#TRAUMA CENTER LEVELS GRAPHIC FREE#

If you are working with video, park the play-head at a frame that is not traumatic. If it catches you unawares, hit pause straight away to disrupt the tendency to cruise-ahead on autopilot. If you know the material is graphic, it’s best not to click on it without a procedure in mind.

#TRAUMA CENTER LEVELS GRAPHIC FREE#

Not all the suggestions will be relevant to your situation or work for you, so feel free to experiment. TACTICS: HANDLING STILL IMAGES AND VIDEOīelow are some options for how you might handle incoming material. Simple rituals, deliberative pauses, and other acts that build in a certain amount of distance from content can help cultivate a sense that one is in charge of the material, rather than the other way around. Pushing back against this effect is important both for preserving news judgement and for self-care reasons. We know from trauma research that the greater the sense of control people have over how they experience traumatic exposure, the more resilient they tend to be. When confronted with visual horror, we often feel less intellectually agile, and may as a consequence be more likely to get stuck on limited dimensions of the story. Gory images don’t just tell us what has happened at a particular place and time, they also have various subtle effects on how we process that information. At times, we may feel forced to avert our gaze at others, sucked in, almost as if the material is forcing us to look. Traumatic User Generated Content (UGC) can demand our attention in ways that we may not be fully aware of.

This guide looks in more detail at specific routines for handling the images themselves.

The need to have self-care routines in place and to remain socially connected.

The importance of minimising unnecessary exposure.

Why it is useful to think of traumatic images as a kind of radiation that may have a dose-depending impact.

How journalists are highly resilient but still need to take measures to protect themselves from the potentially adverse effects of trauma exposure.

Why reviewing material, even at a distance from the events described, engages the body’s biological alarm systems.

A technician works in the 'Acquisition Room', which receives televison feeds from around the world, during an event to mark the opening of the new Univision and Fusion television networks newsroom in Doral, Florida August 28, 2013.īefore reading any further, make sure that you have read the Dart Centre’s tip sheet on Working with Traumatic Imagery.

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