The War You Don’t See is a must-see documentary by Emmy-award-winning journalist John Pilger, who examines the news media’s failures, mistakes and crass ineptitude when reporting the truth about the wars in Afghanistan and Iraq.

In The War You Don’t See, Pilger, himself a renowned correspondent, asks whether mainstream news has become an integral part of war-making.

Focusing on the current conflicts in Afghanistan and Iraq, Pilger reflects on the history of the relationship between the media and government in times of conflict stretching back to World War I and explores the impact on the information fed to the public of the modern day practice of public relations in the guise of ‘embedding’ journalists with the military.

Featuring interviews with senior figures at major UK broadcasters, the BBC and ITV, and high profile journalists on both sides of the Atlantic, including Rageh Omaar and Dan Rather, the film investigates the reporting of government claims that Iraq harboured weapons of mass destruction.

Pilger also speaks to independent film makers, and whistleblowers, including the founder of Wikileaks, Julian Assange and to former senior British Foreign Office official Carne Ross to investigate why what he believes were key voices and key details did not figure prominently on the mainstream media’s agenda. The film also includes hard-hitting footage from independent media sources showing scenes in Afghanistan and Iraq, including footage leaked to Wikileaks.

Dan Rather, the famous CBS news anchor, and BBC World Affairs Correspondent Rageh Omaar both reflect on their own roles during the lead up to hostilities in Afghanistan and Iraq and the lessons they have learned.  Rather speaks about pressure felt by journalists who face the danger of becoming what he calls mere ‘stenographers’. Rageh Omaar speaks about the proliferation of 24 hour news and the effects this has on war reporting, including his own experience reporting on the liberation of Basra.

Fran Unsworth, the BBC Head of Newsgathering and David Mannion, Editor in Chief of ITV News, both face questioning on their news departments’ reporting of the Iraq war and the scrutiny of George Bush and Tony Blair’s claims about weapons of mass destruction.

The documentary also focuses on the abuse of Iraqi civilians by British soldiers and speaks to Phil Shiner, a lawyer who is representing a number of Iraqi victims. It examines the notion that our media distinguishes between ‘worthy’ and ‘unworthy’ victims of conflicts and how.

The War You Don’t See also looks at the balance of the media’s reporting on the hostilities between Palestinians and Israelis, with particular focus on mainstream broadcasters’ coverage of the Israeli attack on the aid flotilla in Gaza earlier this year.  Both the BBC and ITV are asked about the influence of Israeli government efforts to shape the reporting of such incidents on their coverage.

Now in his seventy-first year, Pilger has lost none of his investigative skill as journalist or any of his anger at injustice and falsehood, and while it can be argued that he has his own agenda, Pilger is a very much needed David, pitched against the dangerous Goliath of Fox News.  As Pilger once said:

“It is not enough for journalists to see themselves as mere messengers without understanding the hidden agendas of the message and the myths that surround it”

 
Parts 2-7 of John Pilger’s ‘The War You Don’t See’ after the jump…
 

Fouad Hady contemplates a 15-year sentence in a Saddam-era women’s prison cell
 
Whether under Saddam Hussein’s abysmal regime or in this post-“liberation” era, we tend to think of Iraq in terms of power and its players—mostly leaders and soldiers and mostly men.

Nine years after he fled Baghdad for Australia, Melbourne-based reporter Fouad Hady has helped change that by travelling back to his home country to file long-form reports from the ground for the Dateline program on Australia’s public SBS One channel.

In 2009’s “City of Widows,” Hady first surveys the miserable poverty of Baghdad’s outlying Al-Rashad district before being told of the Saddam-era womens’ prison, some of the cells of which are now occupied by refugees from other areas. Downtown in the city—which is home to 80,000 of Iraq’s 750,000 widows—he finds a burgeoning movement of women in loss.

“Deadly Legacy”—filed last month—finds Hady reporting from Fallujah, which was the site of massive anti-insurgent operations during which American troopes used munitions made with depleted uranium. Hady’s reporting on the city’s astronomical rates of cancer, infant mortality and leukemia speaks for itself.

These two reports are staggering in their eye-level view of some of Iraq’s afflictions before and after Saddam. No matter your position on that war, these should also prove instructive to those clamoring for action against a far more formidable foe like Iran. War against that country would make this look like a game of croquet. 
 
Click to see City of Widows on YouTube

 
After the jump: see Deadly Legacy on YouTube…
 

The director in a scene from Nice Bombs…
 
Chicago-based Iraqi director Usama Alshaibi seems to be one of the most prolific Arab filmmakers in the American independent film scene—and he’s almost certainly the most experimental. Working often in close collaboration with his wife Kristie, Alshaibi has jump-started the canon of what we might term transgressive Arab-American film.

In his over 50 short films, Alshaibi has updated the techniques of transgressors like William Burroughs and Kenneth Anger to transmit his obsessions with culture-clash, technology, religion, violence, sexuality and identity. He’s finished four features, two of which deal with porn and STDs, one with cross-cultural relationships and another with the personal reality of post-Saddam Iraq. He has three in production or post-production now, two of which—American Arab and Baghdad, Iowa—portray growing up Arab in the heartland in the in the ‘70s, ‘80s, and today, and the third, Profane, about a Muslim dominatrix in spiritual crisis.

As the news media shamelessly reduces the complex relationship between America and its Arab and Muslim communities into a dopey controversy over where to build a friggin’ cultural center or mosque, we need the perspective and imagination of Alshaibi’s work now more than ever.

Like most hard-working indie filmmakers, Alshaibi can always use financial help making his vision manifest. Click to donate to help him finish Profane or American Arab.
 

 
After the jump, check out a clip from American Arab…
 

Good AP report on the stresses faced by women enlisted in the military on their return home (not to mention while they’re on active duty). We don’t need another post-Vietnam in this country. Treat veterans right and provide the services they need.

WASHINGTON ?

Torturing, lying, murdering cockroaches slink away into the darkness, their crimes unpunished, as we bicker over whether or not we deserve to be healthy. What in the hell went wrong?

Most Americans are blissfully in the dark about it, but across the Atlantic in the UK, a commission reluctantly established by Prime Minister Gordon Brown under pressure from anti-war activists in Britain is beginning hearings into the actions and statements of British leaders that led to the country?