This post should celebrate Ken Loach receiving an Honorary Doctorate from the Université Libre de Bruxelles. I am not really sure what purpose Honorary Doctorates serve but I do admire Ken Loach’s film output and I am happy to see it celebrated. But this event has become clouded because of charges of anti-semitism against the filmmaker. Of course he is in good company: a host of committed supporters of the Palestinian National Liberation Struggle have been subjected to this type of smear.
It appears for some media, including the Guardian newspapers, The Tablet weekly and the BBC, are happy to offer space to a dubious campaign protecting Israel from criticisms.
The Guardian has printed a number of articles about the problem of so-called ‘anti-semitism’ in the Labour Party and the BBC regularly reports on the issue. Yet I have yet to see a report in the paper or hear on the radio a report about the Al Jazeera series that exposed collusion between staff at the Israeli Embassy and the Labour Friends of Israel, The Lobby.
It seems that Ken wrote a riposte to one of his accusers, Jonathan Freedland, but that the Guardian declined to print it. The Jewish Voice for Labour has kindly done a service by publishing it online.
It is ironic that the problem is usually that it is the right-wing film critics who attack Ken’s films. Those on The Wind that Shakes the Barley were prime examples. Now we have critics, supposedly liberal or left, attacking him. We had an example of the failure of Zionist supporters to argue about the actual words, images and meanings when I posted on Waltz with Bashir. There was a series of critical comment on my article but we never actually heard anything from the writer on the actual film.
There is a long tradition of vilifying artists and writers who support resistance to oppression. We still await a film version of Trevor Griffith’s study of one great advocate, Tom Paine. Nearer our own times Jean-Luc Godard was among a number of French artists pilloried for criticising the French settler occupation in Algiers, Le petit soldat. Daniel Ellsberg was labelled the ‘most dangerous man in America’ by Henry Kissinger. The misuse of ‘anti-American’ for criticising US foreign policy parallels the misuse of anti-semitism.
Such critics would be better occupied critically viewing video film of Palestinian unarmed civilians shot in the back outside the borders of Israel.