一、跨越国界的对比中国的灾难报道与西方相比,在数量、质量以及对人的震撼程度上都有着巨大的差异。西方记者对于灾难非常地敏感,他们常常是闻风而上,穷追不舍,从各个角度、各个层次上极尽所能地报导和张扬。也应承认,西方新闻作品中最出色、最深刻、最震撼人的灵魂的就常常出现于灾难报道之中。其表现便是,西方许多著名的新闻大奖中灾难报道占着极大的比例。就西方知名度最大、最有威望的美国普列策奖来说,它历年的各项主要大奖几乎都被灾难性报道所占据,例如1989年的普列策奖共颁发了八项大奖,其中六项是与灾难有关的,而国际性的最有名望的新闻摄影奖——荷兰新闻摄影大赛奖,则更是全球灾难的大展览。从两伊战争到苏联亚美尼亚的大地震,从孟加拉水灾到可怕的爱滋病,无一不在表现之列。这些作品以敏锐的目光触及到灾难的深处,准确而生动地把那些血淋淋的世界呈现给人 First, cross-border comparison China’s disaster reports compared with the West, in terms of quantity, quality and degree of shock to people there is a huge difference. Western journalists are very sensitive to catastrophe. They often follow the trend of the wind and follow the lead and make every effort to report and publicize from all angles and levels. It should also be acknowledged that the best, deepest and most disturbing souls in Western news work often appear in disaster reports. The performance is that catastrophe accounts for a large percentage of the many well-known news awards in the West. In the case of the most prestigious and prestigious United States Prize in the West, the major awards of the past years were almost always taken by catastrophic reports. For example, the Prix Prize in 1989 issued eight awards, of which six The item is disaster-related, and the internationally acclaimed photojournalism prize - the Dutch Press Photo Contest - is even more a showcase of global catastrophe. From the Iran-Iraq war to the Soviet Union’s great earthquake in Armenia, floods from Bangladesh to terrible AIDS are all manifestations. These works with sharp eyes touched the depths of the disaster, accurate and vivid to those who show the bloody world