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BY: Katelyn Caralle July 11, 2017 10:36 am

The Associated Press Stylebook, the traditional journalist stylistic handbook for decades, has sparked controversy over new updates that have right-leaning journalists and politicians concerned about potentially biased language.

The AP annually updates its stylebook in the spring to give journalists guidance on style and grammar. These changes are often analyzed and publicized, but the most recent updates have some observers particularly concerned.

Fox News host Shannon Bream on Tuesday listed changes that have some people questioning if the intent is to censor words more likely to be used by conservatives.

"The AP Stylebook tells people to change pro-life' to anti-abortion,'" Bream reported. "Militant,' lone wolves,' or attackers,' those are the preferred terms rather than terrorist' or Islamist.' And illegal immigrant' or undocumented,' well those are no longer considered acceptable words."

Dave Hoppe, former chief of staff to House Speaker Paul Ryan (R., Wis.), discussed the importance of language and the AP's changes along with the campaign director at the Center for Progress Action Fund, Emily Tisch Sussman.

"The thing you have to look at is that use of language is a very powerful tool. And to make choices like this, and I think in some cases bias choices like this, is something you have to watch very carefully," Hoppe said. "In extreme cases, this is actually censorship. So one has to be careful and be fair to use the language that both sides like."

One change that seems to be causing the most discussion is the disparity between "pro-life" and "anti-abortion."

Bream read off the change that instead of using "pro-choice" or "pro-abortion," journalists should use "pro-abortion rights." The AP also guides journalists to no longer use the term "abortionists" because it claims that term only refers to people who perform clandestine, or unsafe, abortions.

Bream then asked whether it is possible for language to truly be neutral in any story that raises such controversial and emotional topics.

Sussman said these standards exist so everyone can agree on and be aware of what is being reported.

"It's important to have a distinction if you are anti-abortion, pro-abortion, or pro-choice. There are people who can be anti-abortion and pro-choice, that is possible," Sussman said. "So I think it's important that we have clear guidelines."

"Use the word pro-life,' that is the phrase preferred by people who are pro-life. There's no problem in using it; it's not confusing to people to use it. It's very clear what they mean," Hoppe said. "That you use one set of words as opposed to the other and are told specifically not to use a certain set of words, it seems to me is bias and that's where the power of language can come in to try and turn people's minds and turn their thoughts away."

Sussman disagreed, arguing that it is important to be as specific as possible when talking about emotional issues like abortion and immigration.

"I do think that being anti-abortion is as specific as possible. I don't think that being pro-life is as specific as possible," Sussman said. "That would imply that someone would be pro-life in other contexts like death penalty or health care."

"To choose the language that someone prefers, I don't think is specific," she added. "As culture is moving, our definitions have to evolve as well."

Some other AP guideline amendments include calling migrants or refugees fleeing to Europe "people struggling to enter Europe." The AP also says that journalists should describe people who dispute that the world is warming as either "climate-change doubters" or "those who reject mainstream climate science."

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AP Stylebook Updates Spur Controversy Over Worries of Conservative Censorship - Washington Free Beacon

Egyptian Artists Continue to Produce Thrilling Art Despite Increased Censorship

The arts and culture scene in Egypt has been Oxygenating the freedom of expression discoursedespite battling against repression and government censorship.

In recent years, creative works of artstarting from music productions, television series or filmshave faced many legal consequences suffocating the creative process.

The independent Egyptian rock band Cairokee was set to launch their latest albumNotaa Bedaor A Drop of White. However, on 2 July, Cairokee announced that the General Authority for Censorship of works of art rejected a number of songs and prevented the distribution of the album in the market.

18 Days is an Egyptian film focusing on the 18 days of the 2011 Egyptian revolution. It premiered at the 2011 Cannes Film Festival and has been banned to be aired in Egypt since then. The film combined glossary of directors, sound engineers and editors among others to produce a film with many Egyptian artists on voluntary basis.

On 4 July, the film has been leaked on the internet allowing people to view it after many years of unjustified ban.

While Ramadan television series represent a great opportunity for artists to show off their best talents, clever scripts, thrilling events and smart directing, lawsuits remain an annual obstacle that impose censorship restrictions on Ramadan biggest hits.

This year, Ramadan seriesLa Totfe El Shams,or Dont let the Sun Set, faced a lawsuit on claims of offending the president. The lawsuit cameafter airing episode number 14 was aired showing a graffiti on a wall that says Sisi the traitor.

The Association from Freedom of Thought and Expression (AFTE) and The World Forum on Music and Censorship (FREEMUSE) have conducted a study called Censors of Creativity that explores case studies of artistic censorship tracing legal cases from courts, local news and international conventions.

Article 1 of the law [38/1992]states that the objective of the censorship of cinema, theater, musical works, and the performing arts is to protect the public order, public morals, and the higher interests of the state, stated in the study.

However, the effects of art censorship or unjustified restrictions of the right to freedom of artistic expression and creativity are devastating,according to researchers in the study.

Historically, contemporary arthas beenapowerful and impactfulway to address pressing political and social issues. Egyptian artists continue to work around the oppression and censorship in Egypt.

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Egyptian Artists Continue to Produce Thrilling Art Despite Increased Censorship - Egyptian Streets

Bamseom Pirates Seoul Infernoby Jung Yoon-Suk (image courtesy M-Line Distribution)

The Last Waltz, Martin Scorseses quintessential concert film chronicling the last show of the 70s rock group The Band, begins with text declaring across the screen: This film should be played loud. In the decades following the 1976 classic, this advice found its way into the beginning of countless music films. Most recently, the spirit of the message traveled across the globe to South Korea in Jung Yoon-Suks documentary Bamseom Pirates Seoul Inferno (2017), the story of the college punk duo Bamseom Pirates and their struggles with government censorship. But the onscreen statement near the beginning of Jungs film skews in a more political direction, notifying the viewer, The sounds of the film were left unbalanced to help you experience the imbalances in Korean society. In the background, we hear the Pirates aggressive, discordant music.

As a bellwether of whats to come, the statement works twofold. First, it prepares the viewer for an on-the-ground look at the politics and class conflicts of contemporary South Korea. Second, like the rest of the movie, it presents an endlessly compelling subject in a clodding, inelegant manner.

The film, which is playing at the New York Asian Film Festival at the Film Society of Lincoln Center, revolves around the arrest of the bands producer and manager Park Junggeun. He is said to have violated the countrys nebulous National Security Laws after posting tweets that were seen as praising the enemy. These tweets, including Dear leader, please buy me some chocolate and Kim Jong-Il is Car Sex, show how vague and easily manipulable the laws are. The messages are shared on-screen in front of images of Park dressed in costumes goofing off with friends, making it even clearer that Park is joking. However, South Korean culture seems to treat any expression of dissent comical or not as aiding the enemy.

Watching the Pirates at work is a riveting experience. Sarcasm and irony infuse everything they do especially their lyrics. In some songs, they seemingly, wholeheartedly endorse North Korean Communists, with choruses like All Hail Kim Jong-Il! But we recognize this stance is a farce in moments where the band discusses its almost nonexistent politics. Having spent his young life firmly on the south side of the DMZ, the drummer of the band, Kwon Yung-man, admits at one point, Honestly I know almost nothing about North Korea. The musicians scream slogans praising their countrys enemies just to provoke the powers that be.

Despite efforts to mirror the bands slapdash aesthetic, the film unfortunately follows a fairly consistent formal structure that keeps it from being engaging. A protest ensues around the privatization of Seoul University and a Korea-US free trade agreement. Then the band Yung-man and bassist Jang Sung-geon performs at the protest, offering a set of their signature punk/metal fusion and nonsense banter. The handheld cinematography that fills most of the film is a visually unspectacular means of chronicling these happenings, and Kwons tendency to tell the camera exactly what the band is doing instead of simply showing it drags the story on.

More interesting is Jungs repurposing of newscasts that intrude on the bands story, giving cultural context for the society that yielded the Pirates. A story about a 1994 meeting between North and South Korean officials, where the Communist representative warns that his country can turn their countries into an inferno if provoked, offers context for the tense political climate on both sides of the DMZ; this anecdote also explains the origins for the name of the Pirates debut album Seoul Inferno, which is excerpted throughout the film. Later in the film, as Park is on-trial, Jung appropriates propaganda from the era, where in a staged conversation two men and two women discuss their thoughts on war with the north. One of them declares, If certain elements within the South cause turmoil when the North attacks, they will pay dearly for their mistakes. Jungs appropriation of this footage paints a vivid portrait of the social consensus allowing the crackdown on Park, which ends in a 10-month jail sentence and two years probation.

Following the delivery of the verdict, however, Bamseom Pirates Seoul Inferno fails to end on a note acknowledging this very emotional moment. The viewer is treated to shots of the pirates riding in cars through the city at night, a middle-aged man asleep on public transportation, and cats, as well as scenes of the band recording screams, moans, claps, belches, and the whir of power tools. The film suffers for not making a final statement regarding the censorship imposed on artists in South Korea. The fault lies with the filmmaker and not the artists, whose dadaist sensibilities are the reason to watch this documentary.

Bamseom Pirates Seoul Infernois playingat the New York Asian Film Festival at the Walter Reade Theater, Film Society of Lincoln Center (165 W 65th St, Upper West Side, Manhattan) on Tuesday, July 11.

Continued here:
A Korean Punk Band's Struggles with Censorship - Hyperallergic

The Bolshoi Ballet has denied bowing to a controversial Russian law banning "homosexual propaganda" after it cancelled a new production about Rudolf Nureyev three days before the premiere.

The long-anticipated production had been due to open on Tuesday but was called off at the weekend amid speculation that authorities had balked at its depiction of Nureyev's love life.

Vladimir Urin, the theater's director general, said on Monday that he had cancelled the ballet about the Soviet dancer-turned-defector because rehearsals showed it was not ready.

"The ballet was not good," he said, saying it had been postponed rather than cancelled and would open in May next year instead.

Earlier the Tass news agency cited a culture ministry source saying Vladimir Medinsky, Russia's minister of culture, cancelled the production because he feared it broke a controversial law banning the promotion of homosexuality to minors.

Mr Medinsky's ministry confirmed he had spoken to the director, but denied issuing a "ban."

"Yes there was a long conversation with Urin," Irina Kaznacheeva, a spokeswoman for the culture ministry said in a statement. "But a ban is the not the ministry's working style."

Rudolf Nuryev was one of the most celebrated ballet dancers of his generation. In 1961 he became was one of the first acclaimed Soviet artists to defect to the West, where he had successfulcareer - and a turbulent love life including a string of gay relationships - until his death in 1993.

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Bolshoi Ballet denies bowing to censorship over canceled Rudolf Nureyev show - Telegraph.co.uk

China's crackdown on livestreaming is really just the tip of the censorship iceberg Mashable In a show of strength, in anticipation of a huge political event, China is cracking down hard on the one thing it hasn't been able to control livestreaming. With 731 million internet users in China of which 300 million have used livestreaming ...

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China's crackdown on livestreaming is really just the tip of the censorship iceberg - Mashable