Index relies entirely on the support of donors and readers to do its work.
Help us keep amplifying censored voices today.
[vc_row][vc_column][vc_column_text]
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]
[/vc_column_text][/vc_column][/vc_row][vc_row content_placement=”top”][vc_column width=”1/3″][vc_custom_heading text=”The Big Squeeze” font_container=”tag:p|font_size:24|text_align:left” link=”url:https%3A%2F%2Fwww.indexoncensorship.org%2Fmagazine|||”][vc_column_text]The spring 2017 issue of Index on Censorship magazine looks at multi-directional squeezes on freedom of speech around the world.
Also in the issue: newly translated fiction from Karim Miské, columns from Spitting Image creator Roger Law and former UK attorney general Dominic Grieve, and a special focus on Poland.[/vc_column_text][/vc_column][vc_column width=”1/3″][vc_single_image image=”88788″ img_size=”medium” alignment=”center” onclick=”custom_link” link=”https://www.indexoncensorship.org/magazine”][/vc_column][vc_column width=”1/3″ css=”.vc_custom_1481888488328{padding-bottom: 50px !important;}”][vc_custom_heading text=”Subscribe” font_container=”tag:p|font_size:24|text_align:left” link=”url:https%3A%2F%2Fwww.indexoncensorship.org%2Fsubscribe%2F|||”][vc_column_text]In print, online. In your mailbox, on your iPad.
Subscription options from £18 or just £1.49 in the App Store for a digital issue.
Every subscriber helps support Index on Censorship’s projects around the world.
SUBSCRIBE NOW[/vc_column_text][/vc_column][/vc_row]
[vc_row][vc_column][vc_custom_heading text=”Contributors include Richard Sambrook, Dominic Grieve, Roger Law, Karim Miské, Mark Frary and Canan Coşkun”][vc_row_inner][vc_column_inner width=”1/2″][vc_column_text]
[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/2″][vc_single_image image=”88802″ img_size=”full”][/vc_column_inner][/vc_row_inner][vc_column_text]
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”SPECIAL REPORT: THE BIG SQUEEZE” css=”.vc_custom_1481731933773{margin-right: 0px !important;margin-left: 0px !important;border-bottom-width: 1px !important;padding-top: 15px !important;padding-bottom: 15px !important;border-bottom-color: #455560 !important;border-bottom-style: solid !important;}”][vc_column_text]
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”IN FOCUS” css=”.vc_custom_1481731813613{margin-right: 0px !important;margin-left: 0px !important;border-bottom-width: 1px !important;padding-top: 15px !important;padding-bottom: 15px !important;border-bottom-color: #455560 !important;border-bottom-style: solid !important;}”][vc_column_text]
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”CULTURE” css=”.vc_custom_1481731777861{margin-right: 0px !important;margin-left: 0px !important;border-bottom-width: 1px !important;padding-top: 15px !important;padding-bottom: 15px !important;border-bottom-color: #455560 !important;border-bottom-style: solid !important;}”][vc_column_text]
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”COLUMNS” css=”.vc_custom_1481732124093{margin-right: 0px !important;margin-left: 0px !important;border-bottom-width: 1px !important;padding-top: 15px !important;padding-bottom: 15px !important;border-bottom-color: #455560 !important;border-bottom-style: solid !important;}”][vc_column_text]
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”END NOTE” css=”.vc_custom_1481880278935{margin-right: 0px !important;margin-left: 0px !important;border-bottom-width: 1px !important;padding-top: 15px !important;padding-bottom: 15px !important;border-bottom-color: #455560 !important;border-bottom-style: solid !important;}”][vc_column_text]
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”SUBSCRIBE” css=”.vc_custom_1481736449684{margin-right: 0px !important;margin-left: 0px !important;border-bottom-width: 1px !important;padding-bottom: 15px !important;border-bottom-color: #455560 !important;border-bottom-style: solid !important;}”][vc_column_text]Index on Censorship magazine was started in 1972 and remains the only global magazine dedicated to free expression. Past contributors include Samuel Beckett, Gabriel García Marquéz, Nadine Gordimer, Arthur Miller, Salman Rushdie, Margaret Atwood, and many more.[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″][vc_single_image image=”76572″ img_size=”full”][/vc_column_inner][vc_column_inner width=”1/2″][vc_column_text]In print or online. Order a print edition here or take out a digital subscription via Exact Editions.
Copies are also available at the BFI, the Serpentine Gallery, MagCulture, (London), News from Nowhere (Liverpool), Home (Manchester), Calton Books (Glasgow) and on Amazon. Each magazine sale helps Index on Censorship continue its fight for free expression worldwide.
SUBSCRIBE NOW[/vc_column_text][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row]
[vc_row][vc_column][vc_column_text]
The truth is in danger. Working with reporters and writers around the world, Index continually hears first-hand stories of the pressures of reporting, and of how journalists are too afraid to write or broadcast because of what might happen next.
In 2016 journalists are high-profile targets. They are no longer the gatekeepers to media coverage and the consequences have been terrible. Their security has been stripped away. Factions such as the Taliban and IS have found their own ways to push out their news, creating and publishing their own “stories” on blogs, YouTube and other social media. They no longer have to speak to journalists to tell their stories to a wider public. This has weakened journalists’ “value”, and the need to protect them. In this our 250th issue, we remember the threats writers faced when our magazine was set up in 1972 and hear from our reporters around the world who have some incredible and frightened stories to tell about pressures on them today.
Around 2,241 journalists were killed between 1996 and 2015, according to statistics compiled by Cardiff University and the International News Safety Institute. And in Colombia during 2015 104 journalists were receiving state protection, after being threatened.
In Yemen, considered by the Committee to Protect Journalists to be one of the deadliest countries to report from, only the extremely brave dare to report. And that number is dwindling fast. Our contacts tell us that the pressure on local journalists not to do their job is incredible. Journalists are kidnapped and released at will. Reporters for independent media are monitored. Printed publications have closed down. And most recently 10 journalists were arrested by Houthi militias. In that environment what price the news? The price that many journalists pay is their lives or their freedom. And not just in Yemen.
Syria, Mexico, Colombia, Afghanistan and Iraq, all appear in the top 10 of league tables for danger to journalists. In just the last few weeks National Public Radio’s photojournalist David Gilkey and colleague Zabihullah Tamanna were killed in Afghanistan as they went about their work in collecting information, and researching stories to tell the public what is happening in that war-blasted nation. One of our writers for this issue was a foreign correspondent in Afghanistan in 1990s and remembers how different it was then. Reporters could walk down the street and meet with the Taliban without fearing for their lives. Those days have gone. Christina Lamb, from London’s Sunday Times, tells Index, that it can even be difficult to be seen in a public place now. She was recently asked to move on from a coffee shop because the owners were worried she was drawing attention to the premises just by being there.
Physical violence is not the only way the news is being suppressed. In Eritrea, journalists are being silenced by pressure from one of the most secretive governments in the world. Those that work for state media do so with the knowledge that if they take a step wrong, and write a story that the government doesn’t like, they could be arrested or tortured.
In many countries around the world, journalists have lost their status as observers and now come under direct attack. In the not-too-distant past journalists would be on frontlines, able to report on what was happening, without being directly targeted.
So despite what others have described as “the blizzard of news media” in the world, it is becoming frighteningly difficult to find out what is happening in places where those in power would rather you didn’t know. Governments and armed groups are becoming more sophisticated at manipulating public attitudes, using all the modern conveniences of a connected world. Governments not only try to control journalists, but sometimes do everything to discredit them.
As George Orwell said: “In times of universal deceit, telling the truth is a revolutionary act.” Telling the truth is now being viewed by the powerful as a form of protest and rebellion against their strength.
We are living in a historical moment where leaders and their followers see the freedom to report as something that should be smothered, and asphyxiated, held down until it dies.
What we have seen in Syria is a deliberate stifling of news, making conditions impossibly dangerous for international media to cover, making local news media fear for their lives if they cover stories that make some powerful people uncomfortable. The bravest of the brave carry on against all the odds. But the forces against them are ruthless.
As Simon Cottle, Richard Sambrook and Nick Mosdell write in their upcoming book, Reporting Dangerously: Journalist Killings, Intimidation and Security: “The killing of journalists is clearly not only to shock but also to intimidate. As such it has become an effective way for groups and even governments to reduce scrutiny and accountability, and establish the space to pursue non-democratic means.”
In Turkey we are seeing the systematic crushing of the press by a government which appears to hate anyone who says anything it disagrees with, or reports on issues that it would rather were ignored. Journalists are under pressure, and so is the truth.
As our Turkey contributing editor Kaya Genç reports on page 64, many of Turkey’s most respected news outlets are closing down or being forced out of business. Secrets are no longer being aired and criticism is out of fashion. But mobs attacking newspaper buildings is not. Genç also believes that society is shifting and the public is being persuaded that they must pick sides, and that somehow media that publish stories they disagree with should not have a future.
That is not a future we would wish upon the world.
Order your full-colour print copy of our journalism in danger magazine special here, or take out a digital subscription from anywhere in the world via Exact Editions (just £18* for the year). Each magazine sale helps Index on Censorship fight for free expression worldwide.
*Will be charged at local exchange rate outside the UK.
Magazines are also on sale in bookshops, including at the BFI and MagCulture in London, Home in Manchester, Carlton Books in Glasgow and News from Nowhere in Liverpool as well as on Amazon and iTunes. MagCulture will ship anywhere in the world.
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”From the Archives”][vc_row_inner][vc_column_inner width=”1/3″][vc_single_image image=”94291″ img_size=”213×289″ alignment=”center” onclick=”custom_link” link=”http://journals.sagepub.com/doi/pdf/10.1080/03064228208533353″][vc_custom_heading text=”Afghanistan in 1978-81″ font_container=”tag:p|font_size:24|text_align:left” link=”url:http%3A%2F%2Fjournals.sagepub.com%2Fdoi%2Fpdf%2F10.1080%2F03064228208533353|||”][vc_column_text]April 1982
Anthony Hyman looks at the changing fortunes of Afghan intellectuals over the past four or five years.[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/3″][vc_single_image image=”94251″ img_size=”213×289″ alignment=”center” onclick=”custom_link” link=”http://journals.sagepub.com/doi/pdf/10.1080/03064228208533410″][vc_custom_heading text=”Colombia: a new beginning?” font_container=”tag:p|font_size:24|text_align:left” link=”url:http%3A%2F%2Fjournals.sagepub.com%2Fdoi%2Fpdf%2F10.1080%2F03064228208533410|||”][vc_column_text]August 1982
Gabriel García Márquez and others who faced brutal government repression following the 1982 election.[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/3″][vc_single_image image=”93979″ img_size=”213×289″ alignment=”center” onclick=”custom_link” link=”http://journals.sagepub.com/doi/pdf/10.1080/03064228408533703″][vc_custom_heading text=”Repression in Iraq and Syria” font_container=”tag:p|font_size:24|text_align:left” link=”url:http%3A%2F%2Fjournals.sagepub.com%2Fdoi%2Fpdf%2F10.1080%2F03064228408533703|||”][vc_column_text]April 1983
An anonymous report from Amnesty point to torture, special courts and hundreds of executions in Iraq and Syria. [/vc_column_text][/vc_column_inner][/vc_row_inner][vc_separator][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_custom_heading text=”Danger in truth: truth in danger” font_container=”tag:p|font_size:24|text_align:left” link=”url:https%3A%2F%2Fwww.indexoncensorship.org%2F2016%2F05%2Fdanger-in-truth-truth-in-danger%2F|||”][vc_column_text]The summer 2016 issue of Index on Censorship magazine looks at why journalists around the world face increasing threats.
In the issue: articles by journalists Lindsey Hilsum and Jean-Paul Marthoz plus Stephen Grey. Special report on dangerous journalism, China’s most famous political cartoonist and the late Henning Mankell on colonialism in Africa.[/vc_column_text][/vc_column][vc_column width=”1/3″][vc_single_image image=”76282″ img_size=”medium” alignment=”center” onclick=”custom_link” link=”https://www.indexoncensorship.org/2016/05/danger-in-truth-truth-in-danger/”][/vc_column][vc_column width=”1/3″][vc_custom_heading text=”Subscribe” font_container=”tag:p|font_size:24|text_align:left” link=”url:https%3A%2F%2Fwww.indexoncensorship.org%2Fsubscribe%2F|||”][vc_column_text]In print, online. In your mailbox, on your iPad.
Subscription options from £18 or just £1.49 in the App Store for a digital issue.
Every subscriber helps support Index on Censorship’s projects around the world.
SUBSCRIBE NOW[/vc_column_text][/vc_column][/vc_row]
Films, like every kind of art, are often made purely for cinema’s sake – but sometimes they aren’t. Some of the most iconic recent films have actually played a major role in inspiring rights’ movements and protests around the world.
Ten Years, recipient of Hong Kong’s best film award on 3 April 2016, is just one of the latest examples of how cinema can side up with rights: films have often given protests momentum and a cultural reference.
Sometimes, directors have spoken out publicly in favour of protests; other times the films themselves have documented political abuses. In other cases, protesters and activists have given a film a new life, turning it into an icon for their protests on social media even against the directors’ original ideas.
Here are a few recent cases of popular films that have become symbols of rights’ movements around the world:
On 3 April, Ten Years was voted best film at the Hong Kong film awards, one of China’s most important film festivals – but most Chinese don’t know that, as the film is severely censored in mainland China.
Directed by Chow Kwun-Wai with a $64,500 budget, Ten Years is a “political horror” set in a dystopian 2025 Hong Kong. In the five short stories told in the film, Chow Kwun-Wai warns against the effects that ten years of Beijing’s influence would have on Hong Kong: The erosion of human rights, the destruction of local culture and heavy censorship.
According to the South China Morning Post, Ten Years was not intended to be a political film, but the political content is explosive to the extent that some critics have dubbed it “the occupy central of cinema”.
China Digital Times reports that both the film and the awards ceremony are banned in China. On Sina Weibo, China’s leading social network, the searches “Ten Years + Film Awards” (十年+金像) and “Ten Years + film” (十年+电影) are blocked from results.
Winner of a 2015 Oscar, Birdman’s plot is not about rights or protests: The film told the story of a popular actor’s struggles years after his success impersonating a superhero.
But Mexican director’s Alejandro González Iñárritu’s acceptance speech turned it into the symbol of a protest against Mexican President Enrique Peña Nieto.
After asking for a respect and dignity for Mexican immigrants in the USA, Iñárritu said in his speech: “I want to dedicate this award for my fellow Mexicans, the ones who live in Mexico. I pray that we can find and build a government that we deserve.”
The speech came after the Mexican government declared the death of 43 students who went missing while organising a protest.
Iñárritu’s speech made Twitter erupt against Peña Nieto’s government under the hashtag #ElGobiernoQueMerecemos, “the government we deserve”.
Twitter user Guillermo Padilla said, “Now we are only missing a good ‘director’ in this country” – a play on words since “director” means both director and leader in Spanish.
Ahora sólo nos falta un buen director para este país. #ElGobiernoQueMerecemos #Oscars2015 @Bolavsky pic.twitter.com/KAtAj2Lf7m
— Guillermo Padilla (@_memopadilla) February 23, 2015
In a photo, Birdman took the place of the Angel of Independence’s statue, symbol of Mexico City.
EL NUEVO ANGEL… pic.twitter.com/Pa8khaWC7k
— Antonio Moreno (@tonomoreno_w) February 23, 2015
One user took it a step further, posting a “graphic description” of the effects of Iñárritu’s speech on the president.
Discurso de Iñarritu ….descripción gráfica..#ElGobiernoQueMerecemospic.twitter.com/qoyOglIHJf
— kofres (@kofres) February 23, 2015
The sci-fi blockbuster Hunger Games took a life of its own in Thailand, where student demonstrators turned the protagonist’s salute into a symbol of rebellion against the ruling junta.
In the film, set in a heavily oppressed country where every year young people are forced to fight to death in a nationally televised contest, protagonist Katniss Everdeen defies the central government and inspires a rebellion against totalitarian rule. Her three-finger salute becomes the symbol of the protest.
In Thailand, students started to use the three-finger salute as a symbol of rebellion after the military government took power with a coup on 22 May 2014 and clamped down on all forms of protest, censored the country’s news media, limited the right to public assembly and arrested critics and opponents. According to The New York Times, hundreds of academics, journalists and activists have been detained for up to a month.
The Guardian reported that social activist Sombat Boonngam-anong wrote on Facebook: “Raising three fingers has become a symbol in calling for fundamental political rights.”
Since then, using the salute in public in groups of more than five people has been prohibited through martial law.
V for Vendetta holds a special place among films about freedom of speech. In 2005, it was incredibly successful bringing the themes freedom of speech and rebellion against tyranny into the mainstream media debate.
In the film, a freedom fighter plots to overthrow the tyranny ruling on Britain in a dystopian future. The mask he always wears has the features of Guy Fawkes, an English Catholic who attempted to blow up the parliament on 5 November 1605.
The mask has since become an icon. According to The Economist, the mask has become a regular feature of many protests. Among others, it has been adopted by the Occupy movement and Julian Assange, the founder of WikiLeaks.
David Lloyd, author of the graphic novel on which the film is based, has called the mask a “convenient placard to use in protest against tyranny … It seems quite unique, an icon of popular culture being used this way.”
In 2015, the film historical drama Suffragette inspired a protest against the government’s cuts to women services in Britain.
The film shows the struggle for women’s rights that took place in the beginning of the 20th century, when Emmeline Pankhurst led an all-women fight to gain the right to vote.
Before the movie premiere in London’s Leicester Square, activists from the feminist group Sister Uncut broke away from the main crowd, and laid down on the red carpet.
According to The Independent, they chanted “It is our duty to fight for our freedom,” and held signs reading “Dead women can’t vote” and “2 women killed every week” to draw attention to domestic violence and cuts to women’s services.
One protester told The Independent: “We’re the modern suffragettes and domestic violence cuts are demonstrating that little has changed for us 97 years later.”