June Sidney Award winner Jose Antonio Vargas appeared on Colbert Report last Thursday to talk about his explosive story, “My Life as an Undocumented Immigrant.”

In the runup to his appearance on Colbert, Vargas gathered over 90,000 signatures to his Define American pledge, a virtual petiton advocating for immigration reform.

Colbert, who plays a blustery right wing talkshow host on his Emmy-Award winning Comedy Central show, has a longstanding interest in immigration issues. Last September, Colbert testified in character before the House Judiciary Committe about the hardships facing America’s farmworkers, an essential workforce that comprised largely of immigrants, many of whom are undocumented.

In light of the controversy surrounding Mac McClelland’s coverage of rape in Haiti, freelance journalist and media producer Jina Moore of JinaMoore.com suggests some ethical ground rules for journalists seeking to create longform or feature work about trauma survivors.

In a nutshell, Moore argues that trauma journalists must set higher standards for consent to coverage than journalists who write about public figures or even about private citizens in less extreme circumstances.

In her latest post, Moore makes a compelling case that the ethics of trauma journalism are a unique subset of journalistic ethics. Standard journalistic ethics assumes that the journalist has less power than the person she is interviewing. Trauma journalists must proceed from the opposite assumption: 

That’s what trauma reporting is. And that literally turns journalistic practice on its head. The rules of traditional journalism are written for a game in which the journalist is the disempowered party. Those rules are designed to get as much information as possible from people who, for reasons of self-interest, probably don’t want to give it to us. That’s why we have things like “on the record” – it’s public, no going back. Or “on background” – you can use the information, but you can’t name the source. Or even, “on deep background,” which is “for your edification only, and you can’t print/broadcast any of this.”

These are rules powerful people know. If you interview a State Department official, the first thing they will do is say, ‘This OTR” or “This is on background” or “How will this be used?” And you negotiate the rules. They know how the game works. Indeed, they know that it’s a game.

So we have to rewrite the rules. Trauma journalism requires that journalists acknowledge a major power shift – one that favors the journalists. We have to rewrite our playbook. The premise is still the same – protect the vulnerable – but now, we’re not the vulnerable. Our sources are.

Moore explored and illustrated some of these ideas in her essay, “The Pornography Trap: How Not to Write About Rape,” which appeared in the Columbia Journalism Review in early 2011.

Human rights journalist and Sidney Award alumna Mac McClelland stirred up considerable controversy with a personal essay in GOOD entitled “How Violent Sex Eased My PTSD.” Therein, she described how she and her ex-boyfriend negotiated a violent simulated rape scene on the advice of her therapist. She says this encounter helped her recover from the post traumatic stress disorder (PTSD) she had acquired over the course of several gruelling assignments for Mother Jones, including two weeks spent covering sexual violence in Haiti.

In the course of explaining how she got PTSD, McClelland recalls witnessing a rape survivor (“Sybille”) dissolve into paroxysms of terror at the sight of one of her rapists. The eminent Haitian-born author Edwidge Danticat took McClelland to task on Essence.com for mentioning Sybille’s story in her GOOD essay after Sybille (a.k.a. “K”) had already requested that McClelland refrain from writing about her:

In her essay, Ms. McClelland writes that K*’s trauma led in part to her own breakdown. Nevertheless, during Ms. McClelland’s ride along with K*, on a visit to a doctor, Ms. McClelland, as has been reported elsewhere,  live-tweeted K*’s horrific experiences. The tweets put K*’s life in danger because they identified the displacement  camp where K* was living–with details of landmarks added–her specific injury, her real name, and suggest that she is a drug user. [LB: only the victim’s real first name was used.]

Blogger Jina Moore was shortlisted for a Mirror Award for her 2010 analysis of the journalistic ethics of live tweeting the original Mother Jones assignment. Moore argued that it was unethical for a journalist to appropriate a trauma victim’s story in this way.

Moore apparently wrote her original post before Sybille and her lawyer contacted Mother Jones to ask that McClelland not write about Sybille.

The details about who consented to what kind of coverage are murky. McClelland told her editors at Mother Jones that she had consent from both Sybille and her lawyer to cover the original ride to the hospital. Sybille’s American lawyer later claimed in a comment at Essence.com that she agreed to McClelland’s request over the phone, relayed by a colleague on the ground. There’s no indication from either the lawyer’s comment, or Mother Jones editors’ comment in the same thread, that these ground rules were ever put in writing. Under the chaotic circumstances, the potential for honest misunderstanding seems huge.

The lawyer writes that she thought that McClelland had agreed to speak with her before publishing anything about Sybille. The lawyer also says she had no idea that McClelland would be live tweeting the trip to the hospital. The Mother Jones editors explain that, in light of the apparent misunderstanding, they agreed to remove all references to Sybille in McClelland’s 6000-word feature, which ran in early 2011.

Mother Jones may not have been obligated to make these changes, but it was clearly the right thing to do under the circumstances. First, the ground rules were disputed. Second, it’s clear from the feature that women who speak out about rape in Haiti may be risking their lives.

Yet, for whatever reason, McClelland decided to discuss Sybille in her GOOD essay, which Mother Jones didn’t know about until after it was published. Unlike the live tweets, the GOOD essay didn’t disclose any details about Sybille (not her real first name) that seem likely to put her at additional risk. (Addendum: McClelland apologized to Sybille in the comments at Essence.com and took full responsibility for the decision to revisit the subject.)

Some critics are angry at McClelland for what they see as an appropriation of Sybille’s story. They argue that she is using the trauma of an unwilling subject as window dressing for her own psychosexual memoir. It seems to me that the major problem here was lack of editorial oversight for sensitive live tweets, not appropriation.

What concerns me is not so much that Mac told a story that “belonged” to someone else, but rather that she might have inadvertently put a victim’s life at risk in 2010 by tweeting identifying details about a crime victim, in real time, while the woman’s assailants remained at armed and at large. Common sense suggests that this is a terrible idea. It’s easy to say that in retrospect, but I can see how McClelland might have gotten caught up in the moment, especially if she thought she had permission from the victim and her lawyer.

Ethical journalists balance public’s need to know against potential harms to innocent people. In this case, there was no compelling need to know the these details of Sybille’s rape instantaneously. There is little journalistic value in covering an event like this in unfiltered 140-character bursts and considerable risk of harm. In fairness, twitter is a relatively new news medium and standards are still evolving. 

There’s a long history of journalists phoning in field reports to rewrite artists back in the newsroom. If something can be tweeted, it can just as easily be privately relayed to an editor or reporting partner for writeup with oversight. Twitter is not the only option for fast-breaking coverage. There are any number of nearly instantaneous ways to publish reports from the field. After Sybille and her lawyer complained, Mother Jones editors had the luxury of time to weigh their options and make a reasoned decision.

The allure of twitter is that it’s instantaneous and unfiltered. That’s all very well for color commentary under controlled conditions, like press conferences and sporting events. Twitter’s great for talking about reporting, when explains why so many journalists love the medium. However, there are situations where you simply don’t want reporters blurting their immediate impressions directly into the public record. Reporters have editors for a reason. This painful episode shows why unedited tweets aren’t suitable for directly covering anything more serious or complicated than a parade.

Over the past few days, Fox News has launched an all-out offensive against the tax-exempt status of the liberal think tank Media Matters, which specializes in tracking and critiquing Fox and other conservative media outlets. Over the past few days, Fox has aired more than 30 segments demanding that Media Matters lose its tax-exempt status. The Fox Nation website even allows visitors to send canned complaints to the IRS with the click of a mouse.

Fox’s central argument is that Media Matters is engaging in prohibited political activity by accusing Fox of being the voice of the Republican Party. The tax code stipulates that tax-exempt organizations must deal only in statements supported by fact. Fox and its allies maintain that Media Matters has no factual basis to claim that Fox is the voice of the Republican Party.

Last month, Rolling Stone published a fascinating and deeply-reported feature on Fox News and its bombastic, crusading chairman, Roger Ailes.

Tim Dickinson tracks Ailes career as GOP media consultant from his stint as Richard Nixon’s television guru to the campaigns of Ronald Reagan and George H.W. Bush. Ailes officially retired from politics in 1991. As Dickinson tells it, Ailes’ penchant for race-baiting tactics, including the infamous Willie Horton ads, eventually tarnished his image. Ailes joined forces with Rupert Murdoch to start Fox News in 1996.

Ailes is the father of the political infomercial. As Ailes later said in an interview, he was determined to bypass the media to bring Nixon’s message directly to the public. To that end, he created a traveling televised roadshow that produced prefab “town meetings” with handpicked voters lobbing softball questions at the candidate. The campaign paid to broadcast these programs in local media markets. Ailes swears he got out of politics, but the infomercial model lives on at Fox News.

Dickinson goes on to describe how Ailes has transformed Fox News into an incredibly powerful fundraising and campaign platform for favored GOP candidates:

[…] Ailes has not simply been content to shift the nature of journalism and direct the GOP’s message war. He has also turned Fox News into a political fundraising juggernaut. During her Senate race in Delaware, Tea Party darling Christine O’Donnell bragged, “I’ve got Sean Hannity in my back pocket, and I can go on his show and raise money.” Sharron Angle, the Tea Party candidate who tried to unseat Harry Reid in Nevada, praised Fox for letting her say on-air, “I need $25 from a million people – go to SharronAngle.com and send money.” Completing the Fox-GOP axis, Karl Rove has used his pulpit as a Fox News commentator to promote American Crossroads, a shadowy political group he founded, promising that the money it raised would be put “to good use to defeat Democrats who have supported the president’s agenda.”

But the clearest demonstration of how Ailes has seamlessly merged both money and message lies in the election of John Kasich, a longtime Fox News contributor who eked out a two-point victory over Democrat Ted Strickland last November to become governor of Ohio. While technically a Republican, Kasich might better be understood as the first candidate of the Fox News Party. “The question is no longer whether Fox News is an arm of the GOP,” says Burns, the network’s former media critic, “but whether it’s becoming the torso instead.”

Ailes’ genius, in Dickinson’s view, is that he’s turned propaganda into an incredibly profitable business. In an amazing bit of media alchemy, he makes a fortune by giving away free political advertising.

At a time when news organizations are struggling, Fox News broadcasts its conservative message to 100 million American households while sustaining profit margins greater than 50%.

To claim that any non-party organization is “the voice of” a political party is to speak metaphorically. However, Media Matters’ rhetoric is based on solid facts about the intimate links between Fox News and the GOP. Dickinson’s reporting suggests that the metaphor is apt.

However, given Fox’s role as kingmaker and gatekeeper for Republican electoral politics, it might be even more apt to say that the GOP is the voice of Fox News.