NYT editor condemns intimidation of journalists by Sri Lankan lawmakers

by Sivakami
Jul 4, 2018

The editor of the New York Times, Michael Slackman condemned the intimidation of journalists by Sri Lankan lawmakers following a NYT report last month into Chinese control over of the Hambantota port. 

In a statement published on Tuesday, Mr Slackman said, "a group of Sri Lankan parliamentarians allied with the former president, Mahinda Rajapaksa, held a news conference to publicly criticize two journalists who contributed logistical assistance to a rigorously reported and accurate New York Times investigation into Hambantota port, published on June 26."

The publishing of the NYT report led to an online social media campaign by unidentified users attempting to discredit the paper and journalists involved in the report. On Monday, Sri Lankan lawmakers held a televised press conference where they identified and criticised two local journalists, Dharisha Bastians and Arthur Wamanan as working against the former president Mahinda Rajapaksa. 

Condemning the intimidation, which has been endorsed openly by the former president's son, Namal Rajapaksa, the NYT editor said, 

“It is unacceptable for journalists to be intimidated in this way. This action appears intended to silence critics and curb press freedoms, and ultimately deprive Sri Lankans of information in the public interest.”

"The Times expects the Sri Lankan authorities to ensure the safety of journalists working for our — or any — news organization."

"If Mr Rajapaksa takes issue with Times reporting, we have encouraged him to contact senior editors at The New York Times rather than intimidating Sri Lankan journalists. 

Namal Rajapaksa took to Twitter to reject the allegations of intimidation. 

"At no time did @PresRajapaksa or myself intimidate the journalists who worked on this article. @meslackman: Just like the press has a right to criticize politicians, don't we also have the right to "publicily criticize" reporting we believe to be faulty?" he tweeted. 

The original NYT report has been refuted by the former president in an open letter to the paper on July 1. 

China's embassy in Colombo also responded to the report stating it was "inconsistent". 

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Tamil asylum seekers in Australia mark 100 days of continuous protests for permanent visas

Over 200 refugees and supporters marked a significant milestone by marching 10 kilometers from Australian Prime Minister Anthony Albanese’s office to the Immigration Minister’s office this week, commemorating 100 days of continuous protest.

This demonstration, which culminated in a rally and speeches in Punchbowl, highlighted the plight of refugees denied permanent visas for over 12 years. Speakers at the event shed light on the profound impact of the current system, including barriers to higher education, employment, and access to essential services.

The protest has now entered its 100th day, with Tamil asylum seekers and their supporters continuing their relentless demand for permanent protection. For 38 days, they camped outside Australia’s Minister for Home Affairs, Tony Burke’s office in Sydney, calling on the government to end the visa limbo that has left many without basic rights and stability. Tamil asylum seekers have been in Australia for over a decade, living on short-term visas that must be renewed regularly. Without permanent residency, they are excluded from Medicare—Australia’s universal health insurance scheme—and are denied the right to work, study, travel, or access essential services. Many are also required to report to visa offices weekly.

The crisis is compounded by the controversial 'Fast Track' system introduced in 2014 by the Abbott government. According to the Asylum Seeker Resource Centre, this system has resulted in the rejection of around 8,500 asylum seekers' cases. It specifically targets individuals who sought asylum by sea and arrived in Australia between August 13, 2012, and December 31, 2013. Tamil asylum seekers, stuck in visa limbo for years, have launched protests nationwide, with 24-hour encampments in Melbourne, Perth, and Brisbane.

Amaran - Problematic propaganda

amaran

The genre of war epic makes its grand re-entry to Tamil cinema with director Rajkumar Periasamy’s sophomore feature film, ‘Amaran.’ As is often the case with this genre, one cannot help but feel the events of the ‘true story’ onscreen have been heavily modified for easy consumption.

 

 

 

The patriotic military films of Tamil cinema had taken a back seat for a while. The subject matter is now seldom a prominent theme of a film, instead lurking in the shadows peeking through such as via the heroes in the works of Nelson Dilipkumar. The genre of war epic makes its grand re-entry to Tamil cinema with director Rajkumar Periasamy’s sophomore feature film, ‘Amaran.’ As is often the case with this genre, one cannot help but feel the events of the ‘true story’ onscreen have been heavily modified for easy consumption.

The film follows the tale of Major Mukund Varadarajan (Sivakarthikeyan) and his partner Indhu Rebecca Varghese (Sai Pallavi), who meet at college and soon become lovers. Indhu grapples with her lover’s life ambition of becoming a soldier for the Indian army, admiring his courage and more than willing to become his doting wife at home. We then watch as Mukund is stationed in Kashmir and follow along with his various missions in the volatile area. The film’s depiction of the Indian army is one solely made up of heroes rescuing civilians and looking out for the public’s interests. It is not necessary to delve too much into why this is an oversimplified and problematic portrayal.

The central performances by Sivakarthikeyan and Sai Pallavi carry the almost three hour film adequately. Despite moments where Sivakarthikeyan lacks the intensity to land highly emotional scenes, the pair deftly share the screen between them, with Pallavi picking up any slack. Another notable performance comes from Geetha Kailasam, a character actor who has featured in many films recently in the role of ‘the mother.’ ‘Amaran’ gives her another opportunity to showcase her own humorous brand of motherhood.

Technically, the film runs smoothly. The film is decently shot and edited. Other than a few overly melodramatic moments, the screenplay is solid, albeit a little superficial. GV Prakash Kumar continues his trend of matching the quality of the film with the quality of his music. The track ‘Hey Minnale’ is an earworm, but the rest of the score and soundtrack does not shine through.

Overall, ‘Amaran’ is a straightforward piece of propaganda. A shot in ‘Amaran’ depicts a soldier of the Indian army blocking a closing door with his rifle. On the other side of the door is a Kashmiri child. To appease the child, the soldier sneaks a chocolate bar through the gap in the doorway. The reverse of this tactic is what director Rajkumar Periasamy employs to hook his audience in: the sweetness of the Penelope-Odysseus relationship between Mukund and Indhu hides the intrusion of the weapon of jingoist ideology. 

Krishna's rating: 2.5 stars

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Official trailer for film below.

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