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Julian Assange and family suffer as unjust detention continues

Independent Australia By Binoy Kampmark | 16 June 2022,

The documentary Ithaka powerfully depicts the fight Julian Assange’s family is putting up for him, writes Dr Binoy Kampmark

JOHN Shipton, despite his size, glides with insect-like grace across surfaces. He moves with a hovering sense, a holy man with message and meaning. As Julian Assange’s father, he has found himself a bearer of messages and meaning, attempting to convince those in power that good sense and justice should prevail over brute stupidity and callousness. 

His one object: release Julian………………………..

The documentary Ithaka powerfully depicts the fight Julian Assange’s family is putting up for him, writes Dr Binoy Kampmark

JOHN Shipton, despite his size, glides with insect-like grace across surfaces. He moves with a hovering sense, a holy man with message and meaning. As Julian Assange’s father, he has found himself a bearer of messages and meaning, attempting to convince those in power that good sense and justice should prevail over brute stupidity and callousness. 

His one object: release Julian…………………..

The documentary Ithaka powerfully depicts the fight Julian Assange’s family is putting up for him, writes Dr Binoy Kampmark

JOHN Shipton, despite his size, glides with insect-like grace across surfaces. He moves with a hovering sense, a holy man with message and meaning. As Julian Assange’s father, he has found himself a bearer of messages and meaning, attempting to convince those in power that good sense and justice should prevail over brute stupidity and callousness. 

His one object: release Julian……………………………….

Soft, a voice of reed and bird song, Shipton urged activists and citizens to join the fray, to save his son, to battle for a cause imperishably golden and pure. From this summit, power would be held accountable, institutions would function with sublime transparency, and citizens could be assured that their privacy would be protected. 

In the documentary Ithaka, directed by Ben Lawrence, we see Shipton, Assange’s partner, Stella Moris, the two children, the cat and glimpses of brother Gabriel, all pointing to the common cause that rises to the summit of purpose. The central figure, who only ever manifests in spectral form – on-screen via phone or fleeting footage – is one of moral reminder, the purpose that supplies blood for all these figures. 

Assange is being held at Belmarsh, Britain’s most secure and infamous of prisons, denied bail and being crushed by judicial procedure.  But in these supporters, he has some vestigial reminders of a life outside.

The film’s promotion site describes the subject as ‘the world’s most famous political prisoner, WikiLeaks founder Julian Assange’ a figure who has ‘become an emblem of an international arm wrestle over freedom of journalism, government corruption and unpunished war crimes’. ………..

 suffer he shall, if the UK Home Secretary Priti Patel decides to agree to the wishes of the U.S. Department of Justice (DOJ). 

The DOJ insists that their man face 17 charges framed, disgracefully and archaically, from a U.S. law passed during World War I and inimical to free press protections. The Espionage Act of 1917 has become the crutch and support for prosecutors who see, in Assange, less a journalist than an opportunistic hacker who outed informants and betrayed confidences. ……………………..

Through the film, the exhausting sense of media, that estate ever-present but not always listening, comes through. This point is significant enough; the media – at least in terms of the traditional fourth estate – put huge stock in the release of material from WikiLeaks in 2010, hailing the effort and praising the man behind it. 

But relations soured, and tabloid nastiness set in. The Left found tell-all information and tales of Hillary Clinton too much to handle while the Right, having initially revelled in the revelations of WikiLeaks in 2016, took to demonising the herald. Perversely, in the United States, accord was reached across a good number of political denizens: Assange had to go, and to go, he had to be prosecuted in the United Kingdom and extradited to the United States.

The documentary covers the usual highlights without overly pressing the viewer.  A decent run-up is given to the Ecuadorian stint lasting seven years, with Assange’s bundling out, and the Old Bailey proceedings covering extradition. But Shipton and Moris are the ones who provide the balancing acts in this mission to aid the man they both love……….

The film has faced, as with its subject, the usual problems of distribution and discussion. When Assange is mentioned, the dull-minded exit for fear of reputation, and the hysterical pronounce and pounce. 

In Gabriel Shipton’s words

“All of the negative propaganda and character assassination is so pervasive that many people in the sector and the traditional distribution outlets don’t want to be seen as engaging in advocacy for Julian.”

Where Assange goes, the power monopolies recoil. Distribution and the review of a documentary such as Ithaka is bound to face problems in the face of such a compromised, potted media terrain. Assange is a reminder of the plague in the patient of democracy, a pox on the body politic. ……….. https://independentaustralia.net/life/life-display/julian-assange-and-family-suffer-as-unjust-detention-continues,16470#.YqqqxM6TP0M.twitter

June 16, 2022 - Posted by | civil liberties, media, UK

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