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Secretary of State John Kerry's?said the military coup in Egypt was 'restoring democracy.' This view confirms Muslim Brotherhood claims that the US would rather prop up a military dictatorship than accept an elected Islamic government. Leaders must choose their words accurately.
Supporters of Egypt's ousted President Mohamed Morsi walk past an anti-coup banner near Cairo University in Egypt, Aug. 12. In remarks Aug. 1, Secretary of State John Kerry's said the military takeover was 'restoring democracy,' which Ayaan Hirsi Ali calls 'an impulsive, un-thought-through remark.' Bernard-Henri Levy calls the statement Mr. Kerry's 'first mistake.'
Amr Nabil/AP
EnlargeRecently, US Secretary of State John Kerry said in Pakistan that the overthrow of President Mohamed Morsi in Egypt was ?restoring democracy.? He has since tried to clarified his comment and said that Egypt's "temporary government has a responsibility with respect to demonstrators to give them the space to be able to demonstrate in peace." But his statement continues to make waves.?
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Global Viewpoint asked Ayaan Hirsi Ali, the Somali women?s rights activist and author of ?Infidel,? and the French philosopher Bernard-Henri Levy, who persuaded then-French President Nicolas Sarkozy to take military action in Libya, to respond to Kerry?s remarks.
It is a mistake for Secretary of State John Kerry, representing President Obama, to have come out with a statement like this. Honestly, when I read it, I thought he must have blurted it out. It seemed like an impulsive, un-thought-through remark.
One consequence of this, in my view, rather foolish endorsement of the military coup in Egypt is that the US confirms what the [Muslim] Brotherhood propagandists have been trying to market: namely, that the US would rather prop up a military dictatorship than accept an elected government if that government is Islamic. I am absolutely no fan of the Brotherhood or Mohamed Morsi, but Kerry just handed the Islamists a huge PR stick, not to mention that the ensuing crisis in Egypt and elsewhere in the Middle East and North Africa will now be blamed squarely on the US.
The difficult question for any US administration that is committed to ?soft power? in its relationship with the Muslim world is: How can the US promote democracy and help those individuals and groups in the region who share America?s values, and at the same time avoid being accused of double standards and hostility to Islam?
Before Kerry?s words, it appeared hard to pin the usual conspiracy theories on the US. Now, every Islamist demagogue will simply replay Kerry?s words for a good long time to come.
? Ayaan Hirsi Ali
John Kerry has just blemished his otherwise good record as the new US secretary of State by committing his first mistake. One may certainly think badly of the Muslim Brotherhood. I personally believe that its past ideology represented an Arab version of fascism and that it never completely dissociated itself from this terrible past.
However, a military coup that resulted in 250 casualties in just three weeks most certainly does not qualify as ?restoring democracy.? Is this simply a matter of semantics? Perhaps, but any leader must choose the accurate words when qualifying current events. Otherwise, he commits a serious political mistake.
? Bernard-Henri Levy
? 2013 Global Viewpoint Network/Tribune Content Agency, LLC. Hosted online by?The Christian Science Monitor.
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LONDON (Reuters) - The value of British art exports has surged to its highest level since the credit crunch, despite new rules giving deceased artists' estates a share of their work's resale price, data compiled by a Thomson Reuters unit showed on Monday.
The value of art and cultural objects exported from Britain rose by 32 percent to 1.97 billion pounds in the year to May 2012, according to a statement from Sweet & Maxwell, a legal information provider owned by Thomson Reuters.
On Jan 1, 2012, the Artist's Resale Rights Directive, which allows artists to claim a percentage of the resale value of their work, was extended to benefit the estates and heirs of artists who have been dead less than 70 years. They became entitled to up to 4 percent of an original piece's resale price. Rights in Britain previously applied only to living artists.
"Many art experts and dealers were concerned that London's position in the art world could suffer compared to New York or Hong Kong which haven't introduced any such levy on the resale of modern and contemporary art," Massimo Sterpi, co-editor of "The Art Collecting Legal Handbook", said in the Sweet & Maxwell statement.
"The early indications are that this hasn't slowed down the London market," he added.
Exports of modern art, the category most likely to be affected by the new rules, jumped by 105 percent from the previous year to 687 million pounds by May 2012, a quicker rise than the rest of the market, Sweet & Maxwell said.
"Art is an increasingly important trophy asset for international High Net Worth individuals and some argue that the concept of art as an investment received a big push from the credit crunch - which saw the value of many other assets slump," Bruno Boesch, another co-editor of "The Art Collecting Legal Handbook", said in the Sweet & Maxwell statement.
London and New York have the most multi-millionaires and billionaires respectively in the world, according to a 2012 survey by WealthInsight, a London-based wealth consultancy.
Artist's Resale Rights were fiercely opposed by the British art market when they were first introduced.
"It's not a level playing field - we would be handing a large part of our art market to our rivals on a plate," Anthony Browne, chairman of the British Art Market Federation, told The Times in 2008.
While Boesch said in the statement that long-term fears about the impact of the rights were probably exaggerated, he added that "it is still early days for the new legislation".
(Reporting By Amritha John; Editing by Michael Roddy)
Source: http://news.yahoo.com/british-art-exports-hit-post-credit-crunch-peak-000423284.html
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All Critics (75) | Top Critics (22) | Fresh (73) | Rotten (2)
This isn't an action picture; it's a picture about the suspense and terror of inaction.
Gripping and tightly focused.
Lindholm rations the meat and potatoes of plot to keep us captive at the bargaining table. It's a sadistic ploy that produces a real payoff.
A Hijacking is one of those perfect films that crop up every few years to prove that with true artistry, even the most exhausted genre can yield something new, rich, and strange.
Lindholm justifies his confidence in a visual approach that's refreshingly realistic.
To refuse to call A Hijacking a thriller is not to say it isn't thrilling, in a dryly cerebral way.
A tense, gripping drama filled with psychological showdowns from Danish writer-director Tobias Lindholm.
... has an embedded feel without being a real-life report or documentary at all. It's a fictional film that hits both with blunt force and a surprising amount of complexity.
A Hijacking is more about one incident than about how it relates universally, but in thoughtfully exploring the specifics and emotions of that incident, Lindholm is able to show how modern life sometimes seems devoid of any accord.
A lean, stressful nail-biter, smart, well-written, nicely shot and wonderfully performed.
[Omar and Mikkel are] like Marcus and McTeague in Frank Norris's 1899 novel, handcuffed to each other in a struggle that could well end in mutually assured destruction.
Tobias Lindholm's slow-burning thriller makes a bid for verisimilitude that extends well beyond the use of natural light and handheld cameras.
Though the acting in "A Hijacking" is superb, the film is strictly a "follow-the-dots" offering. This is not entertainment. It is another overwhelmingly depressing foray into corporate greed.
"A Hijacking", if eligible, is an early contender for Best Foreign film at the 2014 Academy Awards.
It's an effective piece of work that will leave you longing for a shower, a nap, and a warm meal.
It's a radical departure from any thriller in stateside theaters.
A nail-biter of the highest order, A Hijacking is astonishingly emotional, gritty, and terrifying -- a genuine directorial achievement that should not be missed.
When the gut-wrenching conclusion of A Hijacking comes in the form of a single, random act, it's only then you realize how far you've been pulled into its emotional core.
A Hijacking delivers all the thrills the title suggests, but in none of the places you'd expect them.
Source: http://www.rottentomatoes.com/m/a_hijacking/
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