Daily Archives: June 21, 2017

Risk

a documentary film directed by Laura Poitras

About forty minutes into Risk, Laura Poitrass messy documentary portrait of Julian Assange, the filmmaker addresses the viewer from off-camera. This is not the film I thought I was making, she says. I thought I could ignore the contradictions. I thought they were not part of the story. I was so wrong. They are becoming the story.

By the time she makes this confession, Poitras has been filming Assange, on and off, for six years. He has gone from a bit player on the international stage to one of its dramatic leads. His gleeful interference in the 2016 American presidential electionfirst with the release of e-mails poached from the Democratic National Committee, timed to coincide with, undermine, and possibly derail Hillary Clintons nomination at the Democratic Convention, and then with the publication of the private e-mail correspondence of Clintons adviser John Podesta, which was leaked, drip by drip, in the days leading up to the election to maximize the damage it might inflict on Clintonelevated Assanges profile and his influence.

And then this spring, it emerged that Nigel Farage, the Trump adviser and former head of the nationalist and anti-immigrant UK Independence Party (UKIP) who is now a person of interest in the FBI investigation of the Trump campaigns ties to Russia, was meeting with Assange. To those who once saw him as a crusader for truth and accountability, Assange suddenly looked more like a Svengali and a willing tool of Vladimir Putin, and certainly a man with no particular affection for liberal democracy. Yet those tendencies were present all along.

In 2010, when Poitras began work on her film, Assanges four-year-old website, WikiLeaks, had just become the conduit for hundreds of thousands of classified American documents revealing how we prosecuted the wars in Iraq and Afghanistan, including a graphic video of American soldiers in an Apache helicopter mowing down a group of unarmed Iraqis, as well as for some 250,000 State Department diplomatic cables. All had been uploaded to the WikiLeaks site by an army private named Bradleynow ChelseaManning.

The genius of the WikiLeaks platform was that documents could be leaked anonymously, with all identifiers removed; WikiLeaks itself didnt know who its sources were unless leakers chose to reveal themselves. This would prevent anyone at WikiLeaks from inadvertently, or under pressure, disclosing a sources identity. Assanges goal was to hold powerstate power, corporate power, and powerful individualsaccountable by offering a secure and easy way to expose their secrets. He called this radical transparency. Mannings bad luck was to tell a friend about the hack, and the friend then went to the FBI. For a long time, though, Assange pretended not to know who provided the documents, even when there was evidence that he and Manning had been e-mailing before the leaks.

Though the contradictions were not immediately obvious to Poitras as she trained her lens on Assange, they were becoming so to others in his orbit. WikiLeakss young spokesperson in those early days, James Ball, has recounted how Assange tried to force him to sign a nondisclosure statement that would result in a 12 million penalty if it were breached. [I was] woken very early by Assange, sitting on my bed, prodding me in the face with a stuffed giraffe, immediately once again pressuring me to sign, Ball wrote. Assange continued to pester him like this for two hours. Assanges impulse towards free speech, according to Andrew OHagan, the erstwhile ghostwriter of Assanges failed autobiography, is only permissible if it adheres to his message. His pursuit of governments and corporations was a ghostly reverse of his own fears for himself. That was the big secret with him: he wanted to cover up everything about himself except his fame.

Meanwhile, some of the company he was keeping while Poitras was filming also might have given her pause. His association with Farage had already begun in 2011 when Farage was head of UKIP. Assanges own WikiLeaks Party of Australia was aligned with the white nationalist Australia First Party, itself headed by an avowed neo-Nazi, until political pressure forced it to claim that association to be an administrative error.

Most egregious, perhaps, was Assanges collaboration with Israel Shamir, an unapologetic anti-Semite and Putin ally to whom Assange handed over all State Department diplomatic cables from the Manning leak relating to Belarus (as well as to Russia, Eastern Europe, and Israel). Shamir then shared these documents with members of the regime of Belarusian President Alexander Lukashenko, who appeared to use them to imprison and torture members of the opposition. This prompted the human rights group Index on Censorship to ask WikiLeaks to explain its relationship to Shamir, and to look into reports that Shamirs access to the WikiLeaks US diplomatic cables [aided in] the prosecution of civil society activists within Belarus. WikiLeaks called these claims rumors and responded that it would not be investigating them. Most people with principled stances dont survive for long, Assange tells Poitras at the beginning of the film. Its not clear if hes talking about himself or others.

Then there is the matter of redaction. After the Manning cache came in, WikiLeaks partnered with a number of legacy newspapers, including The New York Times and The Guardian, to bring the material out into the world. While initially going along with those publications policies of removing identifying information that could put innocent people in harms way and excluding material that could not be verified, Assange soon balked. According to the Guardian journalists David Leigh and Luke Harding in WikiLeaks: Inside Julian Assanges War on Secrecy, their 2011 postmortem of their contentious collaboration with Assange on the so-called Afghan war logsthe portion of the Manning leaks concerning the conflict in Afghanistanthe WikiLeaks founder was unmoved by entreaties to scrub the files of anything that could point to Afghan villagers who might have had any contact with American troops. He considered such editorial intervention to contaminate the evidence.

Well theyre informants. So, if they get killed, theyve got it coming to them. They deserve it, Leigh and Harding report Assange saying to a group of international journalists. And while Assange has denied making these comments, WikiLeaks released troves of material in which the names of Afghan civilians had not been redacted, an action that led Amnesty International, the Open Society Institute, the Campaign for Innocent Victims in Conflict, and the Afghanistan Independent Human Rights Commissionto issue a joint rebuke. The group Reporters Without Borders also criticized WikiLeaks for its incredible irresponsibility in not removing the names. This was in 2010, not long after Poitras approached Assange about making a film.

Lack of redactionor of any real effort to separate disclosures of public importance from those that might simply put private citizens at riskcontinued to be a flashpoint for WikiLeaks, its supporters, and its critics. In July 2016, presumably when Poitras was still working on Risk, WikiLeaks dumped nearly 300,000 e-mails it claimed were from Turkeys ruling AKP party. Those files, it turned out, were not from AKP heavyweights but, rather, from ordinary people writing to the party, often with their personal information included.

Worse, WikiLeaks also posted links to a set of huge voter databases, including one with the names, addresses, and other contact information for nearly every woman in Turkey. It also apparently published the files of psychiatric patients, gay men, and rape victims in Saudi Arabia. Soon after that, WikiLeaks began leaking bundles of hacked Democratic National Committee e-mails, also full of personal information, including cell phone and credit card numbers, leading Wired magazine to declare that WikiLeaks Has Officially Lost the Moral High Ground.

Poitras doesnt say, but perhaps this is when she, too, began to take account of the contradictions that eventually turned her film away from hagiography toward something more nuanced. Though she intermittently interjects herself into the filmto relate a dream shes had about Assange; to say that he is brave; to say that she thinks he doesnt like her; to say that she doesnt trust himthis is primarily a film of scenes, episodic and nearly picaresque save for the unappealing vanity of its hero. (There is very little in the film about the work of WikiLeaks itself.)

Here is Julian, holed up in a supporters estate in the English countryside while under house arrest, getting his hair cut by a gaggle of supporters while watching a video of Japanese women in bikinis dancing. Here is Julian in a car with that other famous leaker, Daniel Ellsberg. Here is Julian instructing Sarah Harrison, his WikiLeaks colleague, to call Secretary Clinton at the State Department and tell her she needs to talk to Julian Assange. Here is Julian walking in the woods with one of his lawyers, certain that a bird in a nearby tree is actually a man with a camera. Here is Julian being interviewed, for no apparent reason, by the singer Lady Gaga:

Lady Gaga: Whats your favorite food?

Assange: Lets not pretend Im a normal person. I am obsessed with political struggle. Im not a normal person.

Lady Gaga: Tell me how you feel?

Assange: Why does it matter how I feel? Who gives a damn? I dont care how I feel.

Lady Gaga: Do you ever feel like just fucking crying?

Assange: No.

And here is Julian, in conversation with Harrison, who is also his girlfriend:

Assange: My profile didnt take off till the sex case. [It was] very high in media circles and intelligence circles, but it didnt really take off, as if I was a globally recognized household name, it wasnt till the sex case. So I was joking to one of our people, sex scandal every six months.

Harrison: That was me you were joking to. And I died a little bit inside.

Assange: Come on. Its a platform.

The sex case to which Assange is referring is the one that began in the summer of 2010 on a trip to Sweden. While there, Assange had sex with two young supporters a few days apart, both of whom said that what started out as consensual ended up as assault. Eventually, after numerous back-and-forths, the Swedish court issued an international arrest warrant for Assange, who was living in England, to compel him to return to Sweden for questioning. Assange refused, declaring that this was a honey pot trap orchestrated by the CIA to extradite him to the United States for publishing the Manning leaks.

After a short stay in a British jail, subsequent house arrest, and many appeals, Assange was ordered by the UK Supreme Court, in May 2012, to be returned to Sweden to answer the rape and assault charges. Assange, however, claiming that there was a secret warrant for his arrest in the United States (though the extradition treaty between Sweden and the US prohibits extradition for a political offense), had made other arrangements: he had applied for, and was granted, political asylum in Ecuador. Because the British government refused safe passage there, Assange took refuge in the Ecuadorian embassy in London.

Poitras was with Assange in an undisclosed location in London as the British high court in Parliament Square was issuing its final ruling. The camera was rolling and no one was speakingit was all sealed lips and pantomimeas Assange dyed his hair red and dressed in bikers leather in order to make a mad dash on a motorcycle across town to the embassy. (Theres a sorrowful moment when his mother, who, inexplicably, is in the room, too, writes I love you, honey, on a piece of notebook paper and hands it and a pen to her son and he waves her off.)

This past January, five years into Assanges self-imposed exile, he promised to finally leave the embassy and turn himself over to the Americans if President Obama were to grant clemency to Chelsea Manning, who had been sentenced to thirty-five years in prison for giving documents to WikiLeaks. Obama did; Assange didnt. In May, the same month Manning left prison, Sweden dropped all charges against Assange. He remains in the embassy.

The sex case, as Assange called it, figures prominently in Risk. It serves to reveal his casual and sometimes noxious misogyny, and it is a foil for him to conflate the personal with the political, using the political to get out of answering to the personal, and the personal to claim that hes the victim here. Who is after you, Mr. Assange? Lady Gaga asks. Formally there are more than twelve United States intelligence organizations, Assange tells her, reeling off a list of acronyms. So basically a whole fucking bunch of people in America, she says, and then he mentions that the Australians, the British, and the Swedes are also pursuing him.

Whether this is true or not has long been a matter of dispute. The Swedes definitely wanted him to return to their country, and the British were eager for him to abide by the Swedish warrant, and he made no friends in the Obama administration. Following the Manning leaks in 2010, the attorney general, Eric Holder, made it clear that the Department of Justice, along with the Department of Defense, was investigating whether Assange could be charged under the 1917 Espionage Act, though no warrant was ever issued publicly. Hillary Clinton, then the secretary of state, said that WikiLeakss release of the diplomatic cables was an attack on the international community [and] we are taking aggressive steps to hold responsible those who stole this information. Still, Assanges self-exile in the embassy, which the United Nations condemned as an arbitrary detention, was predicated on his belief that the Americans were lying in wait, ready at any moment to haul him to the US, where his actions might land him in prison for a very long time, or even lead to his execution.

All this was well before Assange was accused of using WikiLeaks as a front for Russian agents working to undermine American democracy during the 2016 presidential election. And it was before candidate Trump declared his love for the website and then watched as Assange released a huge arsenal of CIA hacking tools into the public domain less than two months into Trumps presidency. This, in turn, prompted the new CIA director, Mike Pompeo, who appeared to have no problem with WikiLeaks when it was sharing information detrimental to the Democrats, to declare WikiLeaks a hostile intelligence service, and the new attorney general, Jeff Sessions, to prepare a warrant for Assanges arrest. If the Justice Department wasnt going after Assange before, it appears to be ready to do so now.

Despite Assanges vocal disdain for his former collaborators at The New York Times and The Guardian, his association with those journalists and their newspapers is probably what so far has kept him from being indicted and prosecuted in the United States. As Glenn Greenwald told the journalist Amy Goodman recently, Eric Holders Justice Department could not come up with a rationale to prosecute WikiLeaks that would not also implicate the news organizations with which it had worked; to do so, Greenwald said, would have been too much of a threat to press freedom, even for the Obama administration. The same cannot be said with confidence about the Trump White House, which perceives the Times, and national news organizations more generally, as adversaries. Yet if the Sessions Justice Department goes after Assange, it likely will be on the grounds that WikiLeaks is not real journalism.

This charge has dogged WikiLeaks from the start. For one thing, it doesnt employ reporters or have subscribers. For another, it publishes irregularly and, because it does not actively chase secrets but aggregates those that others supply, often has long gaps when it publishes nothing at all. Perhaps most confusing to some observers, WikiLeakss rudimentary website doesnt look anything like a New York Times or a Washington Post, even in those papers more recent digital incarnations.

Nonetheless, there is no doubt that WikiLeaks publishes the information it receives much like those traditional news outlets. When it burst on the scene in 2010, it was embraced as a new kind of journalism, one capable not only of speaking truth to power, but of outsmarting power and its institutional gatekeepers. And the fact is, there is no consensus on what constitutes real journalism. As Adam Penenberg points out, The best we have comes from laws and proposed legislation which protect reporters from being forced to divulge confidential sources in court. In crafting those shield laws, legislators have had to grapple with the nebulousness of the profession.

The danger of carving off WikiLeaks from the rest of journalism, as the attorney general may attempt to do, is that ultimately it leaves all publications vulnerable to prosecution. Once an exception is made, a rule will be too, and the rule in this case will be that the government can determine what constitutes real journalism and what does not, and which publications, films, writers, editors, and filmmakers are protected under the First Amendment, and which are not.

This is where censorship begins. No matter what one thinks of Julian Assange personally, or of WikiLeakss reckless publication practices, like it or not, they have become the litmus test of our commitment to free speech. If the government successfully prosecutes WikiLeaks for publishing classified information, why not, then, the failed New York Times, as the president likes to call it, or any news organization or journalist? Its a slippery slope leading to a sheer cliff. That is the real risk being presented here, though Poitras doesnt directly address it.

Near the end of Risk, after Poitras has shown Assange a rough cut of the film, he tells her that he views it as a severe threat to my freedom and I must act accordingly. He doesnt say what he will do, but when the film was released this spring, Poitras was loudly criticized by Assanges supporters for changing it from the heros journey she debuted last year at Cannes to something more critical, complicated, and at best ambivalent about the man. Yet ambivalence is the most honest thing about the film. It is the emotion Assange often stirs up in those who support the WikiLeaks mission but are disturbed by its chief missionary.

This ambivalence, too, is what makes Risk such a different film from Citizen Four (2014), Poitrass intense, resolute, Oscar-winning documentary about Edward Snowden. While Snowden and Assange are often twinned in the press and in the public imagination, these films demonstrate how false that equivalence is. Snowden leaked classified NSA documents that he said showed rampant unconstitutional intrusions by the government into the private lives of innocent citizens, doing so through a careful process of vetting and selective publication by a circle of hand-picked journalists. He identified himself as the leaker and said he wanted to provoke a public debate about government spying and the right of privacy. Assange, by contrast, appears to have no interest in anyones privacy but his own and his sources. Private communications, personal information, intimate conversations are all fair game to him. He calls this nihilism freedom, and in so doing elevates it to a principle that gives him license to act without regard to consequences.

The mission Assange originally set out to accomplish, thoughproviding a safe way for whistleblowers to hold power accountablehas, in the past few years, eclipsed WikiLeaks itself. Almost every major newspaper, magazine, and website now has a way for leakers to upload secret information, most through an anonymous, online, open-source drop box called Secure Drop. Based on coding work done by the free speech advocate Aaron Swartz before his death and championed by the Freedom of the Press Foundationon whose board both Laura Poitras and Edward Snowden sit, and which is a conduit for donations to WikiLeaks among other organizationsSecure Drop gives leakers the option of choosing where to upload their material. The New York Times, The Washington Post, The New Yorker, Forbes, and The Intercept, to name just a few, all have a way for people to pass secrets along to journalists.

It is not yet known why a National Security Agency contractor named Reality Leigh Winner didnt use a digital drop box when she leaked a classified NSA document to The Intercept in May outlining how Russian cyber spies hacked into American election software. Unlike Edward Snowden, who carefully covered his tracks before leaking his NSA cache to Glenn Greenwald (before Greenwald started The Intercept) and Laura Poitras (who filmed Snowdens statement of purpose, in which he identified himself as the leaker), Winner used a printer at work to copy the document, which she then mailed to The Intercept. What she and those at The Intercept who dealt with the document did not know, apparently, is that this government printer, like many printers, embeds all documents with small dots that reveal the serial number of the machine and the time the document was printed. After The Intercept contacted the NSA to verify the document, the FBI needed only a few days to find Winner and arrest her.

We will soon get to witness what the Trump administration does to those who leak classified information, and to those who publish it. WikiLeaks, apparently, will be providing the government with an assist. It is offering a $10,000 reward for the public exposure of the reporter whose ignorance or carelessness led the FBI to Reality Winners door. Such are the vagaries of radical transparency.

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The Nihilism of Julian Assange - The New York Review of Books

This review of ProdigysH.N.I.C. originally appearedin the November 2000 issue of SPIN. In the light of Prodigys passing, we are republishing it here.

On his 1994 debut,Illmatic, Nas painted New York Citys Queensbridge housing projects as a hard-knock hood as rough as any in the Bronx or Brooklyn. In his wake, QB natives like AZ, Nature, and, most potently, Mobb Deep came up perpetuating the mythology of The Bridge with stark rats-in-a-cage tales of project violence and petty thuggery. But Nas went the way of diamond-studded self-parody, leaving Mobb Deepwho always put guns before cheddarto keep their hometowns blood-stained legacy alive. No surprise then that on his solo debut, Mobb Deeps Prodigy consumes the fury and desperation of his environment and spits out the cold, concentrated ghetto the Mobb made infamous on 1996sHell on Earth.

As much a point of view than a place of origin, Mobb Deep/Prodigys Queensbridge is inhabited by killers with dry blood on their face who came out of the womb not giving a fuck, andH.N.I.C.s production (handled by the Alchemist, Rockwilder, Mobb Deeps Havoc, and others) is equally harshsteely, stark, infused with the rowdiness of a party you might leave with glass all in your nostrils. Prodigy fans should have a high tolerance for such gory details. Theyve been numbed by four Mobb Deep albums worth of guns and drugs, and like scores of post-Illmatic dramas,H.N.I.C. is the work of a thug shoving his steelmicrophone/pistoldown your throat. But where Nas was the kid whod seen just enough of the streets to dream of breaking free, P is the walking dead. Not even money matters. On You Can Never Feel My Pain, he attributes his nihilism to the permanent physical suffering caused by a lifelong battle with sickle-cell anemia, giving lines like Shoot me / Who gives a fuck, really? a harsh realism most reality rappers would kill (or be killed) for.H.N.I.C. is titillating; its rugged beats and brooding rhymes rival some of the best in the Deep canon, even if they dont expand the vocab. The dread is overwhelming. Nas Bridge was a place to survive and possibly escape. Prodigys is only a place to die.

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Review: Prodigy HNIC - SPIN