Media and Politics in Europe

in 2007 he founded Mosaic, which provides mentoring programs for young Muslims across the U.K. He also became patron of the Oxford Centre for Islamic Studies, where he gave his most famous speech, “Islam and the West” in 1993

If there is much misunderstanding in the West about the nature of Islam, there is also much ignorance about the debt our own culture and civilization owed to the Islamic world

“Islam can teach us today a way of understanding and living in the world which Christianity itself is the poorer for having lost. At the heart of Islam is its preservation of an integral view of the Universe.”

he also argues that the West needs Islam in the here and now. There does not seem to be a parallel in any other Western political figure.

the world will also get used to a Western head of state who sees Islam in quite a different light than the waves of populism across Europe and North America

Culture is in the air like cigarette smoke in pubs before the ban, but it’s also pinned down in editorial rules and style guides. It’s there in tropes and cliches, precedent and the dread line “just how we’ve always done it”.

if Laura Kuenssberg had needed to be “told what to say — or what not to say” she would never have been appointed Political Editor

NOTMWTS is a shield intended to bat away further questions, to avoid closer scrutiny of how stories are chosen, framed, and reported. “All you’re doing is trying to find the truth,” is a line that comes from the same place as claims of journalistic impartiality and objectivity

purporting to offer true objectivity is like saying you can draw a perfect circle freehand

the notion that there are no clues to Kuenssberg’s politics or worldview in the thousands of hours of broadcasting she undertook in that role is downright insulting to viewers and listeners

Kuenssberg is far from alone in having provided a megaphone for anonymous sources, “not told what to say” but happily parroting lines to a huge audience; it’s an epidemic in British political journalism, where WhatsApp messages whip onto Twitter with undue weight and ceremony.

Their beloved Orwell — writer of two of the handful of books that every columnist leans on at some point (1984 and Animal Farm) — wrote in an unused preface5 to the latter that: Unpopular ideas can be silenced, and inconvenient facts kept dark, without the need for any official ban. Anyone who has lived long in a foreign country will know of instances of sensational items of news—things which on their own merits would get the big headlines—being kept right out of the British press, not because the Government intervened but because of a general tacit agreement that ‘it wouldn’t do’ to mention that particular fact. So far as the daily newspapers go, this is easy to understand. The British press is extremely centralised, and most of it is owned by wealthy men who have every motive to be dishonest on certain important topics. But the same kind of veiled censorship also operates in books and periodicals, as well as in plays, films and radio. At any given moment there is an orthodoxy, a body of ideas which it is assumed that all right-thinking people will accept without question. It is not exactly forbidden to say this, that or the other, but it is ‘not done’ to say it, just as in mid-Victorian times it was ‘not done’ to mention trousers in the presence of a lady. Anyone who challenges the prevailing orthodoxy finds himself silenced with surprising effectiveness. A genuinely unfashionable opinion is almost never given a fair hearing, either in the popular press or in the highbrow periodicals.

The unfashionable opinions have changed and shifted over time but the silence around them prevails

the Yellow Peril illustrations of the 19th century that shaped racist measures like the Chinese Exclusion Act of 1882. Across these movements, illustrators formalized Chinese influence as fictitious characters—ghosts, apes, Godzilla communists, Uncle Sam-eaters—neglecting the reality of what actually met the eye: exploited workers, opportunity-seeking immigrants, new markets for Western enterprise interests, etc.

Such visual shorthands are useful but also dangerous. They mirror the way America is depicted from the other side. China Daily’s political cartoons fanatically use Uncle Sam or the Statue of Liberty in any opportunity to portray American hypocrisy, in the same fashion as Soviet media did during the Cold War.

Every photo montage or threatening Maoist rendering of Xi promotes a simplified narrative of China and authoritarian horror.

The Chinese government has implemented an extremely comprehensive surveillance regime, especially in colonized areas such as Tibet and Xinjiang. Increased reporting on this topic has given way to a sub-branch of visuals characterizing China as a mass-surveillance state. Imagery of security cameras, facial recognition frames, and dramatically posed or saluting soldiers are among the usual suspects that are superimposed on a red background with the five gold stars of the Chinese flag.

These images also emphasize the technological aspect of surveillance over the human. Global tech runs on human power, from Facebook’s Philippines-based monitoring centers to the estimated 2 million workers who maintain China’s own firewall. It takes people to scrutinize and interpret behavior even if it has been filtered by artificial intelligence, to identify keywords for monitoring online, to decide whether an action crosses a line, and to choose what the punishment will be for crossing it

when the toll of COVID-19 on American lives became too real to ignore, U.S. coverage expanded to show its impacts in hospitals, schools, the workplace, and the home. As a result, we witnessed innovations in how we could tell these stories visually. The attitude went from “look at them” to “this is us.” Editors, photographers, and illustrators were obligated to consider how subjects would be depicted with respect, honesty, and care.

Authoritarianism can be treated as a threat to Chinese life, rather than a Chinese threat to the United States. To take China seriously means taking seriously the pain and deaths of the people in Wuhan alongside anxieties about how Xi’s leadership or surveillance affects the West. The focus must shift to processing life under the circumstances created by authoritarian rule, rather than reproducing the illusions spun by headline culture. It should center the people affected themselves. How might they reflect on China’s issues? How might we portray those views?

the Polish government passed a law preventing people from referring to concentration camps in the country as “Polish” camps, or saying anything about Polish collaboration with the Nazis

it’s actually a war about Holocaust memory. At first, the Jews were angry at Dani for the planned monument, and now we’re dealing with the Polish government being angry about the way we tell the story.

A Polish Jewish journalist who was interviewed in the film told me that the government is now trying to prove that most of the Polish people helped the Jews. This is, of course, a lie.

When you go to demonstrate in a Palestinian village in the West Bank, which is literally fighting for its life, you are maybe among 10 Israelis. You ask yourself: “Where is everyone? Why are there only 10 of us?”

In Israel, since I am part of the privileged group in society as a Jewish Ashkenazi man, I don’t experience hardship on a daily basis like Palestinians who live right next to me. I was never asked to cut anything from a film, never asked to compromise, and never silenced.

My Palestinian friends who live in Israel cannot say that about themselves. When the poet Dareen Tatour writes a poem and posts it on Facebook, it can be dangerous. She can get arrested. This is a radical thing that would not happen to me even though I say far more brutal things than she does.

Look what’s happening now with the Shomron Fund. They’re holding a film festival for settlers in the occupied territories. This is part of the process of mind control because they’re saying this is a legitimate part of Israel, and so it’s only natural to have a film festival there. And it’s not just some fringe festival. Israeli filmmakers and film funds are all part of it’s becoming very official.

France operates a highly centralized public education system, with the education ministry managing the nation’s schools from Paris. Ever since waves of immigrants arrived after World War II, during a period the French refer to as the “30 glorious years” of rebuilding and economic expansion, schools have been perceived as imparting certain ideals about French citizenship. Even slight changes to the curriculum may be put under the microscope. 

Ndiaye’s rapid elevation from the director of a humble national monument to the head of France’s education ministry marks a leap of faith by Macron, who described Ndiaye as an example of universalism and equal opportunity when they appeared together at an elementary school in Marseille last month. Having survived a recent reshuffling of the president’s cabinet, Ndiaye has moved from managing the Porte Dorée Palace, an institution with around 100 employees and an annual budget of 15 million euros, to leading the country’s largest public institution, with more than 1.2 million employees, an annual budget of more than 55 billion euros, and the responsibility of educating more than 12 million public school students

it wasn’t until living in the United States that he reflected upon what it meant to be Black

“When you have even the smallest commitment to the United States, they think you talk on behalf of Americans,” the Senegalese-born French politician said in a recent phone call. “The French are fascinated by America, but at the same time they are very careful about being under U.S. influence. They want to think that their culture is different from the community-oriented model of the United States.”

“What’s confusing is that you had in the previous government a line of assertive secularism that was very opposed to any conversation on race, which in the French context is very delicate,” Belin said. “Macron has demonstrated a willingness to tackle some of the most difficult elements of the French colonial period, moving the conversation forward on Algeria and Rwanda. He is a modernizer for France’s history, but not particularly avant-garde on racial justice and postcolonial matters.”

Nathalie Heinich, a French sociologist, said that she thought Ndiaye’s report for the Paris Opera demonstrated “a sociological misunderstanding of an actual problem” that should be addressed by reducing socioeconomic inequalities. She felt that Ndiaye’s analysis had been influenced by his time living in the United States, with its multicultural social model, “which tends to reduce individuals to their belonging to collective entities.”

Somewhat controversially, for France, he has referred to systemic racism in housing, employment, and in police relations with the Black and immigrant communities. But compared with U.S. academics plowing similar terrain, his views are relatively moderate

Jean-Luc Mélenchon, a hard-left political figure who placed third in the presidential race in April, scorned the new cabinet when it was announced in May but singled out Ndiaye as an “audacious” choice—echoing the Revolution-era words of Georges Danton, who called for “audacity, more audacity, always audacity.”

Some role models whom Ndiaye has referenced over the years—Frantz Fanon, Césaire, and Léopold Sédar Senghor—were Black French colonial authors who in one way or another turned to politics.

While the BBC remained the most trusted and biggest news brand in the UK, the public service broadcaster had one of the most dramatic drops in trust in Europe in recent years. In 2018, 75% of respondents reported trusting the corporation’s coverage, while 11% didn’t. In 2022, that figure had shifted to 55% and 26% respectively.

More than half of those (53%) who didn’t trust the BBC voted Conservative at the last election

the UK’s ‘news avoidance’ rates far above the average 38% level recorded across the 46 countries analysed, and second only to Brazil where the figure was 54%

“Large numbers of people see the media as subject to undue political influence, and only a small minority believe most news organisations put what’s best for society ahead of their own commercial interest.”

20% of those interviewed believed in the political impartiality of the media, down from 34% in 2017, while the same number said the media was free from business influence, down from 29% in 2017