MEDIA ROOTS — Many well educated and politically aware people in the United States would like to believe that the so-called ‘War On Terror,’ a false war against a tactic, will have no effect on their personal lives.  As long as it’s not affecting you, it’s not a problem, right?  Well, the problem is that many people who have chosen to lead politically active lifestyles have encountered, on a regular basis, the totalitarian weight of the ‘War On Terror,’ not because they are overly sensitive civil libertarians, but because they are being targeted specifically on U.S. soil for their political activism.  Political documentary filmmaker Laura Poitras is one such individual.

Written by Robbie Martin

***

SALON — [Poitras’ next film] will examine the way in which The War on Terror has been imported onto U.S. soil, with a focus on the U.S. Government’s increasing powers of domestic surveillance, its expanding covert domestic NSA activities (including construction of a massive new NSA facilityin Bluffdale, Utah), its attacks on whistleblowers, and the movement to foster government transparency and to safeguard Internet anonymity. In sum, Poitras produces some of the best, bravest and most important filmmaking and journalism of the past decade, often exposing truths that are adverse to U.S. government policy, concerning the most sensitive and consequential matters (a 2004 film she produced for PBS on gentrification of an Ohio town won the Peabody Award and was nominated for an Emmy).

But Poitras’ work has been hampered, and continues to be hampered, by the constant harassment, invasive searches, and intimidation tactics to which she is routinely subjected whenever she re-enters her own country. Since the 2006 release of “My Country, My Country,” Poitras has left and re-entered the U.S. roughly 40 times. Virtually every time during that six-year-period that she has returned to the U.S., her plane has been met by DHS agents who stand at the airplane door or tarmac and inspect the passports of every de-planing passenger until they find her (on the handful of occasions where they did not meet her at the plane, agents were called when she arrived at immigration). Each time, they detain her, and then interrogate her at length about where she went and with whom she met or spoke. They have exhibited a particular interest in finding out for whom she works.

She has had her laptop, camera and cellphone seized, and not returned for weeks, with the contents presumably copied. On several occasions, her reporter’s notebooks were seized and their contents copied, even as she objected that doing so would invade her journalist-source relationship. Her credit cards and receipts have been copied on numerous occasions. In many instances, DHS agents also detain and interrogate her in the foreign airport before her return, on one trip telling her that she would be barred from boarding her flight back home, only to let her board at the last minute. When she arrived at JFK Airport on Thanksgiving weekend of 2010, she was told by one DHS agent — after she asserted her privileges as a journalist to refuse to answer questions about the individuals with whom she met on her trip — that he “finds it very suspicious that you’re not willing to help your country by answering our questions.” They sometimes keep her detained for three to four hours (all while telling her that she will be released more quickly if she answers all their questions and consents to full searches).

Poitras is now forced to take extreme steps — ones that hamper her ability to do her work — to ensure that she can engage in her journalism and produce her films without the U.S. Government intruding into everything she is doing. She now avoids traveling with any electronic devices. She uses alternative methods to deliver the most sensitive parts of her work — raw film and interview notes — to secure locations. She spends substantial time and resources protecting her computers with encryption and password defenses. Especially when she is in the U.S., she avoids talking on the phone about her work, particularly to sources. And she simply will not edit her films at her home out of fear — obviously well-grounded — that government agents will attempt to search and seize the raw footage.

Read more about U.S. filmmaker repeatedly detained at border.