Islam vs Free Speech

December 21, 2012

Muhammad at the Movies: The Sequel

By Andrew  E. Harrod

Internationally-known  Koran burner Terry Jones has returned to the internet with a film condemning  Islam’s prophet Muhammad after Jones helped promote the internet trailer  Innocence of Muslims, a source of global controversy. Posted on Jones’  website Stand Up America, the over one-hour long movie The Innocent  Prophet: The Life of Muhammad from a Different Point of View uses mainly  cartoon images to present Muhammad and Islam as fraudulent. Legal actions taken  against Jones’ co-producer, the Pakistani exile Imran Fisarat now living in  Spain, show once again how free speech critical of Islam is under threat.  Curiously in several respects, Spanish authorities have acted against Fisarat  even though no Muslim rioters around the world have expressed outrage against  The Innocent Prophet as was the case previously with Innocence of  Muslims.

An  international relations scholar resident in Madrid, Soeren Kern, has extensively analyzed Fisarat’s background at  the Gatestone website for which Kern works. Firasat obtained  political refugee status in Spain in 2010 after receiving death threats in his  native Pakistan as well as Indonesia for condemning Islam after leaving the  faith and marrying a non-Muslim. Fisarat has continued his condemnation of Islam  in Spain with his multilingual website entitled World without Islam/Mundo sin  Islam. In March 2012, Fisarat also filed a petition with  the Spanish government calling for a ban on the Koran as a violent, hate-filled  book and threatened to burn a Koran publicly in central Madrid. Firasat  refrained from emulating Jones in America after Spanish police informed Firasat  that such a burning could be an infraction of Spanish laws “against offending  religious sentiments.”

Fisarat  explained to a Belgian newspaper that he drew his inspiration for The  Innocent Prophet from Innocence of Muslims. Upon hearing of the  killing of Ambassador Christopher Stephens in Benghazi, Firasat thought, “Okay,  you Muslims, use violence, but we will continue to make films. One day one of us  will lose.” Similar to Innocence of Muslims (discussed in detail here, here, and here), The Innocent Prophet claims to present,  in the words of Jones at the film’s beginning, an “accurate historical  portrayal” of Muhammad’s life, however critical. The film, however, merely  generally references canonical Islamic documents like the Koran and Hadith at  the beginning without any specific references included in the  narrative.

Although  the production values of The Innocent Prophet are slightly better  than the abysmal Innocence of Muslims, with its cast and crew drawn partly from the porn industry, the  treatment of Muhammad in The Innocent Prophet is no less negative.  Jones’ opening monologue questions whether Muhammad was an “inspired prophet of  God” or a “perverted madman driven by his demons.” Likewise, Jones asks whether  Islam is a “religion of peace” or of “violence and  oppression.”

The  somewhat monotonous narration by Fisarat in the following film leaves no doubt  about its answers to these questions. Muhammad grew up a lonely, poor orphan who  sought to compensate his deprivation by gaining fame and fortune through the  establishment of Islam as a “false faith.” Islam allowed Muhammad and his  followers to pillage under the banner of God in the “greatest mafia movement of  that time.” Islamic veneration of Muhammad as the final and greatest of  prophets, expressed most succinctly in Islam’s First Pillar, the statement of  faith or shahada, meant that Muhammad would be “respected forever.”  Islam also allowed Muhammad to fulfill his own carnal desires as a “sexual robot  full of lust.” Muhammad’s resulting “Islamic trap” and “lie” led to the “worst  human massacres in human history.”

Appearing  throughout the film are cartoons drawn by Fisarat and available at his website with often anachronistic portrayals of Muhammad. One,  for example, presents Muhammad on a wanted  poster calling for an “Immediate death penalty” in response to various  crimes such as homicide. Another caricature presents Muhammad sitting at a table  with Osama bin Laden and Iranian president  Mahmoud Ahmadinejad at an “International Islamic terrorism convention.”  Yet another cartoon shows a crazily euphoric Muhammad identified as 52 years-old  and wearing undergarments but no pants standing over a girl identified as six  years-old, a reference to controversial canonical accounts of Muhammad’s child marriage to  Aisha. A mosque with minarets shooting off like missiles  features in another caricature.

Jones’ December 3, 2012, announcement of the release of The Innocent  Prophet on December 14, 2012, immediately drew concerned reactions. Belgian  authorities on December 7 decided to increase the country’s terror alert status  from two to three on a four-point scale. Riots following the release of Innocence of Muslims in Brussels and in the heavily Muslim Borgerhout  district of Antwerp, Belgium’s second largest city, had led to 300  arrests.

More  drastically, Spanish authorities on the same day summoned (images of the Spanish  documents are available at  Stand Up America) Fisarat to appear  in court on December 13 to answer charges concerning violation of section  510 of the Spanish penal code prohibiting incitement of violence or hatred.  Spain’s interior ministry also threatened to revoke Fisarat’s refugee status in  a December 3 letter, a move that could send him to his death in his native  Pakistan with its blasphemy laws. Spain is thus bizarrely seeking to revoke a refugee  status precisely because of the kind of free expression that made Fisarat a  refugee in the first place.

At  his court appearance, the presiding judge allowed Fisarat to remain free  provided that he do nothing to disseminate so much as a single image from The Innocent Prophet. Fisarat expressed his compliance by  disassociating himself from the film that same day in a Spanish television interview. On December 16, 2012, meanwhile, there were  temporary reports of Hungary blocking YouTube access to The Innocent  Prophet.

Such  sensitivity to Islam by various European authorities appears incongruous with a  recent public statement by the European Union’s (EU) chief executive body, the  European Commission (EC), on October 31, 2012. Two days before, Poland’s supreme court had overturned a lower court decision and allowed a blasphemy prosecution to proceed  against a Polish rock musician, Adam Darski. Darski in September 2007 had ripped apart a Bible  during a concert while calling it a “book of lies” and the Catholic Church the  “most murderous cult on the planet.”

Standing  for free speech, the EC conceded that “national blasphemy laws are a matter for  the domestic legal order of the member states.” Yet the EC noted Poland’s  adherence to the European Convention of Human Rights with its right of free  expression and the convention’s implementing body in Strasbourg, France, the  Council of Europe. “This right protects not only information or ideas that are  favorably received or regarded as inoffensive or as a matter of indifference,  but also those that offend, shock or disturb,” the commission argued, with  traditional free speech justifications.

These  varying official European responses once again demonstrate the increasingly  notable differences in sensitivity accorded to Islam and other faiths such as  Christianity (see here and here). Repression of The Innocent Prophet in  Spain and elsewhere, moreover, has occurred even in the absence of any reported  violent response to this film. Such a muted response suggests that observers  like Robert Spencer of Jihadwatch are correct to assert that past expressions of  Islamic rage against offenses to Islam such as Innocence of Muslims are  not necessarily spontaneous. Yet with such vivid memories, some authorities are  now apparently preemptively censoring criticism and condemnation of Islam. In a  dangerous development for free speech concerning Islam, some Muslims have now  actually achieved a heckler’s veto that works in  advance.

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