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The Abdication of Moral Responsibility

ARGUMENT

Stephen Fry on God | The Meaning Of Life | RTÉ One

Somebody Interviewed Assad. Chill out.

Many people I know were quick to jump on Jonathan Tepperman’s throat because he interviewed Assad. The interview itself was remarked upon widely for the insane comments that Assad made, completely divorced from reality and quite clearly an attempt to portray himself as a reasonable, sensible man that the West can do business with against ISIS. The result of this interview, however, was very different; Assad simply came across as deluded or a pathological liar, something that was confirmed by Tepperman himself when asked about his impressions of that man. So the crisis is averted and we can all stop beating ourselves into a social media frenzy.

There’s a strong tendency amongst Syrians supporting the revolution for group think, and we need to stop that. It doesn’t help our case, it doesn’t help Syrians, and it just alienates people who might be trying to help us in their own way. Not everybody needs to have exactly the same view. We don’t all need to have the same friends, talk the same way, and use the same language. I myself find plenty of pro-revolution Syrians who use ridiculous terminology and say the stupidest things when referring to the Syrian conflict and I bite my tongue and shut up because it’s negative and counter-productive. That’s the price I’ve agreed to pay for supporting freedom of speech in Syria, I’m learning to deal with the fact that stupid people will say things and other people will agree with them sometimes. We all just have to have believe in each other a bit more. I want Assad’s regime to be dismantled, and while I do worry that the world is forgetting us and that it might even forget about the horrible things that his dictatorship has done to Syria, I also know it is enough that I won’t forget.

 

source

 

Hollywood shoots Arabs: The movie

clint

 

‘American Sniper’ replays the age-old racist roles.

ABOUT THE AUTHOR

Khaled A Beydoun

Khaled A Beydoun is an Assistant Professor of Law at the Barry University Dwayne O Andreas School of Law. He is a native of Detroit.

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ABOUT THE AUTHOR

Abed Ayoub

Abed Ayoub is the legal director of the American Arab Anti-Discrimination Committee in Washington, DC, and is a native of Detroit.

Art and propaganda share an intimate relationship. Particularly today in the US, where the wartime film stands as a sacred genre – intimately depicting everyday Joes plucked from mundane middle America, then planted within the perils of a foreign battleground where they become larger-than-life heroes.

The newest edition of this genre, “American Sniper”, centres on Iraq. The Clint Eastwood-directed picture contains every essential hallmark of the wartime film genre; the lionised soldier protagonist, the good versus evil paradigm, and the accompanying illustration of the latter as unyieldingly wretched, menacing, and bent on the destruction of everything pure and civilised.

“American Sniper” does not disappoint, and delivers these damaging binaries bolstered with the banal tropes of Iraqis and Muslims that attracted viewers in droves. So much that the film set a box office record its opening weekend, which is set to continue as the movie stretches into its second week.

Debating art

Film is art – and creative expression should not be legally restricted. However, art has the potential to incite, particularly when the villains in a box-office hit are flatly constructed, maliciously misrepresented, and positioned as the irredeemable opponents of America and its gun-toting hero.

 

In “American Sniper”, Iraqis are nothing more than fodder and foes, whom Chris Kyle is hell bent on gunning down to carry forward a parasitic patriotism that a robust segment of the US is not only drawn to, but also committed to perpetuating.

Every single Iraqi in the film is presumed guilty. And thus, deserving of the twisted justice Kyle is more than willing to dish out, over and again.

While the familiar misrepresentations on the screen are damaging, the racist backlash inspired by “American Sniper” evidences that the film is equipping hatemongers with even more ammunition.

And the targets are Arabs and Muslims, “ragheads” and anybody resembling the Iraqi caricatures in “American Sniper”.

“American Sniper” is far more than merely a character study. The main protagonist, Chris Kyle, is an American everyman, who thoroughly embodies the utter disdain for Muslims which is endemic – and intensifying – in the US today. Further, Kyle views his tour in Iraq as an opportunity to avenge the 9/11 terrorist attacks, reducing patriotism into a blood vendetta against a populace utterly disconnected and disassociated from that attack.

Caricature study?

These ideas, and the worldview from which they emanate, are not Kyle’s view alone. Rather, through the film positioning of Kyle as an archetype, Kyle represents a grand perspective held by a substantial segment of the US. Moreover, these views are not being relayed through a tragic figure or a nihilist.

But a hero, donned in military fatigues, a baseball cap, and played by Hollywood A-lister and heartthrob Bradley Cooper – who views his indiscriminate mowing down of 255 “despicably evil savages” as both a political and spiritual crusade.

Through Kyle’s distorted gaze, the viewer similarly sees Iraqis as targets. Whether a veiled mother, young boy, or the fictitious rival Mustafa – the black-clad, brooding embodiment of evil that is committed to the demise of Kyle, and everything he represents.

Through Kyle’s distorted gaze, the viewer similarly sees Iraqis as targets. Whether a veiled mother, young boy, or the fictitious rival Mustafa – the black-clad, brooding embodiment of evil that is committed to the demise of Kyle, and everything he represents.

Both art and propaganda, “American Sniper” carries forward the tradition of the wartime film genre. But, within the context of considerable anti-Arab and Muslim bigotry in the US, the film is reminiscent of another critically heralded yet racist wartime epic, DW Griffith’s Birth of a Nation, which, paralleling the binary in “American Sniper”, lionised Klansmen by way of deplorable depictions of black Americans. Subsequently, it calls its viewers to take arms against the villains.

Like scores of films before it, “American Sniper” conflates Iraqis with Arabs and Muslims, “al-Qaeda” and “jihadists”.

For Kyle, and Eastwood, the distinctions are irrelevant. Redeploying age-old Orientalist images, the film’s Iraqis are thinly constructed foes of the democratic and divine – who must be methodically gunned down for both God and country. A belief, in the US today, that is far more fact than fiction.

Following the release of the film the, American-Arab Anti-Discrimination Committee (ADC) issued a community advisory and warned of a “significant rise in violent hate rhetoric targeting the Arab and Muslim-American communities”.

The advisory was issued in response to the significant number of violent messages targeting Arab and Muslim Americans following the release of the film “American Sniper”. Many of the threats were made over social media.

Box-office backlash

The threats advocate for the murder of Arab and Muslim Americans, one going as far as posting: “Great f**king movie and now I really want to kill some f**king ragheads.” In another threat, since deleted, Twitter user Dex Harmon wrote: “American Sniper makes me wanna go shoot some f**kin Arabs,” which was followed by emojis of three handguns.

Hate speech and threats such as these should not be ignored. Instead, they must serve as a warning sign. Hate speech and rhetoric will only continue to add to the culture of violence, which will lead to more incidents and more attacks. Particularly within an already rife context of anti-Arab hatred and Islamophobia.

Statistics gathered by ADC, as well as by the Southern Poverty Law Center, show that there was a 50 percent increase in the number of reported hate crimes against Arabs, Muslims and those perceived to be Arab or Muslim in the US. The increase is correlated with the start of the “Ground Zero Mosque” controversy, which is surely to intensify with the domestic and global backlash against Arabs and Muslims following the Charlie Hebdo attack.

For as long as the negative imagery and permissible hatred against Arabs and Muslims exists, members of the respective communities will continue to live in a state of constant fear that they may be the next victim of a hate crime. The precedent is there, and history has shown us that as the rhetoric worsens, the culture of collateral indictment and the prospect of violence increase.

“American Sniper” is art. But it is also ammunition. The right of creative expression should be tempered by responsibility. Otherwise, “American Sniper” is only performing what propelled its central figure into the limelight – indiscriminately targeting Arabs and Muslims for simply being.

Which, we hope, isn’t the film’s aim.

 

Source: Al Jazeera

 

Killing Ragheads for Jesus

Posted on Jan 25, 2015

By Chris Hedges

Fandango

“American Sniper” lionizes the most despicable aspects of U.S. society—the gun culture, the blind adoration of the military, the belief that we have an innate right as a “Christian” nation to exterminate the “lesser breeds” of the earth, a grotesque hypermasculinity that banishes compassion and pity, a denial of inconvenient facts and historical truth, and a belittling of critical thinking and artistic expression. Many Americans, especially white Americans trapped in a stagnant economy and a dysfunctional political system, yearn for the supposed moral renewal and rigid, militarized control the movie venerates. These passions, if realized, will extinguish what is left of our now-anemic open society.

The movie opens with a father and his young son hunting a deer. The boy shoots the animal, drops his rifle and runs to see his kill.

“Get back here,” his father yells. “You don’t ever leave your rifle in the dirt.”

“Yes, sir,” the boy answers.

“That was a helluva shot, son,” the father says. “You got a gift. You gonna make a fine hunter some day.”

read full article here

Guantanamo (more)

More than 12 years after he was detained by the US, Mohamedou Ould Slahi remains locked up in Guantánamo, trapped in a horrific legal limbo. But his extraordinary account, handwritten over 466 pages from his single cell at Camp Echo in 2005, is finally being published after years of litigation — and more than 2,500 redactions by the US government. In an unprecedented collaboration, the Guardian and Canongate Books present the full declassified manuscript.
http://guantanamodiary.com/

Slahi manuscript

Exhibit of iconic 1948 photos — ‘The Long Journey’ — opens today in NYC

 on January 23, 2015 

The UN agency that deals with Palestinian refugees has opened a new digital archive including many images from the Nakba, the Palestinian catastrophe of 1948, when 750,000 Palestinians were expelled by or fled the Zionist army and militias when the state of Israel was established in Palestine.

And Alwan for the Arts in New York and UNRWA USA are honoring the archive with an exhibition in New York of iconic photographs from 1948 through to the present day. The exhibit opens today downtown and will run for three weeks, culminating in an auction of photos on the night of Thursday February 12.

The exhibition is called “The Long Journey,” and you can see it for free any afternoon during the week from 2-5. The press release is below. Here is a preview of some of these wrenching photos, which will some day be inscribed in American consciousness the way that photos of the Jewish experience of eastern Europe are.

This one is very famous. We often hear the words “forced into the sea” — these people had that experience.

Iconic UNRWA photo of Palestinian refugees

Or this one could be viewed with a reading from S. Yizhar’s book Khirbet Khizeh, in which he describes the noble/defiant expression on the face of a Palestinian woman being forced to leave her village and get into a transport truck:

UNRWA photograph from  1948

The children’s photo at the top of this post is reminiscent in its beauty and innocence of Annemarie Jacir’s great movie, When I Saw You, about militant refugees in Jordan. Is it any surprise that many of these young people became radicalized, and built their lives around the idea of getting their homes and country back?

Here is the press release from UNRWA USA:

UNRWA USA, in partnership with Alwan for the Arts, presents “The Long Journey,” a collection of historical photographs (1948-2014) from the Archives of the UN Relief and Works Agency for Palestine Refugees, recently exhibited at the UN Headquarters.

On view at Alwan:
Friday, January 23 -February 12, 2015
Monday through Friday
2pm-6pm daily, or by appointment

In this 1967 photo from the U.N. Relief and Works Agency, UNRWA, archive, Palestine refugees flee across over the Jordan river on the damaged Allenby Bridge during the 1967 Arab-Israeli war.

Closing Reception & Charity Auction:
Thursday, February 12, 2015
6:30-8:30pm

Photographs to be auctioned with all proceeds/reception donations benefiting UNRWA’s Gaza emergency relief fund. (Donations through UNRWA USA are tax-deductible.)

Free and open to the public

The Long Journey is an exhibition that recounts the life and history of the Palestine refugees since 1948 through a selection of iconic pictures and films from the United Nations Relief and Works Agency for Palestine Refugees in the Near East (UNRWA)’s archives. The exhibition draws public attention on human stories and the works of UNRWA in the Middle East.

In this exhibit, UNRWA unveils the first part of its newly digitized archive, which consists of over half a million negatives, prints, slides, films and videocassettes covering all aspects of the life and history of Palestine refugees from 1948 to the present day. The first group of iconic photographs are part of the exhibition, The Long Journey, which opens on 23 January, 2015, at Alwan for the Arts in Lower Manhattan.

UNRWA’s archive has been inscribed on the UNESCO ‘Memory of the World’ register, which includes collections of outstanding cultural and historical significance. In tandem with the digitized archive, UNRWA is also launching a website,http://archive.unrwa.org/, where the 1,948 images will be available to media, academics, writers and others who wish to study, explore or just have a window into the world of Palestine refugees from 1948 to the present day.

The Long Journey is organized and endorsed by UNRWA USA.

The following video “The Long Journey” records Lebanese photographer and filmmaker George Nehmeh, whose iconic footage and photography from Palestine, Jordan and Lebanon working for UNRWA from the 60’s through the 90’s is displayed in this exhibit, as he retraces his steps years later.

Mohamedou Ould Slahi @ Guantanamo

CLICK ON IMAGE
mo

The Super-Rich and Us BBC Documentary 2015

Part two

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