Ethics in Media: Telling Stories That Aren’t Yours

In a media-saturated world, stories travel faster than ever — often crossing cultural, social, and geographic boundaries in seconds. But with that speed comes an important ethical question: what happens when you tell a story that isn’t yours?

From documentary filmmaking to Instagram reels, journalists, influencers, and content creators often find themselves narrating the experiences of others. While this can amplify marginalised voices, it can also distort narratives, misrepresent cultures, and even cause harm if handled without care (Couldry, 2012).

The Power and Responsibility of Storytelling

Storytelling is one of the most powerful tools humans possess. It shapes perception, builds empathy, and influences public opinion (Boyd, 2009). However, when storytellers speak for communities they do not belong to, the risk of exploitation increases. Misrepresentation can occur when creators focus on drama over accuracy or apply their own cultural lens without context (Ginsburg, 1991).

For example, several photojournalism projects in developing countries have been criticised for reinforcing “poverty porn” — imagery that simplifies complex realities into digestible, emotionally manipulative snapshots (Dogra, 2012). Such portrayals may win awards, but they often strip individuals of their agency, framing them as victims rather than active participants in their own stories.

Consent and Context

One of the central ethical principles in telling someone else’s story is informed consent. Consent is not simply about getting a signed release form; it’s about ensuring the subject understands how their story will be told, where it will appear, and how it might be interpreted (Moeller, 1999).

Additionally, context is important. Extracting a story from its cultural or historical framework can lead to misunderstandings or reinforce stereotypes. Ethical storytellers make the effort to conduct thorough research, engage with communities, and represent voices authentically (Chouliaraki, 2013).

Who Gets to Tell the Story?

A persistent debate in media ethics is about “ownership” of narratives. Some argue that certain stories should only be told by those with lived experience, while others believe outsiders can still tell these stories responsibly — provided they act with humility, accountability, and collaboration (Couldry, 2012).

In recent years, collaborative media projects have emerged as a solution, involving communities directly in the storytelling process. This shifts the storyteller’s role from narrator to facilitator, ensuring accurate representation and empowerment (Ginsburg, 1991).

Conclusion: Ethical Storytelling is Shared Storytelling

Ultimately, telling stories that aren’t yours is not inherently unethical — but doing so without consent, respect, and context is. The media industry must move away from extractive storytelling and towards partnership-based narratives that uplift rather than exploit. In the words of writer Chimamanda Ngozi Adichie, “The problem with stereotypes is not that they are untrue, but that they are incomplete” (Adichie, 2009). Ethical storytellers must strive to fill in those missing pieces.

References

• Adichie, C.N. (2009) The Danger of a Single Story. TEDGlobal. Available at: https://www.ted.com/talks/chimamanda_ngozi_adichie_the_danger_of_a_single_story (Accessed: 13 August 2025).

• Boyd, B. (2009) On the Origin of Stories: Evolution, Cognition, and Fiction. Cambridge, MA: Harvard University Press.

• Chouliaraki, L. (2013) The Ironic Spectator: Solidarity in the Age of Post-Humanitarianism. Cambridge: Polity Press.

• Couldry, N. (2012) Media, Society, World: Social Theory and Digital Media Practice. Cambridge: Polity Press.

• Dogra, N. (2012) Representations of Global Poverty: Aid, Development and International NGOs. London: I.B. Tauris.

• Ginsburg, F. (1991) ‘Indigenous Media: Faustian Contract or Global Village?’, Cultural Anthropology, 6(1), pp. 92–112.

• Moeller, S.D. (1999) Compassion Fatigue: How the Media Sell Disease, Famine, War and Death. New York: Routledge.