BBC star Gary Lineker strongly defends tweet about Israeli army arrests

Ex-England footballer and BBC sports presenter Gary Lineker. (Photo courtesy: social media)
Updated 13 December 2017
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BBC star Gary Lineker strongly defends tweet about Israeli army arrests

LONDON: Ex-England footballer and BBC sports presenter Gary Lineker has drawn support and criticism after retweeting a video showing Palestinian boys and teens being dragged away and caged by Israeli soldiers.
Lineker commented on his retweet just one word: “Sickening.”
The video was originally posted to Twitter by Ben White, an author, researcher and activist, who wrote on his tweet about the video: “Israeli soldiers in Hebron bravely defend themselves from a number of existential threats disguised as defenseless Palestinian children.”
Lineker’s retweet drew a mix of comments, with @LTCPeterLerner (Lt. Col. Peter Lerner, former spokesperson for the Israel Defense Forces) telling Lineker: “Sorry, Gary, you’ve completely missed the point. When kids throw stones they are a public menace. They need to be stopped. Yes, the video is unpleasant but it conveniently shares only a glimpse of what happened, the aftermath of their actions. You should be wiser than this. #Fail”
Lineker fired back a short missive: “They should be stuffed into a small cage? You should be wiser. #fail“
Lerner replied: “No, they should be in school. Oh but their leadership closed the schools so they would go on a wild rampage in the streets. That is what is sickening. What would you do?”
Lineker then quickly retorted: “Treat them like humans. Bye.”
But that wasn’t the end — the exchange between celebrity and Twitterati continued as Lineker replied almost a dozen times, defending his video post for around three hours after it was first posted.
Lineker’s retweeted video via Ben White was of footage originally posted to YouTube by B’Tselem, the Israeli Information Center for Human Rights in the Occupied Territories. The organization states that it tries “to educate the Israeli public and policymakers about human rights violations in the Occupied Palestinian Territories; combat the phenomenon of denial prevalent among the Israeli public; and help to create a human rights culture in Israel.”
B’Tselem’s video has been watched just 2,743 times (at the time of going to press) on YouTube, where it is titled, “Hebron routine: minors arrested in city center after clashes with soldiers.”
The video features an explanation as to why Israeli soldiers were making arrests in Hebron, stating that Palestinian youths threw stones at them on Oct. 13, 2017, after which the Israeli army caged 18 “young men.”
The shorter Twitter version, which has been viewed more than 731,000 times, edits out this information.
Lineker’s retweet has been liked over 12,000 times and retweeted itself more than 9,000 times. Comments under Lineker’s retweet are party anti-Israel, partly pro-Israel, but many focus on the age of the boys being arrested by the Israeli army. One Twitter user, @tones1971, commented: “They weren’t just arrested. They were stuffed in cages. That’s child abuse.”
A request for comment via Lineker’s Twitter feed went unanswered.


Arabic cinema wins over movie-goers

Updated 17 September 2018
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Arabic cinema wins over movie-goers

  • Oscar-nominated Saudi Arabian director Haifaa Al-Mansour premiered her short film set in Riyadh, ‘The Wedding Singer’s Daughter,’ at the Venice Film Festival
  • Earlier in the year Ziad Doueiri was the first Lebanese film director to be nominated for an Oscar with his film ‘The Insult’

LONDON: Arabic cinema has increasingly captured the imagination of movie-lovers around the world this year, with Arab film-makers winning award nominations and securing high-profile screenings at major film festivals.
This month the Oscar-nominated Saudi Arabian director Haifaa Al-Mansour premiered her short film set in Riyadh, “The Wedding Singer’s Daughter,” at the Venice Film Festival. Al-Mansour previously wrote and directed the film “Wadjda,” which was the first foreign-language Oscar entry from Saudi Arabia in 2014.
Earlier in the year Ziad Doueiri was the first Lebanese film director to be nominated for an Oscar with his film “The Insult.”
“Arab cinema’s profile has been on the rise. There are several different Arab movies being shown at Venice (film festival) this year,” said Joseph Fahim, an Egyptian film critic and the curator of this year’s London-based Safar Film Festival, which runs on Sept. 13-18.
Daniel Gorman, the director of London’s biannual Shubbak festival, which showcases mainly contemporary Arabic culture, art and film, said he that has seen the appeal of Arabic film grow in the UK.
“There is a huge interest and appetite for creative work coming from across the Arab world and there is strong interest in the UK to hear the voices of people from across the region, in an area that is generally represented in headlines in newspapers. Film is an excellent way of doing that,” he said.
Festivals have played a vital role in boosting awareness of Arab film, he said.
“(They) are able to bring new audiences to new work as they bring this concentrated moment of activity. A festival tends to have a bit more reach in terms of media coverage and audience awareness.
“(It) brings people along to something which they might not go to as a one-off screening,” Gorman said, explaining how the Shubbak festival also works with local schools and community groups to increase access to Arabic film and art.
This year’s Safar film festival — which is in its fourth year and organized by the Arab British Center — has focused on the theme of literature and film in the Arab world.
Fahim has created a program that includes movies dating back to the 1960s that have been buried deep in their respective country’s archives, as well as new films that have not been screened in London yet.
One of the films included is the Tunisian “In the Land of Tararanni,” originally released in 1973 and based on a collection of short stories by Ali Dougai.
It was one of the more tricky recordings to track down, said Nadia El-Sebai, executive director at the Arab British Center.
“There are films in this program that audiences will have no idea how many people it took to get that film,” she said, explaining the lengthy negotiations with ministries of culture, national archives and old friends and contacts to track down the much sought-after recordings.
There were other movies they had to give up on ever finding, including those lost in Syria or Iraq, or old versions of films that have not yet been digitised by national archives, she said.
More recent festival entries include this year’s Egyptian film “Poisonous Roses,” adapted from a 1990s cult novel, as well as the European premiere of the work of an Iraqi filmmaker — “Stories of Passers Through” — which traces the stories of Iraqis exiled from their country during the Saddam Hussein regime.
The literary theme of this year’s festival was chosen as a reaction to the growing popularity of contemporary Arab cinema, with the event’s organizers wanting to delve into the history of Arabic film.
“We are delighted by the increasing access to Arabic cinema. There are more films plugged into the London film festival this year. We have other other festivals — the Shubbak festival (in London), and the Liverpool Arab Arts Festival,” said El-Sebai.
“For this year’s edition we thought we would like to take the opportunity to go a little deeper into the history and heritage of Arabic cinema, and the industry,” she said.
“Safar is taking place just before London Film Festival (LFF), which was another motivation for us to look at something a bit different as we are definitely going to see really amazing contemporary films at the London Film Festival,” she said.
The LFF — which begins on Oct. 10 — is set to feature work by Syrian filmmaker Soudade Kaadan as well as the Saudi Arabian director Mahmoud Sabbagh’s latest dark comedy “Amra and the Second Marriage,” among other Arab productions.
Fahim was also keen to use the Safar event as a way of bringing audiences’ attention to a broader range of Arabic movies, highlighting the heritage of the film industry.
“It is reminding people that Arab cinema did not spring out today — there is a long history,” he said, adding that he wanted to question audience expectations.
“There have been a flood of amazing images from Arab cinema being displayed at festivals and most critics had no idea what they were. The more I spoke to people, the more I realized that there is a certain expectation of what Arab movies should be,” he said.
“We wanted to challenge what people expect from Arab cinema … I am tired of seeing Lawrence of Arabia a gazillion times on the big screen,” he said.
He said the selected films in the festival will hopefully challenge preconceptions. He referred to the inclusion of the 1964 Egyptian film — “The Search” — based on the writer Naguib Mahfouz’s novel. “It is a crime noir. It is essentially an existential noir and I don’t think many people will expect to see that,” he said.
Arabic cinema, however, needs to be better promoted, he said, noting a dearth of adequate film critics.
“At the big festivals it sometimes feels like Arab cinema is the bottom priority for critics,” he said.
“We need more perceptive writing. I could name you on one hand the film critics who know their stuff. That needs to change. Maybe we need to have more different voices. Film criticism is still being dominated by white male writers — although it has been developing — but that is still the norm,” he said.