Posts filed under 'Film'

Remember Rachel Corrie

On March 16, it will be 5 years since American nonviolent activist Rachel Corrie was deliberately run over by a bulldozer as she tried to prevent Israeli destruction of Palestinian homes. Anti-Palestinain forces in the US have tried to destroy the memory of Rachel Corrie, just as they have tried to get the world to turn away from the suffering of millions of Palestinians. Thanks to YouTube, here is a memorial for this martyr for peace:

Billy Bragg sings The Lonesome Death of Rachel Corrie

Interview with Rachel Corrie by the Middle East Broadcasting Company on March 14th, 2003, two days before she was murdered by the Israeli Defense Forces.

This section of the British Channel 4 documentary The Killing Zonegives background on her death:

My name is Rachel Corrie | Remember Rachel Corrie

For more information, go to www.rachel-corrie.com or www.rachelcorrie.org.

1 comment January 31st, 2008

Chinese Food On Christmas

For those feeling left out:

For the sheet music, mp3, or ring tone, go to brandonwalkermusic.com

Happy Holidays!

And now, a word from the writer . . .

A number of people have expressed their discontent with the way Jews are portrayed in some of the scenes in this video. To these people I say, the music video for ‘Chinese Food On Christmas’ is a satire. It employs outrageous scenarios, such as a car full of Jews slamming on the brakes to pick up a coin, to show just how silly and ridiculous our stereotypes can be. Jews are one of the most charitable cultural groups in the world, and anyone who takes any time to look into these stereotypes will realize that they are simply untrue.

Add comment December 31st, 2007

Liptak reviews Taxi to the Dark Side

Adam Liptak, in the New York Times, reviews Alex Gibney’s new documentary, Taxi to the Dark Side:

The Power of Authority: A Dark Tale

by Adam Liptak

FRANK GIBNEY was old and sick and a little more than a month away from dying. But he was filled with righteous anger, and he had some things to say. He told his son, the documentary filmmaker Alex Gibney, to unplug a noisy oxygen machine and to grab a video camera.

The older Mr. Gibney, a journalist and scholar who died in April, had served as a naval interrogator in World War II. In a moving statement that serves as a sort of coda to “Taxi to the Dark Side,” a new documentary about the Bush administration’s interrogation policies in the post-9/11 world, he said it had never occurred to him to use brutal techniques on the Japanese prisoners in his custody.

“We had the sense that we were on the side of the good guys,” Frank Gibney said, seething. “People would get decent treatment. And there was the rule of law.”

There would seem to be an enormous distance between the Bagram Air Base in Afghanistan, where the central events in “Taxi to the Dark Side” take place, and Enron’s headquarters in Houston, where the machinations of white-collar criminals brought down the giant energy company and became the backdrop for Mr. Gibney’s entertaining 2005 documentary, “Enron: The Smartest Guys in the Room.” But Mr. Gibney said the two projects have common themes.

“The subject of corruption unites my films,” he said. “‘Enron’ was about economic corruption, and ‘Taxi’ is about the corruption of the rule of law.”

In person Mr. Gibney, 54, is simultaneously casual and intense. He wears jeans, cool glasses and a goatee, and he juggles several projects at a time from an office overlooking the rail yards on the west side of Manhattan. On the wall is a poster for “The Trials of Henry Kissinger,” a 2002 documentary that he wrote. He is finishing up a documentary on the writer Hunter S. Thompson and is working on another about the lobbyist Jack Abramoff.

He said he has returned repeatedly to one concern: the power of authority to warp morality. At bottom, Mr. Gibney said, people do what they are told. “Everything in life,” he said, “goes back to the Milgram experiment.”

In the early 1960s Dr. Stanley Milgram, a psychologist at Yale, showed that many people were willing to deliver what they understood to be painful electric shocks to other human beings simply because they were told by a scientist that it was necessary.

At Enron as at Bagram, Mr. Gibney said, “a process had occurred, like Milgram, where they had crossed little personal lines, bit by bit.”

“Until,” he added, “they looked back and realized they were way over the line.”

Mr. Gibney persuaded a half-dozen guards and interrogators to appear in his documentary. They are candid, reflective, troubled and sometimes broken, and their testimony is the beating heart of the film.

Many of the traders at Enron were decent men too, Mr. Gibney said.

“One of the most interesting things for me was to discover that most of these guys, off the job, were really nice guys,” Mr. Gibney said. “I mean, pillars of their community. They gave to charity, set up orphanages. But on the job they were killers.”

“Taxi to the Dark Side” is an artful film, starting with cinematic vistas in Afghanistan and presenting soldiers in tight shots against dark backgrounds while former officials and journalists talk in grand settings filled with light.

Sometimes his filmmaking techniques stray from the journalistic straight-and-narrow. In an otherwise positive review of the Enron documentary, for instance, David Ansen of Newsweek objected to an impressionistic recreation of an executive’s suicide and whispering voices on the soundtrack, calling them “cheesy fictional techniques.”

Mr. Gibney said he is often asked why he does not give it to audiences straight.

His answer: “It’s because I didn’t want to give it to you straight. I wanted to have some fun.”

Werner Herzog calls it the difference between an accountant’s truth and ecstatic truth,” Mr. Gibney continued. “It’s the idea that sometimes you can take a roundabout way to truth that’s more effective.”

In the new film he uses a re-creation to depict the interrogation of Mohamed al-Kahtani, a prisoner at Guantánamo Bay, Cuba.

“It took us a long time to get that sequence right, where we juxtaposed words, music, re-creations and then also testimony in some of the Senate hearings,” Mr. Gibney said. By mixing these, “you get some sense of the absurdity, of how the interrogators themselves were becoming unhinged,” he said. “By visualizing it you feel its power in a way you don’t if you just have someone describe it.”

Mr. Gibney became fascinated by film at Yale in the 1970s, haunting the film societies that showed classics for a dollar, and then attended film school at the University of California, Los Angeles. “My favorite filmmakers, generally speaking, are not documentary filmmakers,” he said. One is Luis Buñuel, and he keeps a framed letter from Mr. Buñuel on a wall of his office. “The way he shoots everything is so matter of fact,” Mr. Gibney said. “It’s kind of documentary. But he’s got such a wicked sense of humor. He’s always bringing something to the party, but in ways that you don’t really realize.”

Mr. Gibney worked for years on television series, including “The Fifties” and “The Blues,” bringing lessons from those sprawling projects to his feature films.

“You have to have characters that breathe inside a narrative,” he said, naming one lesson. “That’s what makes it work, and unless that happens none of the big ideas really matter.”

There has been no shortage of films about the wars in Afghanistan and Iraq and about the Bush administration’s approach to national security and civil liberties. The fictional ones — like “Lions for Lambs,” “Rendition,” “Redacted” and “In the Valley of Elah” — have landed at the box office with a thud. But there seems to be an appetite for accessible and sometimes argumentative documentaries about American power and values presented with nerve and verve, even from the earliest days of the war in Iraq, like “Gunner Palace.”

“Taxi to the Dark Side,” which opens in New York and Los Angeles on Jan. 18, is a sort of companion piece to “No End in Sight,” Charles Ferguson’s recent documentary about the occupation of Iraq. (Mr. Gibney was an executive producer.) The next month, Errol Morris’s documentary about the abuses at the Abu Ghraib prison in Iraq, “S.O.P.: Standard Operating Procedure,” will have its premiere at the Berlin International Film Festival.

The narrative thread of “Taxi to the Dark Side” recounts the story of an Afghan taxi driver known only as Dilawar, who was taken to Bagram and beaten to death. His family, interviewed in the film, described Dilawar as simple and shy, and he left behind a wife and a 2-year-old daughter.

His legs, a coroner’s report found, had been struck over and over again until they “had basically been pulpified.” “Even if he had survived,” an Army report found, “both legs would have had to be amputated.”

Mr. Dilawar’s story was first reported in The New York Times and was the subject of a series of investigative reports in the paper. Two reporters for The Times, Carlotta Gall and Tim Golden, appear in the documentary.

In 2005 a military jury convicted Willie V. Brand, who had been a guard at Bagram, of assault, maltreatment and maiming. But his only punishment was a reduction in rank. He received an honorable discharge.

Mr. Brand and the other guards and interrogators who appear in “Taxi to the Dark Side” make the case that they were untrained, unmoored from morality and only did what they thought their commanders wanted.

A week after the Sept. 11 attacks, for instance, Vice President Dick Cheney appeared on “Meet the Press” and sketched out his thinking.

“We also have to work, though, sort of the dark side, if you will,” he said, in a clip Mr. Gibney includes in his film. “We’ve got to spend time in the shadows of the intelligence world.”

Statements like those generated the abuses at Bagram and Abu Ghraib, Mr. Gibney maintains. “It’s the opposite of the bad apple theory,” he said. “The bad apple theory is that there are a few bad people who occasionally do bad things, and everything’s fine. Mostly they’re good kids who, like all of us, can over to the dark side if people like Dick Cheney say it’s O.K.”

David B. Rivkin, a lawyer in the administrations of President RonaldReagan and the first President Bush, said the abuses in Afghanistan and Iraq were exceptions and unfortunate byproducts of war. “It’s pretty clear that it’s not policy,” he said, “and it’s pretty clear that these things are prosecuted.”

Mr. Rivkin said the military’s performance by historical standards has been quite good in the recent conflicts. “In all the good wars,” he said, “we have had some pretty bad records.”

That is not how Frank Gibney saw it.

After the Second World War Frank Gibney would occasionally meet the men he had interrogated for dinner or drinks in Tokyo, and his son would sometimes tag along. The soldiers had a respectful rapport, a camaraderie.

“It’s hard to imagine that happening 10 years from now,” Alex Gibney said.

Add comment December 30th, 2007

Motion Picture Association censors out US torture

Denial of US torture is everywhere, the Motion Picture Association of America (MPAA) had decided that the US public will not be allowed to see posters for the documentary Taxi to the Dark Side because a hooded prionser suggests torture, which isn’t suitable for children. Perhaps they should have told that to the administration before the US started torturing children in Iraq and Guantanamo.

From Variety:

MPAA rejects Gibney’s ‘Dark’ poster
Org objects to hood on torture docu’s one-sheet

By Anne Thompson

The MPAA has rejected the one-sheet for Alex Gibney’s documentary “Taxi to the Dark Side,” which traces the pattern of torture practice from Afghanistan’s Bagram prison to Abu Ghraib to Guantanamo Bay.

ThinkFilm opens the pic, which is on the Oscar shortlist of 15 docs, on Jan. 11.

The image in question is a news photo of two U.S. soldiers walking away from the camera with a hooded detainee between them.

An MPAA spokesman said: “We treat all films the same. Ads will be seen by all audiences, including children. If the advertising is not suitable for all audiences it will not be approved by the advertising administration.”

According to ThinkFilm distribution prexy Mark Urman, the reason given by the Motion Picture Assn. of America for rejecting the poster is the image of the hood, which the MPAA deemed unacceptable in the context of such horror films as “Saw” and “Hostel.” “To think that this is not apples and oranges is outrageous,” he said. “The change renders the art illogical, without any power or meaning.”

The MPAA also rejected the one-sheet for Roadside Attractions’ 2006 film “The Road to Guantanamo,” which featured a hooded prisoner hanging from his handcuffed wrists. At the time, according to Howard Cohen, co-president of Roadside Attractions, the reason given was that the burlap bag over the prisoner’s head depicted torture, which was not appropriate for children to see.

“Not permitting us to use an image of a hooded man that comes from a documentary photograph is censorship, pure and simple,” said producer, writer and director Gibney. “Intentional or not, the MPAA’s disapproval of the poster is a political act, undermining legitimate criticism of the Bush administration. I agree that the image is offensive; it’s also real.”

ThinkFilm plans to appeal the ruling, although Urman admitted that he “doesn’t know what that entails. I’ve only appealed ratings before.”

If ThinkFilm ignores the MPAA and uses materials that have not been approved, it runs the risk of having the rating revoked, which is what happened earlier this year to “Captivity.”

The “Taxi” ad art is actually an amalgam of two pictures. The first, taken by Corbis photographer Shaun Schwarz, features the hooded prisoner and one soldier. Another military figure was added on the left. Ironically, the original Schwarz photo was censored by the military, which erased his camera’s memory. The photographer eventually retrieved the image from his hard drive.

“It’s the photo that would not die,” Gibney said. “This movie is not a horror film like ‘Hostel.’ This is a documentary and that image is a documentary image.”

10 comments December 19th, 2007

The Story of Stuff

The story of Stuff explains how the system of Extraction — Production — Distribution — Consumption — Disposal works to destroy our world and make our lives miserable as we pursue more and more stuff. Here’s the film’s description:

What is the Story of Stuff?

From its extraction through sale, use and disposal, all the stuff in our lives affects communities at home and abroad, yet most of this is hidden from view. The Story of Stuff is a 20-minute, fast-paced, fact-filled look at the underside of our production and consumption patterns. The Story of Stuff exposes the connections between a huge number of environmental and social issues, and calls us together to create a more sustainable and just world. It’ll teach you something, it’ll make you laugh, and it just may change the way you look at all the stuff in your life forever.

Watch it in a big format on the film’s website. Or watch smaller the embedded version here:

Add comment December 10th, 2007

Amnesty film on stress positions: Waiting for the Guards

Amnesty International has released a short film, Waiting for the Guards, in which a performance artist undergoes six hours of the type of stress positions used in US interrogations (aka, “torture”):

Add comment November 27th, 2007

A World Without Writers?

What would the movies be like without writers?


[h/t Escahaton.]

1 comment November 18th, 2007

Frontline: Extraordinay Rendition

This week’s Frontline film, Extraordinary Rendition can be watched at the PBS site here.

Here is the PBS synopsis:

In a crowded city in northern Egypt, FRONTLINE/World investigative reporter Stephen Grey tracks down a man who was once one of the CIA’s “ghost prisoners.” The bulky, bearded man he finds is Abu Omar al-Masri, an Egyptian cleric who had moved to Milan, Italy.

“I was kidnapped on the 17th February, 2003,” he tells Grey. “Then I disappeared from history.”

Abu Omar had been preaching at a mosque in Milan. The Italian police began to suspect that he was recruiting young Muslims to wage jihad against Americans. The CIA put him under surveillance, believing he was plotting a bomb attack on a school bus of American children. One day, CIA agents suddenly snatched him off the streets of Milan and loaded him on to a secret Gulfstream jet. The next thing he knew, he was back in Egypt, where he says he was interrogated and tortured.

“They started to beat me,” says Abu Omar, “with their fists, with sticks, with truncheons.”

Abu Omar says his torture lasted 14 months; the worst of it taking place at the secret police headquarters in Cairo. To date, more than 60 prisoners are believed to have been sent there by the United States.

This is the dark story of “extraordinary rendition,” says Grey, a secret program in which the United States captures terror suspects around the world and flies them to countries like Egypt, Syria or Morocco, where, critics say, torture is routine.

“We cannot deny that there could be some excesses, some acts of cruelty by security officers,” Egyptian General Ahmad Omar tells Grey. But he denies that torture is state policy and he insists that Egyptian and U.S. intelligence agencies are justified in taking action against those suspected of terrorist activities.

Now released from jail, Abu Omar maintains his innocence, saying he’s willing to defend himself in court if the Egyptians or the Americans ever charge him with a crime. Guilty or not, Abu Omar and his rendition have become a disaster for the CIA. Italian police investigating the case were able to identify the CIA agents involved. They are set to go on trial, in absentia, on charges of conspiracy to kidnap — a rare and politically embarrassing instance of a U.S. ally in Europe trying CIA agents in court.

For the last four years, Stephen Grey has been investigating stories of extraordinary rendition like Abu Omar’s. The Bush administration hasn’t spoken about Abu Omar, but under increasing pressure to reveal information about terror suspects apprehended and jailed secretly, they’ve officially acknowledged dozens of cases like his. They claim that when they send terror suspects to other countries, they get assurances they won’t be tortured, but even former CIA officials admit those claims are worthless.

“You can say we asked them not to do it, but you have to be honest with yourself and say there’s no way we can guarantee they are going to do that,” says Tyler Drumheller, who ran CIA operations in Europe at the time Abu Omar was kidnapped and “rendered” to Egypt. “Once you turn them over you have no control over that.”

Drumheller had mixed feelings about renditions abroad, but he was even more concerned about a plan put forward after 9/11 for the CIA to hold prisoners themselves in secret jails.

“We are an intelligence service, an espionage service,” insists Drumheller. “Not jailers, not a policeman, not interrogators. We debrief people; we don’t interrogate them. Everything that the military didn’t want to do or felt uncomfortable doing ended up in the lap of the CIA.”

After the war began in Afghanistan in 2002, the CIA set up its first secret jails or “black sites.” One of them, located just outside Kabul, was known as the “dark prison.”

“The dark prison was run by the Americans,” a former inmate, Bisher al-Rawi, tells Grey. “It wasn’t Afghani people flying the aircraft, it wasn’t Afghani people who sort of shackled me and did whatever they did to me. It was Americans.”

Bisher al-Rawi is an Iraqi-born British resident, who once acted as a messenger between an al Qaeda suspects in London and British intelligence. In 2002, while he was on a business trip to Gambia in West Africa, the CIA had al-Rawi and several colleagues arrested. Bound, gagged and hooded by American agents, al-Rawi was drugged and put on a plane to Afghanistan.

Transferred to the “dark prison,” al-Rawi says he was confined to a cell where, “You can’t see the end of your nose” and where he was subjected to continuous eerie music.

Eventually, he was transferred to Guantanamo Bay, where he spent four years before being released without charge in early 2007. Al-Rawi believes he was held, like many others, just on the hope he’d offer new intelligence.

The “dark prison” in Afghanistan was one of the first CIA “black sites,” but not the last.

By early 2003, the United States was negotiating secret agreements with governments in Eastern Europe to set up black sites on their territory. A report this summer by the Council of Europe declared it had proof of two CIA black sites, one on the east coast of Romania, the other at an airbase in Poland.

“Methods of interrogation were ‘enhanced’, which is a euphemism.  It’s totally unacceptable,” says Dick Marty who led the European investigation of the CIA black sites. “There was waterboarding, when you pretend to drown someone, and you only stop when he’s unable to breathe. Sleep deprivation, bright lights, loud noise. These are all methods of torture.”

The CIA went to great lengths to cover up evidence of the flights that brought men to the Polish black site, but Grey obtains the flight plan of a Gulfstream jet that left three passengers there, including, it appears, Khalid Sheikh Mohammed, the mastermind of the 9-11 attacks.

The problem for the CIA was what to do with such prisoners in the long term, since they were being detained outside the U.S. legal system. Under pressure, President Bush announced in September 2006 that the CIA black sites were finally being emptied.

The plan was to bring the al Qaeda prisoners before military tribunals, but their prosecutions may be compromised because they were held for years in CIA secret prisons and subjected to interrogations using extreme techniques.

“We really have created a mess here, a terrible mess,” says Lawrence Wilkerson, who served in the U.S. State Department during the Bush administration. “For the people who are involved in it.  For the legal system that will have to sort it out, under a new president.  For the country.  For our reputation.  For our prestige around the world.  This has been incredibly damaging.”

New questions about the future of extraordinary rendition have now surfaced a world away in East Africa. Grey travels to Mombasa, Kenya, a Muslim city on the Indian Ocean to chase down a rumor of a rendition that took place earlier this year.

This is also the region where al Qaeda declared war on America in 1998 with simultaneous bombings on the U.S. embassies in Kenya and Tanzania, which killed more than 200 people, mostly Africans. The man accused of coordinating the attacks, Fazul Abdullah, alias Harun, has never been caught.

Fazul was said to be hiding in Somalia. Last December, when Ethiopia moved its army into Somalia, the United States went after him, launching bombing raids against the country’s suspected al Qaeda hideouts. Thousands fled for the Kenyan border. Some were picked up in a dragnet by the Kenyan anti-terrorist police and disappeared without a trace.

Outraged Muslims in Mombasa began to protest and a Kenyan human rights lawyer took up the cause. The activist, Alamin Kimathi, shows Grey a flight manifest he obtained as part of the court case. It is rare documentary evidence of an extraordinary rendition. The Kenyans had taken a page out the CIA’s handbook. Eighty-five people, including 11 children, had been put on the planes. The passenger list includes Fazul Abdullah’s wife and daughters.

Kimathi tells Grey he believes the wife and children were “hostages…pure and simple,” detained in an effort to “smoke out” Fazul Abdullah. The tactic did not work.

A former FBI agent involved in anti-terrorist work, Jack Cloonan, says he believes the Kenyans would not have acted without the knowledge and support of the U.S. “It would be naïve frankly in this day and age to think that the FBI or the CIA, primarily the CIA, is not witting of what’s going on. In point of fact I’d suggest to you that they probably were witting and they were the power brokers behind the scenes pushing this forward.”

The prisoners were “rendered” on a Kenyan plane to Addis Ababa, Ethiopia, a U.S. ally, which has its own conflicts with neighboring Muslim countries.

Grey believes this could be an indication of a new way in which renditions are being carried out by third countries, while U.S. officials remain in the shadows.

“It’s disappointing,” says former FBI special agent Jack Cloonan.  “The thing that you saw in Africa, where people are being held incommunicado and have no legal representation and potentially abused, is unacceptable. You’re setting up yourself for revenge by al Qaeda and other Islamists.”

This fall, President Bush was forced once more to defend rendition and secret detention. “I have put this program in place for a reason,” Bush told reporters. “When we find somebody who may have information regarding a potential attack on America, you bet we’re going to detain them, and you bet we’re going to question them.”

Despite criticism of “extraordinary renditions” by many CIA insiders, the president has now signed a new executive order that clears the way, once again, for the CIA to interrogate terrorist suspects in secret black sites.

Add comment November 7th, 2007

Amnesty to release film of US torture techniques simulated by an actor

An article I missed in the September 10 Independent reports on an Amnesty International film — Waiting For The Guards — to be released next month in which a dancer illustrates the positions American captives have been forced to adopt as “stress positions”:

Amnesty film shows agony of US detention techniques
By Terri Judd

Forced on to the balls of his feet, bent double with his hands handcuffed behind his back, the near-naked man shook violently. From beneath the hood, muted moans were audible. It seemed obscene to stare at this apparently frail, vulnerable man, caught in a stress position reminiscent of the images of Iraqi prisoners being interrogated by US soldiers at Baghdad’s Abu Ghraib prison. Yet this was not torture. It was art.

In an attempt to draw attention to human rights abuses, Amnesty International has filmed a dancer in the positions captives have been forced to adopt by US troops. The resulting film makes shocking viewing. During a break in filming, Jiva Parthipan, a Sri Lankan performance artist, appeared relieved as he rubbed his limbs, which were aching after just a couple of minutes in a position that suspects in President George Bush’s “war on terror” are expected to endure for hours.

The star of the Amnesty International film, which is being released online next month to highlight the agony of such interrogation techniques, said he found the experience painful, both physically and psychologically. In secret jails across the world, Amnesty insists, captives in the fight against terrorism are expected to maintain these poses. They are not considered torture, simply “enhanced interrogation techniques”. Alfred McCoy, a professor at the University of Wisconsin-Madison, argued recently that the photographs from Abu Ghraib reflected standard CIA torture techniques of ” stress positions, sensory deprivation, and sexual humiliation”.

In August, President Bush issued an order decreeing that Article 3 of the Third Geneva Convention – which prohibits the humiliating or degrading treatment of prisoners of war – should apply to the CIA’s detention and interrogation programme. But Amnesty believes the order does not go far enough in specifying what constitutes degrading treatment.

It is calling for an end to all secret detentions, as well as for detainees to be given access to lawyers, medical care and monitors. It wants all allegations of enforced disappearance, torture and ill treatment levelled at the CIA to be investigated independently.

Amnesty’s film, entitled Waiting For The Guards, forms the backbone of a new campaign the charity hopes will draw attention to such interrogation techniques. The film, by Marc Hawker and Ishbel Whitaker, does not attempt to document the mental torture of being kept in a secret location with no contact with the outside world, simply the physical agony of such allegedly innocuous methods. The crew expected it to be an arduous task but were shocked and disturbed by how quickly Parthipan found it impossible to endure the stress position.

“He is somebody who is physically fit but suffered excruciating pain. It was shocking how real and visceral the process was,” said Hawker, adding: “He was surprised himself just how quickly the position took over. He was in a lot of pain and felt a lot of emotion.

“He was in a safe environment but we said that, if you were just off a jet, did not know where you were or what your future held, how psychologically tortuous it would be.”

Richard Lowdon, the actor who plays the interrogator, added: “It was quite unpleasant watching Jiva. There was something unbearable about it. It is degrading to the person who is doing it, as well as to the person to whom it is done. It is very dehumanising.”

Amnesty hopes its campaign will prompt people to object to such practices. It recently named 38 men and a woman it claims were whisked away on secret CIA “rendition” flights and disappeared into prisons worldwide. The charity has spoken to former detainees, such as the British al-Qa’ida suspect Moazzam Begg, who was held in the US detention camp at Guantanamo Bay, Cuba.

“The suggestion is that they suffer a bit of discomfort, when in fact they endure quite severe pain,” said Sara MacNeice, Amnesty’s campaigns co-ordinator. “We are sending the message that this is ill treatment, but we should be calling it by its rightful name.”

[h/t to LeftLink]

Add comment September 26th, 2007

Olbermann on the Democratic sellout

4 comments May 24th, 2007

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