Posts Tagged ‘guantanamo’

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US Military to seize, burn Guantánamo Bay detainees’ art 

 

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British ISIS suicide bomber was ex-Gitmo detainee who won £1mn compensation

Al-Britani is thought to be Jamal Udeen Al-Harith, born Ronald Fiddler, a former Guantanamo detainee from Manchester who was released from the US prison camp in 2004, after being captured in Pakistan in 2002.

He was reportedly paid £1 million by the UK government to keep quiet about British complicity in torture and abuse.

 

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Trump: Americans could be tried in Guantánamo

 

This should disqualify Trump from the race immediately. He has no concept of the Constitution or the rule of law in this nation. The President is supposed to defend the Constitution, but this ass clown doesn’t give a fuck.

 

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Military lawyer resigns in protest of ‘show trial’ of accused 9-11 mastermind

“The U.S. government is trying to call this a fair trial, while stacking the deck so much against the defense and the accused that it can hardly be called a fair trial in any system in the world,” he said, accusing the government of staging a”show trial.”

Already, at the time when he made his discovery, Oceania was no longer at war with Eurasia, and it must have been to the agents of Eastasia that the three dead men had betrayed their country. Since then there had been other changes–two, three, he could not remember how many. Very likely the confessions had been rewritten and rewritten until the original facts and dates no longer had the smallest significance. The past not only changed, but changed continuously. What most afflicted him with the sense of nightmare was that he had never clearly understood why the huge imposture was undertaken. The immediate advantages of falsifying the past were obvious, but the ultimate motive was mysterious.
-1984

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UN Blast of U.S. Human Rights Record Goes Mostly Unnoticed

 

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The US gulag at Guantanamo Bay Cuba is now waiting for a large portion of its illegally-detained prisoners to kill themselves.

Guantanamo’s military defense lawyers cite My Lai massacre in plea to Hagel 

Military lawyers for former CIA captives held at Guantánamo are appealing to Secretary of Defense Chuck Hagel to intervene in what they describe as deteriorating conditions and leadership failures on a scale similar to the Vietnam War’s My Lai Massacre. Hagel is a Vietnam combat veteran. The military lawyers call death among the detainees “imminent … whether by suicide, starvation, organ failure or associated complications. (source)”

The detained prisoners have arrived at Guantanamo through questionable means, such as through bribes to warlords (themselves much more powerful terrorists than the taxi drivers and sheepherders they sold to bounty hunters), in order to produce bodies, sold to the US like slaves.   Others arrived as prisoners of the war in Afghanistan whose only so-called “crimes” were defending their homeland against an illegal US/NATO invasion, under the Nuremberg statutes.  Prisoners of war are entitled to legal protections, while Guantanamo “detainees” and “enemy combatants” (a fictional term created for this purpose) are denied all rights, and live at the whim of the office of the President.

This mass suicide option fits seamlessly in with Obama’s drone murder response to the roster of US “enemies” around the world.  Prison and laws are less convenient than the outright killing or “disposal” of alleged enemies as they appear.

[See full coverage at: Zero Dark Thirty Scandal Files]

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The Assassination Bureau: the CIA and Zero Dark Thirty

by Jennifer A Epps

The cover of the Feb. 4 issue of Time features Kathryn Bigelow, the director of Zero Dark Thirty, and dubs her new film ‘the year’s most controversial movie’ in its headline. The article inside makes an even bigger claim, calling Zero Dark Thirty “the most politically divisive motion picture in memory.” Though Bigelow has made a point in interviews to condemn torture as “reprehensible”, her depiction of torture in the Oscar-nominated dramatic thriller about the hunt for Osama bin Laden has created a firestorm, and could create some frissons at the 85th Academy Awards telecast later this month.

I’ve written a separate article on how Bigelow and screenwriter Mark Boal portray CIA torture of terror suspects in the movie, and this huge issue deserves the attention it’s getting. But it’s far from the only reason to be concerned about the content of Zero Dark Thirty.

In interviews about ZD30, Bigelow has taken to citing Oscar-winning political classics of past decades to suggest that this is the heavyweight context in which her film should be seen, films such as: All the President’s Men, In the Heat of the Night, and, though they are thematic opposites when it comes to the Vietnam War, both Apocalypse Now and The Deer Hunter. She has also included in the list the guerrilla warfare docudrama The Battle of Algiers (itself nominated for three Oscars), perhaps because of the scenes of torture, or perhaps because it is obvious that when Marxist director Gillo Pontecorvo shows the brutal repression of the Arab independence movement by French forces, “depiction is not endorsement,” as Bigelow says of her own movie.

But I think a more useful comparison with which to view Zero Dark Thirty is not the high-minded auteur-driven films of that rebellious age, but a commercial, inconsequential, big studio, romcom-adventure from 1969, called The Assassination Bureau.

Though the movie is just an excuse for Oliver Reed, with intrepid girl-reporter Diana Rigg at his side, to dash around foiling assassins with smirking British aplomb, The Assassination Bureau also happens to be about a secret mercenary firm of international hit men. The refined businessmen on its board of directors have happily influenced world events for decades by murdering dictators and other political figures. If it weren’t for the explicit commissions from clients, the private sector status, and the lack of government endorsement, they could remind one of the CIA.

The tone of the comedy is set minutes into the film when the bureau’s board, led by Reed himself, meets in an imposing star chamber. Ivan (Reed) directs their attention to large paintings of historic assassinations adorning their round boardroom: “Look around you at the great deeds recorded on the walls, gentlemen. Each one of them performed in the course of bettering the world, purging it of evil, striking down tyranny. In those days we were all ruled by my father’s basic principle that our bureau would never kill anyone without a sound moral reason.” A board member instantly responds: “He was a saintly man.” Ivan’s only qualm is that they might have begun to stray from “the high moral principles” of their founding — “the torch we once held so high.”

It’s tongue-in-cheek, this proud talk about ethical murder; the poised board members talking rationally in their elegantly appointed star chamber accept murder as completely civilized, and take their right to commit it as a given. (Intriguingly, the film was derived from an unfinished novel by socialist author Jack London, in turn developed from an early 20th-century story by anti-fascist novelist Sinclair Lewis.) But in Zero Dark Thirty, we get very similar scenes, and this time they’re not comedic. Though the CIA operatives in ZD30 don’t bring up ethics at all, they do sit around a conference table discussing, in a very professional and business-like way, whether they’re ready to green-light murder, or whether they should wait until they’re 100% certain they’ve got the correct target. Their authority to go around the world assassinating people is never up for debate.

ZD30 is a far more serious and ambitious film than The Assassination Bureau, but the broad characters in the ‘69 fantasy are (briefly, at least) more honest. When their ethics are questioned, they retort: “Everyone from some point of view deserves death,” and “It’s always possible to find a moral principle for killing someone.” By contrast, the CIA’s philosophy of killing is not on the table in ZD30: the agents certainly engage in analysis, but it’s not any moral or legal justification for their actions that they consider. They only analyze intelligence: photos, videos, interrogations, clues. Meanwhile, the movie’s momentum is very powerful, with everything building toward Act 3 and the climactic raid on Osama bin Laden’s compound. It is easy to get sucked into this suspenseful forward drive. This risks obscuring the realities behind the system and policies depicted.

Remote-controlled Execution

ZD30 hits theaters at a time when the drone industry is booming, when more and more of the U.S. strategy in the (still underway) ‘War on Terror’ is about using unmanned drones to take out pre-targeted individuals from control rooms on the other side of the globe.

The U.S. multiplied the number of drones in their arsenal 100-fold in the decade after 9/11. In occupied Iraq and Afghanistan, these strikes have been conducted by the Pentagon; in Yemen, Pakistan, and Somalia, where we are not technically at war, they are handled by the CIA. And the next gambit in the ever-expanding drone playbook is Mali; the U.S. has apparently already arranged to base drones in Niger to be flown over its North African neighbor.

Now, ZD30 doesn’t make drone warfare an overt part of its subject, but the ‘targeted killing’ program – the belief in ethical murder — is very much a part of the CIA culture which ZD30’s filmmakers embraced, or at least got into bed with, and the central event of the movie is a pre-planned assassination.

The film does show protests in Islamabad leading to the ouster of the CIA’s Pakistan station-chief, but Bigelow lingers over the station-chief’s defeat, and lead actress Jessica Chastain’s words of comfort to him – accusing the ISI, Pakistan’s intelligence service, of letting him down. The direct relationship between the drone strikes and animosity toward the U.S. is not made clear.

ZD30 also runs news footage on the 2010 Times Square bombing incident that was staged by a naturalized U.S. citizen of Pakistani origin. Though in real life the bomber referred to the missile strikes on Pakistan as part of his incitement, the movie bypasses that explanation. Instead, NYC Mayor Bloomberg reads the man’s mind, sloganeering on a TV in the background of a shot that it was ‘our freedoms’ which motivated the terrorist plot.

Much later in the film, after CIA agent Maya (Chastain) has discovered bin Laden’s hideout in Abbottabad, Pakistan and struggled mightily to get an attack on it launched, she declares to a Navy SEAL that she’d really prefer to just drop a bomb on the compound. She has a proud, defiant air at the time that she says it: she scoffs at her supervisors’ concern that ‘UBL’ might not really be there. Since she turns out to have been right about UBL’s location, viewers are given little reason to distrust other people like her, people who prefer to drop bombs and skip all the pesky red tape.

Maya’s attitude is not really much different from that of maverick-warrior types from many mass-appeal movies  — like Rambo, The Dark Knight and 300 – in which the man or woman of action is held back by small-minded bureaucrats or worse. (A kind of detective, Maya is also akin to on-screen sleuthers who obsessively follow their hunches, like the heroes of Chinatown, Dirty Harry and Zodiac.) The usual result is that the audience roots for the maverick. Indeed if they didn’t, they’d be rooting against the very resolution of the story itself.

Bigelow and her screenwriter Boal have repeatedly sworn that they were scrupulous about not judging the methods of the professionals they were documenting. But the trouble with Bigelow and Boal’s pretence of detachment is that Maya’s obsession is the only game in town; again, if the audience were to detach from it, they’d have to go home. There’s more backstory in an Antonioni film. Bigelow and Boal’s previous drama, the Oscar-winner The Hurt Locker, felt like a character study despite an intense, action-heavy main storyline. But ZD30 does not delve deeply into Maya’s psyche, and her reactions to events are fleeting and inscrutable. Thus, by default if not by design, the movie lends itself to the well-worn grooves of commercial movie-making, and encourages the audience to side with Maya and her agenda. This is further strengthened by the fact that there are only two other alternatives in this film: a) timid supervisors who just want to delay action, and b) terrorists. Whistleblowers, diplomats, lawyers, human rights observers, and non-terrorist Muslims or Arabs are basically invisible. (When Muslims or Arabs are shown, they are often alien and mysterious – one may admire the beauty of a shot in which chador-clad figures suddenly surround a man in a formal garden, producing rifles from their dark drapery, but Bigelow really ought to know better than to perpetrate the same kind of tired images of exoticism that Edward Said condemned 45 years ago.)

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