Archive for the ‘Censorship’ Category

U.S. Supreme Court must now free this government’s dissenters from the stocks of social media censorship and the … – Heartlander News

It was actually a crime to criticize the royal government in colonial America. Untold thousands were fined, imprisoned and shamed for the impertinence, not incidentally silencing many thousands more.

We owe it to them, not to mention ourselves and our progeny, to wonder: Is the current U.S. government bringing back such a law without saying so?

The crime of seditious libel, instituted by Parliament in 1275, made it illegal to spread any slanderous News or false News or Tales where by discord or occasion of discord or slander may grow between the King and his people or the other great men of the Realm.

Our colonial forebears rebelled against it, and thank God for that. Courageous newspaper publishers and editors made certain of it, against the certainty of persecution and prosecution. Thus emboldened, the common man accelerated the rebellion in the years before the revolution, in discussions of free-minded men in coffee houses and taverns.

And even with no stated power to do so, juries increasingly acquitted their peers of seditious libel, which only added to the acidity of the local newspaper rants against tyranny and taxes.

As recalled in Stephen D. Solomons Revolutionary Dissent, the colonials delicious subversiveness was also inspired by earlier essays in England from a pair of liberty lovers writing under the anonymous name of Cato, the ancient Roman senator. Among their 144 essays, they were bold enough to assert, in the shadow of the king himself:

Neither the king nor his handpicked colonial overseers bought into any of that nor does the federal government of the United States of America seem to in 2024.

Indeed, it appears the current regime is set on reanimating the centuries-dead monster of seditious libel without proclamation and with sad little protest.

The landmark free speech case Missouri v. Biden, now before the U.S. Supreme Court, has only begun to expose the breadths and depths the Biden administration has traveled to suppress dissent most notably on COVID-19 origins, restrictions, masks and vaccines, as well as the integrity of the 2020 election, but truly on any matter the intelligentsia considers disinformation. Think Hunter Biden laptop, which saw an entire major newspaper, the New York Post, have its Twitter account deactivated.

The laptop story, turns out, was more than legitimate, the suppression of which is reminiscent of this: Solomon writes of a seditious libel case against newspaper editor John Peter Zenger, ultimately acquitted in no small part thanks to his audacious attorney Andrew Hamilton, who told the jury that the suppressing of evidence ought always to be taken for the strongest evidence.

Its an argument we should hold to today.

The Twitter Files most famously exposed government/Big Tech collusion to suppress speech disfavored by our ruling elite, dissent that the former Twitter, Facebook and other platforms silenced altogether or removed to a quiet corner in social media purgatory.

This is not an inconsequential marriage, this unholy matrimony between government and Big Tech. Social media has become what coffee houses and taverns and newspapers were in 1700s America: the proverbial town square where ordinary citizens collaborate on keeping their government accountable and their own necks free of yokes.

If only the Mark Zuckerbergs of the world had an iota of the integrity and authority-defying pluck of our colonial newspapermen. Alas, they appear instead to actually be colluding with the government to silence or sideline disfavored speech. A trial judge and an appeals court have issued separate injunctions preventing it.

The [trial] court found that Big Tech changed its terms-of-service policies at the demand of the White House, explains Missouri Attorney General Andrew Bailey. They changed their algorithms to satisfy the federal officials demand.

Indeed, the Missouri v. Biden plaintiffs claim that as early as 2018, congressional staffers actually showed social media companies copies of potentially adverse legislation if they did not censor online content. Bailey says that in emails to social media companies, Biden officials said they didnt care what content was true or untrue they simply wanted a specific narrative put out, and other views silenced.

Amazingly, Bailey says that in a hearing before the trial judge last year Biden administration lawyers wouldnt even concede Americans unfettered right to criticize the president or question the legitimacy of the 2020 election or COVID measures. Well, it depends, was their answer.

Well, no, it doesnt.

Todays heavy-handed government overseers surely realize what the Cato essays warned of, and are therefore doing precisely and purposefully what they are doing: Whoever would overthrow the Liberty of a Nation must begin by subduing the Freeness of Speech.

Added Samuel Adams: There is nothing so fretting and vexatious; nothing so justly terrible to tyrants, and their tools and abettors, as a FREE PRESS. the bulwark of the Peoples liberties. For this reason, it is ever watched by those who are forming plans for the destruction of the peoples liberties, with an envious and malignant eye.

The British government centuries ago prohibited the printing of anything without a license ahead of time, assuring that dissent came stillborn to the world, Solomon writes. In Missouri v. Biden two separate courts have already seen ample evidence that todays government is doing the same through social media censorship.

We look hopefully now to the countrys most Supreme Court for affirmation of our right to dissent so hard-won by our intrepid ancestors in courts, public squares and drafty 18th-century jail cells.

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U.S. Supreme Court must now free this government's dissenters from the stocks of social media censorship and the ... - Heartlander News

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Polish pavilion selection at Venice Biennale gets political as rejected artist cries censorship – Art Newspaper

The artist selected to represent Poland at the 2024 Venice Biennale last year says that the new Polish governments decision to cancel his project at the worlds most prestigious exhibition is an act of censorship.

Ignacy Czwartos was selected by the previous administration led by the right-wing party Law and Justice (PiS). But in a statement issued on 29 December the ministry, under new prime Minister Donald Tusk, called off Czwartoss project.

Czwartos tells The Art Newspaper that his exhibition proposal Polish Practice in Tragedy. Between Germany and Russiawas initially selected in an open competition. On 31 October, Polands Ministry of Culture announced that it would indeed present an exhibition by Czwartos at the countrys national pavilion at the Biennale.

The announcement came at a time when Poland was waiting to see what form its next government would take, following a general election on 15 October. Czwartos was recommended by a jury convened by Warsaws Zachta National Gallery of Art.

PiS emergedas the largest party in the October election but failed to win a majority; Donald Tusk has subsequently formed a new centrist coalition government. Tusk was previously prime minister of Poland between 2007 and 2014, later becoming European Council president.

The selection took place in accordance with the legal procedures. The verdict of the competition jury was accepted by the Minister of Culture and National Heritage. The contract between me and Zachta Gallery, the institution responsible for the realisation of the exhibition has been signed, Czwartos adds.

Nevertheless, on 29 December, I received the information that the new Minister of Culture and National Heritage, Bartomiej Sienkiewicz, had stopped the project. No reasons were given to justify the decision and, what is more, this decision is contrary to the regulations in force. I perceive it as censorship. The ministry was contacted for comment.

The Polish ministry of culture said in an online statement that after analysing the competition procedures for the exhibition and after [gathering] the opinions and voices of the communities, accepted the decision not to implement the project [Polish Practice in Tragedy. Between Germany and Russia]." Poland will now be represented by Open Group, a collective that includes Yuriy Biley, Pavlo Kovach, and Anton Varga.

A spokesperson for Zacheta tells us: As per the regulations, Sienkiewicz has given the go-ahead to the back-up exhibition project, Repeat after Me, submitted by curator Marta Czy and featuring Open Group. Zachta National Gallery of Art will remain responsible for organising and producing the exhibition, as well as fully overseeing the Polish Pavilion in Venice.

In a proposal document submitted to the Biennale, Czwartoss exhibition,Polish Practice in Tragedy. Between Germany and Russia, was described as a profound reflection by a contemporary Polish artist on the tragic history of the 20th century.

Czwartos says: My project, through a set of paintings and objects, presents Polish experience of the clash between two totalitarianisms: Soviet communism and German National Socialism. The project refers also to the present day, above all to Putin's brutal attack in Ukraine. It is not an anti-European project at all, but rather it refers to the forces that had destroyed Europe in the past and today.

However, Czwartoss project faced a backlash from critics last year who said it was too closely aligned with the agenda of the Law and Justice (PiS) party. Those criticising Czwartos nomination included some former Zachta staff and three members of the museums jury: Jagna Domalska, Joanna Warsza and Karolina Zibiska-Lewandowska.

They told The Art Newspaper: To us the decision to select Ignacy Czwartos seems like a tragic Endspiel after eight years of right-wing rule... we regret that after the most open, welcoming, transnational and complex art of Magorzata Mirga-Tas [who represented Poland at the 2022 Biennale], we move to the most narrow-minded, ideologically paranoid and shameful position.

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Polish pavilion selection at Venice Biennale gets political as rejected artist cries censorship - Art Newspaper

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CNN admits it runs all Gaza coverage through bureau monitored by Israeli military censor – Salon

CNNhas long been criticized by media analysts and journalists for its deference to the Israeli government and the Israel Defense Forces in its coverage of the occupied Palestinian territories, and the cable network admitted Thursday that it follows a protocol that could give Israeli censors influence over its stories.

A spokesperson for the networkconfirmedtoThe Interceptthat its news coverage about Israel and Palestine is run through and reviewed by theCNNJerusalem bureauwhich is subject to the IDF's censor.

The censor restricts foreign news outlets from reporting on certain subjects of its choosing and outright censors articles or news segments if they don't meet its guidelines.

Other news organizations often avoid the censor by reporting certain stories about the region through their news desks outside of Israel,The Interceptreported.

"The policy of running stories about Israel or the Palestinians past the Jerusalem bureau has been in place for years," the spokesperson told the outlet. "It is simply down to the fact that there are many unique and complex local nuances that warrant extra scrutiny to make sure our reporting is as precise and accurate as possible."

The spokesperson added thatCNNdoes not share news copy with the censor and called the network's interactions with the IDF "minimal."

But James Zogby, founder of the Arab American Institute, said the IDF's approach to censoring media outlets is "Israel's way of intimidating and controlling news."

ACNNstaffer who spoke toThe Intercepton condition of anonymity confirmed that the network's longtime relationship with the censor has ensuredCNN'scoverageof Israel's bombardment of Gaza and attacks in the West Bank since October 7 favors Israel's narratives.

"Every single Israel-Palestine-related line for reporting must seek approval from the [Jerusalem] bureauor, when the bureau is not staffed, from a select few handpicked by the bureau and senior managementfrom which lines are most often edited with a very specific nuance," the staffer said.

Jerusalem bureau chief Richard Greene announced it had expanded its review team to include editors outside of Israel, calling the new policy "Jerusalem SecondEyes." The expanded review process was ostensibly put in place to bring "more expert eyes" toCNN's reporting particularly when the Jerusalem news desk is not staffed.

In practice, the staff member toldThe Intercept, "'War-crime' and 'genocide' are taboo words. Israeli bombings in Gaza will be reported as 'blasts' attributed to nobody, until the Israeli military weighs in to either accept or deny responsibility. Quotes and information provided by Israeli army and government officials tend to be approved quickly, while those from Palestinians tend to be heavily scrutinized and slowly processed."

Meanwhile, reporters are under intensifying pressure to question anything they learn from Palestinian sources, including casualty statistics from the Palestinian Ministry of Health.

The Ministry of Health is run by Hamas, which controls Gaza's government. The United Nations agency for Palestinian refugeessaidin October, as U.S. President Joe Biden waspublicly questioningthe accuracy of the ministry's reporting on deaths and injuries, that its casualty statistics have "proven consistently credible in the past."

Despite this,CNN's senior director of news standards and practices, David Lindsey, told journalists in a November 2 memo that "Hamas representatives are engaging in inflammatory rhetoric and propaganda... We should be careful not to give it a platform."

Another email sent in October suggested that the network aimed to present the Ministry of Health's casualty figures as questionable, with the News Standards and Practices division telling staffers, "Hamas controls the government in Gaza and we should describe the Ministry of Health as 'Hamas-controlled' whenever we are referring to casualty statistics or other claims related to the present conflict."

Newsroom employees were advised to "remind our audiences of the immediate cause of this current conflict, namely the Hamas attack and mass murder and kidnap of Israeli civilians" on October 7.

At least 22,600 people have beenconfirmed killedin Gaza and 57,910 have been wounded in Israeli attacks on Gaza since October 7. Thousands more are feared dead under the rubble left behind by airstrikes. In Israel, the death toll from Hamas' attack stands at 1,139.

Jim Naureckas, editor of the watchdog group Fairness and Accuracy In Reporting,notedthat the Israeli government is controlling journalists' reporting on Gaza as it's been "credibly accused of singling out journalists for violent attacks in order to suppress information."

"To give that government a heightened role in deciding what is news and what isn't news is really disturbing," he toldThe Intercept.

Meanwhile,pointed outauthor and academic Sunny Singh, even outsideCNN, "every bit of reporting on Gaza in Western media outlets has been given unmerited weight which not granted to Palestinian reporters."

"Western medianot justCNNhas been pushing Israeli propaganda all through" Israel's attacks, said Singh.

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CNN admits it runs all Gaza coverage through bureau monitored by Israeli military censor - Salon

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Jeffrey Wright Says He Refused To Censor The N-Word In Ride With The Devil & Walked Away From Dubbing Film – Deadline

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Jeffrey Wright Says He Refused To Censor The N-Word In Ride With The Devil & Walked Away From Dubbing Film - Deadline

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Jeffrey Wright Was Dubbed By Another Actor After Refusing to Censor His Use of the N-Word – BET

Jeffrey Wright has garnered Oscar buzz with his riveting performance in the highly acclaimed film American Fiction. But the road to his success was a strenuous one, as he recalled some of the struggles he overcame while promoting the film with co-stars Tracee Ellis Ross, Sterling K. Brown, and Erika Alexander.

During the roundtable discussion with Entertainment Weeklys Around the Table, Wright revealed how producers replaced his voice on a project despite his protest.

I did a movie called Ride with the Devil, and it was a film about the Civil War where I was playing a freedman, or actually a former slave working to free himself, but doing that on the side of the Confederacy, based on historical figures, Wright said. This took place in the Kansas-Missouri Border War, outside of the regular army.

"In this scene in which he has this, kind of the apex of his awakening and his need to emancipate himself, he says, 'Being that man's friend was no more than being his n-----. And I will never again be anyone's n-----,'' Wright continued. "And it's such a self-empowering statement and understanding of the word."

The studios that produced the film (based on the novel Woe to Live On by Daniel Woodrell) eventually revealed that the decision to censor Wright was hatched by a marketing plan for the project. It was determined that the use of the N-word internationally would be a bit risky for their target audiences.

The movie was distributed by USA Films and co-produced by Universal Studios and Good Machine Productions and according to Wright, they believed the film would be a little more palatable for whoever their target audience is in Iowa, or wherever, at least in their mind if the N-word was redacted.

Sticking to his guns, Wright refused to delete the N-word in this instance just to make certain audiences feel more comfortable, despite the horrific reality of slavery and the use and legacy of the word.

Then they had me come do the airplane version of dialogue. There were a few curse words and this and that, and then with the word n***** they said: Wed like to change that to negro, or whatever the choice was. And I said, Nah. Thats not happening, Wright said

I headed out the door to my car. And they found some other actor to come in and do that one word, apparently, so that the airplane folk would be comfy in the darkness of their own ignorance around the language of race. It was so crazy, he explained.

More than 25 years later, Wright is able to tackle issues of race head-on in American Fiction, but in a completely different way. In the film, Wright plays Thelonious "Monk" Ellison, a frustrated writer who authors a stereotypical novel as a joke that goes on to be more popular than he ever could have imagined.

American Fiction is currently playing in theaters across the country.

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Jeffrey Wright Was Dubbed By Another Actor After Refusing to Censor His Use of the N-Word - BET

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