It’s time for the annual freak show aka Academy Awards and this year a propaganda film supporting NATO’s violation of international law is one of the favourites to win with the short documentary about the White Helmets (WH).
I have written extensively about the ongoing information war. It may sound like a conspiracy theory, but you don’t have to do much research before you realize that most of mainstream media (MSM) rely on the same draft, at least when it comes to the major issues. That makes it look like MSM just spread propaganda from the power elite, whether it’s true or not. There is also a campaign to have bloggers and independent journalists labeled as fanatics and liars, while people pretending to be alternative media are being hailed as heroes because they say what many want to hear. The result is that critical minds and voices disappear, and every time we allow this to happen a small part of democracy dies. This applies particularly to Syria.
The documentary The White Helmets shows how corrupt journalism can be. Documentary films are generally meant to document and prove. They are the modern version of the photograph, and there used to be a time when it was probably true that photographs didn’t lie. They do today, as do documentary films. There is nothing objective about this film.
The White Helmets is available on Netflix and I have watched it with critical eyes. The first 16 minutes of this 40 minute long film is partly interviews with so-called WH-volunteers and partly live footage showing WH-employees working in Aleppo. Khaleb Khateb, press officer for the White Helmets, filmed in Aleppo, while the people making this documentary filmed in Turkey. The actual film makers didn’t go to Syria. I guess they didn’t have to as this was never about investigating real events. The White Helmets is a very controversial organization with ties to NATO and suspected ties to Al Qaida. You would think that a journalist had some critical questions.
There is every reason to be wary of Khaleb Khateb, and his first video for WH could give us some clues. He posted this to Twitter. It shows a girl being pulled out from a hole in the ground. This could be a genuine rescue operation, but I think she looks remarkably clean and unharmed. There is a similar situation in the Netflix film where two men run into the remains of a house, carrying a strectcher, and come out with a girl that looks very calm and focused. Again this could be real, but there is something about past behaviour and the future. This organization has admitted to manipulating situations and photos in the past, so when I see something from the same man that looks simulated, I am naturally skeptical.
The footage from Aleppo showed a lot of running and movement, and most of the shots were closeups of people. It was hard to make anything out of it because the video didn’t show what happened outside this small circle. Maybe this is inevitable when you film in a war-zone, but the technique reminded me of The Blair Witch Project or films trying to prove that UFO’s and Bigfoot are real. That means a lot of movement, shouting and nothing stays in focus for very long. This creates an impression of drama or urgency. Throughout this films we were given the same message NATO has been trying to feed us since the beginning of this invasion, which is that the rebels are very moderate Muslims that are fighting for the same cause. That is a misunderstanding at best, but I suspect that NATO is well aware of the situation. There are other sources available saying that the regime has a fair amount of support in the population, which is not at all what MSM is reporting. Syrian White Helmets is supposed to be an independent organization, but it has received funding from big NATO countries like the USA, UK and Germany, so it’s suspicious when they appear to be very friendly with Al Qaida and hold the same opinion as the governments that fund them. I am not sure where journalism comes into this picture. It doesn’t exactly look like it has.
After the first 16 minutes the rest of the film is from Turkey, where the White Helmets have a training camp for their “volunteers.” The sequence contains a little glimpse into the training, some interviews where they more or less talk about how honourable it will be to suffer and even die with the helmet on, and it also shows these “volunteers” talking on their mobile phones to their families in Syria. The message throughout the film is that the regime is the enemy, which makes me sceptical. It’s very unusual for people to agree on anything, so why would they agree on everything? It’s the lack of consensus that has caused so much violence in this region. I am not going to focus on the criticism of Syrian White Helmets, but there is a lot of it. This video explains some of the issues. This video is very alternative, but the informations seems accurate enough.
It’s interesting that WH has a website with the same address as the Nobel Committee in Oslo, with their own name as an addition between the domain name and the top level domain. They had a campaign last year too, and with this petition they are trying to manipulate politicians into nominating them. This page at the real nobelprize.org explains who has the right to nominate a candidate. I guess the idea is that at least one of the members on that list will suggest them as a candidate after public pressure.
If only a fraction of what independent journalists have reported is true, we are probably talking about serious violations of international law by NATO. There is at the very least reason to question the official version, but this film has failed miserably. I allow myself to ask whether this is a documentary or advertisement. It certainly isn’t journalism. Joanna Natasegara, founder of Violet Films/Ultra Violet Consultancy, has produced the film. According to borderlinemedia.com her company has specialised in “bespoke outreach and campaigns maximizing the social change potential for film and media projects, at any stage or size.” That’s what this film looks like. It’s a strategy and everyone involved appear to be sticking to a script, but then the Oscars has never been about quality.