By Max Hallam
While working on a documentary trilogy about post 9/11 America, Poitras began to receive encrypted emails from a subject known only as ‘Citizen Four’. This citizen claimed to be ready to blow the whistle on a global intelligence effort involving private information and communications of regular people. Poitras and confidant Glenn Greenwald flew to Kong Kong on Citizen Four’s instructions, where they would dissect the information he had to give them. It was here that Citizen Four revealed himself as the man we now know as Edward Snowden.
By Elliott Goat
“Sometimes they don’t even know where here is.”
In the build up to the Thomson Reuters Foundation Trust Women Conference, on Monday 27 October the Frontline Club hosted a debate on modern day slavery and human trafficking chaired by Prabha Kotiswaran, senior lecturer in Law at King’s College London and advisor to the ILO-DFID Anti-Trafficking Project.
By Antonia Roupell
“Does the Pubic Still Care?” was the poignant title of the discussion on conflict and disaster reporting which was chaired by Ben Parker at the Frontline Club on Thursday 23 October. The event was organised by the Oversees Development Institute and Humanitarian Policy Group. Channel 4 News anchor, Jon Snow, and senior reporter for the People and Power programme on Al Jazeera English, Juliana Ruhfus, were joined by experts in aid and development, Marc DuBois, former head of Médecins Sans Frontières (MSF) and Eva Svoboda, research fellow in the Humanitarian Policy Group at the Overseas Development Institute.
By Josie Le Blond
What is the future of news? Will the public know more or less in the internet age? These questions were the focus of a panel discussion marking the launch of the autumn issue of Index on Censorship magazine at the Frontline Club on Wednesday 22 October.
Shrinking international news budgets, bureau closures, the rise of the freelancer and the citizen journalist all made for gloomy prognoses for the business-as-usual news model, agreed the panel chaired by The Times columnist, David Aaronovitch.
By Isabel Gonzalez-Prendergast
On Wednesday 22 October, the autumn issue of Index on Censorship magazine launched at the Frontline Club. The magazine’s editor, Rachael Jolley, introduced the issue and handed over to author and columnist, David Aaronovitch, who chaired the accompanying debate on the future of journalism.
Aaronovitch initiated the discussion by asking each panellist to speak individually on the future of journalism before inviting the audience to partake.
By Max Hallam
The Term offers a fascinating insight into the world of the groups opposing Vladamir Putin’s presidency in Russia. After its screening at the Frontline Club on Friday 17 October 2014, producer Max Tuula joined the audience for a brief Q&A via Skype.
The film follows the efforts of a number of opposition leaders, including Alexei Navalny, who runs the dominant anti-corruption blog and is an active political figure, and Ilya Yashin, leader of the Solidarnost opposition movement. The third main person of interest is Ksenia Sobchak, a prominent political activist who works alongside Ilya Yashin. Sobchak is of particular focus because she is Vladamir Putin’s goddaughter.
One of the opening scenes shows a chorus of partygoers singing, “I’m free, I’ve forgotten what fear is,” swiftly followed by footage of marches and protests and clashes with the police.
The various opposition groups are not depicted as aggressive movements. Rather, The Term reveals a spider’s web of different groups carefully considering and co-ordinating their next steps. A poignant moment in the film is when Ksenia says to Ilya Yashin, “It is important to know when to stop.”
By Graham Lanktree
Interactive reports that hold short-attention spans online are the holy grail for web editors. Loc Dao, an executive producer and creative technologist at the National Film Board of Canada’s digital studio, has come up with a few recipes for success.
At the Frontline Club on Wednesday 8 October, Dao shared the lessons learned on the road to brilliant projects like the NFB’s Seven Digital Deadly Sins partnership with The Guardian in June, and Bear 71, which challenged the nature of the medium with its mash of video, gaming technology and interactive installation at its 2012 Sundance Film Festival debut.
By Graham Lanktree
When Prime Minister Margaret Thatcher announced on 6 March 1984 that she would close 20 coal mines, there was little clue it would spark the country’s longest strike and leave Britain’s trade unions sorely diminished decades later.
For a year roughly 160,000 coal miners from across the UK walked off the job as the government declared war on the unions. Thirty years on, “there’s a huge battle for interpretation about it,” said Owen Gower, director of Still the Enemy Within, at its Frontline Club screening on Friday 3 October.
With first-hand accounts from members of the National Union of Mineworkers who manned the strike’s front lines, the documentary digs deep into archival footage – much never seen before and shot by the miners themselves – to give voice to the men and women who Thatcher labeled ‘the enemy within’.
By Mackenzie Weinger
On Wednesday 1 October, several experts told a crowd at the Frontline Club about the unprecedented and horrific impact that the Ebola epidemic is having in West Africa.
The panel — moderated by Ade Daramy, chair and spokesperson for the UK Sierra Leone Ebola Task Force — tackled the international community’s response to the outbreak and assessed the situation on the ground during the Frontline Club’s First Wednesday: The Fight Against Ebola.
“J. Edgar Hoover was apoplectic.”
On Monday 29 September 2014, the Frontline Club screened 1971, the incredible story of eight US citizens whose courage – both moral and physical – led them to break into an FBI office to confiscate evidence of the bureau’s grave abuses of power.
The self-incriminating documents revealed the existence of COINTELPRO (Counter Intelligence Program), the remit of which ranged from spying on women’s tea parties to what Noam Chomsky described as the, “Gestapo-style assassination”of Black Panther leaders.
In the post-screeening Q&A we were joined by director Johanna Hamilton via video link.
The threat posed by the Islamic State of Iraq and al-Sham (ISIS) and the international network of militants it has spawned will be with us for a “generation”, according to experts speaking at the Frontline Club on Wednesday 24 September 2014.
By Caroline Rogers
On Wednesday 17 September, a panel chaired by Channel 4 News’ international editor Lindsey Hilsum, came together to discuss the current plight of Libya; what has gone wrong since the 2011 revolution, whether it really is on the brink of becoming a failed state, and what role the international community should play in pulling Libya away from this fate.
By Antonia Roupell
On Monday 22 September the Frontline Club screened In The Shadow Of War. The film explores the impact the Bosnian war still has on today’s youth. It focuses on four characters whose lives, a generation after the war ended, are still shaped by the events of the 1990’s. The documentary was followed by a Q&A with co-directors, Sophia Scott and Georgia Scott, as well as the film’s executive producer, Christopher Hird.
— In the Shadow of War (@InShadowofWar) September 23, 2014
By Ratha Lehall
On Friday 19 September, the Frontline Club hosted a screening of The Process, followed by a lively Q&A with the director, Joshua Baker, moderated by Jonathan Miller, foreign correspondent for Channel 4 News.
The film follows three main characters in Israel and Palestine: a young Israeli woman who has moved from her settlement to Tel Aviv, a privileged young Palestinian man who lives with his wealthy family in Ramallah and a mother living in the West Bank who is determined to join the struggle against occupation.
By Phoebe Hall
On Tuesday 16 September, the Frontline Club hosted a preview screening of Night Will Fall, followed by an insightful Q&A with director André Singer and producer Sally Angel. The powerful film interweaves eyewitness testimony and original archive footage in order to chronicle the process of the filming, by American and British and Soviet combat cameramen, of the liberation of Nazi concentration camps in 1945.