory Peck | :02:39. | :02:43. | |
Awards. The judges look at more than 70 entrants from around the | :02:43. | :02:53. | |
:02:53. | :02:54. | ||
world. They were founded in the name of Rory Peck, a British | :02:54. | :02:57. | |
freelancer killed by crossfire in Moscow in 1993. His memory lives on | :02:57. | :03:01. | |
it in the trust which works on behalf of freelance camera crews. | :03:01. | :03:11. | |
:03:11. | :03:14. | ||
winners. of London went up in flames in the | :03:14. | :03:16. | |
summer of 2011, Jason Parkinson captured the widespread rioting | :03:16. | :03:26. | |
:03:26. | :03:27. | ||
sparked by the shooting of a young black man by police. As the | :03:27. | :03:30. | |
situation quickly deteriorates, Jason rushes to the north of the | :03:30. | :03:40. | |
:03:40. | :03:46. | ||
capital. The first thing that struck me was the amount of debris | :03:46. | :03:51. | |
in the streets and how much was on fire. It felt as though society was | :03:51. | :04:01. | |
:04:01. | :04:06. | ||
starting to collapse. Rioters have vented their anger at police. There | :04:06. | :04:09. | |
were reports of journalists being attacked. From Tottenham the unrest | :04:09. | :04:12. | |
spreads. Jason is around, filming the turmoil. I think the most | :04:12. | :04:16. | |
dangerous point for me was when I was behind the police line and | :04:16. | :04:26. | |
:04:26. | :04:31. | ||
there was a huge volley of rocks and other missiles. There were | :04:31. | :04:36. | |
several times that I caught on film that I thought we were all going to | :04:36. | :04:39. | |
have to run, including the police. It seemed as though they had lost | :04:39. | :04:42. | |
control. But their tactics seemed not to work. The judges applauded | :04:42. | :04:46. | |
Jason for his courage in getting footage from both sides of the | :04:46. | :04:48. | |
police lines. Stories from the Middle East | :04:48. | :04:51. | |
feature prominently in these awards. Footage from Egypt earned Roddy | :04:51. | :04:56. | |
Hafiz a finalist nomination for news. Thousands turn out in Cairo | :04:56. | :05:00. | |
to protest after more than 70 football fans are killed in clashes | :05:00. | :05:10. | |
:05:10. | :05:11. | ||
the previou the previou convinces h convinces h to give him a | :05:11. | :05:20. | |
camera and starts filming for the first time. As violence engulfs | :05:20. | :05:29. | |
downtown, he puts himself in the I am watching the throwing of the | :05:29. | :05:39. | |
:05:39. | :05:41. | ||
rocks and looking at the tear gas canisters. It happens fast but I am | :05:41. | :05:45. | |
still able to hold the camera steady and look around. Amid the | :05:45. | :05:49. | |
chaos, his main concern is staying forces | :05:49. | :05:59. | |
:05:59. | :06:04. | ||
You can say that they would shoot energised. | :06:04. | :06:08. | |
energised. I felt that what I was witnessing needed to get to the | :06:08. | :06:18. | |
:06:18. | :06:19. | ||
outside world. The winner of the filmed | :06:19. | :06:23. | |
filmed in Homs as the rebels came under fire at the beginning of the | :06:23. | :06:33. | |
:06:33. | :06:34. | ||
year. Homs has become one of the most dangerous places on earth. | :06:34. | :06:44. | |
:06:44. | :06:51. | ||
Mani follows soldiers of the Free firefight. He finds himself at a | :06:51. | :06:58. | |
headquarters. Rebels go upstairs to flush out snipers. I knew the | :06:58. | :07:02. | |
rebels could go upstairs and I had to be careful to be protected by | :07:03. | :07:07. | |
the wall. I had to not get too close if they had thrown a grenade | :07:07. | :07:12. | |
been... been... That could have been | :07:12. | :07:22. | |
:07:22. | :07:23. | ||
extremely dangerous. But they did not. He left teaching three years | :07:23. | :07:27. | |
ago and became a photojournalist. This is his first time filming on | :07:27. | :07:30. | |
assignment. I was terrified, like zone. | :07:31. | :07:40. | |
:07:41. | :07:42. | ||
zone. It is a challenge. As the bullets fly, the fighters that he | :07:42. | :07:52. | |
:07:52. | :08:01. | ||
The rebels turn the camera on Mani, as they travel through Homs, his | :08:01. | :08:05. | |
escorts make fun of him for lying down. It is a moment of levity | :08:05. | :08:15. | |
:08:15. | :08:34. | ||
judges judges said that it was the unique | :08:34. | :08:36. | |
combination of combat footage and interviews that set his footage | :08:37. | :08:46. | |
apart. For the former primary school teacher, it is the suffering | :08:46. | :08:56. | |
:08:56. | :09:01. | ||
of children that affects in the most. One of the most heartbreaking | :09:01. | :09:05. | |
moments is the moment when I have to interview children who had just | :09:05. | :09:12. | |
been very badly hurt from a mortar attack. They are going through a | :09:12. | :09:16. | |
very harsh trauma. You must ask them questions are so that you can | :09:16. | :09:26. | |
:09:26. | :09:28. | ||
tell the world what is happening. What the situation is. It is a | :09:28. | :09:31. | |
difficult moment. Back to Egypt, and our first finalist in the | :09:31. | :09:41. | |
:09:41. | :09:45. | ||
features category. May Abdalla and Inigo Gilmore pose as tourists to | :09:45. | :09:50. | |
revolution and the chaotic aftermath. Over the course of one | :09:50. | :09:53. | |
year, they follow three young people from different backgrounds. | :09:53. | :09:56. | |
The judges The judges hildren of the Revolution for giving a human face | :09:56. | :10:06. | |
:10:06. | :10:07. | ||
to an important story. There were so many difficulties about making | :10:07. | :10:17. | |
:10:17. | :10:23. | ||
this film. Journalists are suspect. Cameras had to be smuggled in. | :10:23. | :10:26. | |
There were times during filming that they were suspected of being | :10:26. | :10:29. | |
spies. We had to be very careful and navigate our way very carefully | :10:29. | :10:32. | |
through the situations. To ensure that we captured those scenes, but | :10:33. | :10:36. | |
we were able to keep on filming without getting roughed up or | :10:36. | :10:44. | |
detained. Inigo Gilmore went to Egypt to see what happened to the | :10:44. | :10:54. | |
:10:54. | :10:59. | ||
Egyptians. I saw a lot of the darkness. Egypt was very tense. It | :10:59. | :11:02. | |
was more violent than people realise. It was a very challenging | :11:02. | :11:12. | |
:11:12. | :11:13. | ||
film to make, in that sense. conflict in Libya features twice | :11:13. | :11:16. | |
this year. It is summer 2011 and British journalist Patrick Wells | :11:16. | :11:19. | |
spends three weeks at embedded with a group of Libyan opposition | :11:19. | :11:22. | |
fighters, citizens turned soldiers. Patrick follows the men of the | :11:22. | :11:32. | |
:11:32. | :11:33. | ||
Martyrs Brigade, 24 hours a day. was very lucky to meet the people | :11:33. | :11:43. | |
:11:43. | :11:45. | ||
that I did. They were a thoughtful bunch of guys. The guys heard this | :11:45. | :11:48. | |
gunfire breaking out and they all jumped in their cars and went down | :11:48. | :11:56. | |
there. It was as if we were going to the supermarket or something. We | :11:56. | :12:01. | |
got out of the car in the middle of a firefight. They are attacking us | :12:01. | :12:05. | |
and tried to come here. So now we are defending and trying to attack | :12:05. | :12:10. | |
them. We're waiting for the commander. They would stand in | :12:10. | :12:18. | |
government troops and we were lucky not to be shelled. They did things | :12:18. | :12:23. | |
like that all the time. I think when you're filming in a live | :12:23. | :12:26. | |
combat scenario, often once you're in it then fear goes out of your | :12:26. | :12:36. | |
:12:36. | :12:41. | ||
mind. You are just concentrating on staying in as much cover as you can | :12:41. | :12:45. | |
all the time. Not trying to sacrifice your own safety too much | :12:45. | :12:53. | |
for no reason. Even the forward aid station is a target. A medical | :12:53. | :12:58. | |
student is one of his main characters. He tends to the wounded | :12:58. | :13:04. | |
under constant shellfire. You have to stay here. There is no place | :13:04. | :13:14. | |
:13:14. | :13:16. | ||
after the making of this film. He was driving was drivingpeople to | :13:16. | :13:22. | |
hospital. What upsets me is the difficulty of filming people while | :13:22. | :13:32. | |
:13:32. | :13:33. | ||
they are suffering. You may film someone who is dying. It may turn | :13:33. | :13:36. | |
out, in your own mind, that your camera lens is the last thing that | :13:37. | :13:46. | |
:13:47. | :13:49. | ||
More remarkable footage from Misrata. The features a award goes | :13:49. | :13:54. | |
to the Spanish team of Ricardo Garcia and and his cameraman. They | :13:54. | :14:02. | |
provided an startling account of the city under siege. Ricardo and | :14:02. | :14:06. | |
Alberto enter the port on board a supply s supply ship charted by the rebels. | :14:06. | :14:13. | |
bombardment. The fuel depot has been hit by missiles fired by the | :14:13. | :14:23. | |
:14:23. | :14:35. | ||
regime. lose the city, they will kill the | :14:35. | :14:41. | |
people. By daylight, Ricardo and D'Alberto find the debris of war | :14:41. | :14:48. | |
all round. You are there. You are you ant | :14:48. | :14:58. | |
:14:58. | :15:19. | ||
The two men The two men The two men filming as they follow rebel forces. | :15:19. | :15:22. | |
These men, many of them office and shop workers, are new to war and | :15:22. | :15:32. | |
:15:32. | :15:45. | ||
Covering combat is harrowing business and from the moment they | :15:45. | :15:55. | |
:15:55. | :15:56. | ||
arrive, the fighting is non-stop. togeth | :15:56. | :16:06. | |
:16:06. | :16:24. | ||
As the rebels conduct house-to- regime, the team capture a moment | :16:24. | :16:34. | |
:16:34. | :17:03. | ||
of farce. But the brutality of Now, a special award for global | :17:03. | :17:09. | |
impact. One of the first journalists journaliststhe Syrian | :17:09. | :17:19. | |
:17:19. | :17:21. | ||
government ban on foreign media. It is October 2011. Posing as tourists, | :17:21. | :17:29. | |
they enter the country under cover. As soon as the army is out, the | :17:29. | :17:32. | |
people are back on the street. They're fearless. Nothing will stop | :17:32. | :17:42. | |
:17:42. | :17:44. | ||
them. They go to meet with longot | :17:44. | :17:47. | |
long before we found ourselves in one of the worst possible case | :17:47. | :17:57. | |
scenarios. Within just a few hours, we started hear reports that the | :17:57. | :18:07. | |
:18:07. | :18:15. | ||
army had surrounded the town we to door searching for activist, the | :18:15. | :18:19. | |
safe house does not feel very safe. A woman in the hallway is pleading | :18:19. | :18:29. | |
for her son's life. It really was an emotional roller-coaster. While | :18:29. | :18:32. | |
we were in hiding, we heard the militia smashing doors, breaking | :18:32. | :18:36. | |
windows, taking people from neighbouring houses. While we were | :18:36. | :18:45. | |
lucky, unfo lucky, unfo, others were not. | :18:45. | :18:55. | |
:18:55. | :18:59. | ||
Next: Safa Al-Ahmade, a Saudi national who managed to get | :18:59. | :19:08. | |
extraordinary footage of Al-Qaeda Iraqi reporter and they posed as | :19:08. | :19:11. | |
husband and wife. Their mission is to capture the real story behind | :19:11. | :19:16. | |
the rise of Al-Qaeda in the Arabian peninsula. When I saw the flag, and | :19:16. | :19:18. | |
I had previously seen guys crucified, I was wondering it is | :19:18. | :19:28. | |
:19:28. | :19:31. | ||
this what is going to happen to us. Did you see that? Two guys with the | :19:31. | :19:41. | |
:19:41. | :19:42. | ||
flag of Al-Qaeda. They're fighters from different countries but it is | :19:42. | :19:48. | |
risky to spend too much time with Al-Qaeda. There are obvious dangers | :19:49. | :19:56. | |
does not what you to go into the Al-Qaeda area. You always risk | :19:56. | :19:59. | |
arrest by government or arrest by Al-Qaeda because they might decide | :19:59. | :20:09. | |
Wearing a burqa makes it difficult to film. It was physically | :20:09. | :20:18. | |
challenging. I had to find the to offend anyone, but it made it | :20:18. | :20:25. | |
really difficult to see. scariest moment is what happens | :20:25. | :20:31. | |
after this. They're both blindfolded and taken to film | :20:31. | :20:34. | |
prisoners Al-Qaeda is holding but guards. | :20:34. | :20:43. | |
guards. The leader decided I had filmed the guards. He took the tape | :20:43. | :20:53. | |
:20:53. | :20:54. | ||
and asked me to rewind it. You think, maybe I got someone by | :20:54. | :20:59. | |
the tape and they watched it. And I'm standing there going... They | :20:59. | :21:09. | |
:21:09. | :21:09. | ||
may not return us. They might kidnap us. That was, I think, the | :21:09. | :21:12. | |
closest moment when I decided maybe we filmed something we should not | :21:12. | :21:21. | |
misrepresent them. I think we were honest about what we saw. We showed | :21:21. | :21:31. | |
:21:31. | :21:33. | ||
all sides. A distressi A distressit of impact on | :21:33. | :21:36. | |
war on the people of Sudan's Nuba Mountains has won the Sony Impact | :21:36. | :21:39. | |
Award. Daniel Bogado uncovers a largely hidden war where thousands | :21:39. | :21:47. | |
have been forced to live in caves. For Daniel and reporter, Aidan | :21:47. | :21:54. | |
mountains virtually cut off from the outside world. We knew the most | :21:54. | :22:04. | |
:22:04. | :22:06. | ||
dangerous part was going in. It was fighting between both sides. We saw | :22:06. | :22:16. | |
:22:16. | :22:19. | ||
dead bodies along the path. It was trench warfare. Their guides are | :22:19. | :22:21. | |
rebels fighting with government forces of President Omar Hassan Al- | :22:21. | :22:24. | |
Bashir. Aircraft's drop bombs daily. It is not long before they come | :22:24. | :22:31. | |
under attack. The most dangerous moment was when we were travelling | :22:31. | :22:41. | |
:22:41. | :22:49. | ||
with the escort. Suddenly, everybody stopped. At that moment, | :22:49. | :22:53. | |
I did not know what was happening so I followed my colleague and we | :22:53. | :23:03. | |
:23:03. | :23:04. | ||
out there was a jet fighter and the somewhere in the vicinity. At the | :23:04. | :23:07. | |
moment I was thinking, film everything. Keep the camera on and | :23:07. | :23:15. | |
keep filming. Tens of thousands of civilians have been forced to take | :23:15. | :23:24. | |
refuge in caves to avoid the fighting and bombings. They meet a | :23:24. | :23:26. | |
woman whose husband joined the rebels and her family has been | :23:26. | :23:36. | |
living in a cave for months. can see two and three year-old | :23:36. | :23:46. | |
children, babies. It is a very real danger. The psychological effects | :23:46. | :23:48. | |
on the population, on the young population, it must be absolutely | :23:48. | :23:58. | |
:23:58. | :24:09. | ||
terrible. The children attend school in a clearing. Daniel thinks | :24:09. | :24:12. | |
he's going to get pictures of kids trying to maintain aaintain a | :24:12. | :24:15. | |
under constant threat. He is shocked by what happens next. | :24:15. | :24:18. | |
thought we would speak to the teachers, talk to the children and | :24:18. | :24:22. | |
go away. And then, while they're singing the national anthem, I | :24:22. | :24:25. | |
could see one of the children looking up, they stopped singing, | :24:25. | :24:35. | |
:24:35. | :24:40. | ||
many looked up and you could see the fear in their face. You have | :24:40. | :24:43. | |
haveou have a bomber plane threatening to | :24:43. | :24:48. | |
bomb them. They were running into the caves where they were living. | :24:48. | :24:58. | |
:24:58. | :25:04. | ||
That for me summarizes what is happening. There is another | :25:04. | :25:07. | |
insidious danger - starvation. What is the problem here with this | :25:07. | :25:17. | |
:25:17. | :25:19. | ||
little girl? She is suffering from subsisting on one meal a day. The | :25:19. | :25:22. |