March 7, 2013
http://wordfromjerusalem.com/?p=4535
It is a depressing reflection
of our times, when many of us heaved a sigh of relief when neither of
the two Israeli documentary Oscar nominations received awards.
In the current perverted
environment, it has become a hallmark of left liberal political
correctness to project Israel as a racist and colonial implant imposed
on the Palestinian underdogs, even if that necessitates a distortion of
reality.
In Israel, practitioners of the
arts, especially film producers, are conscious that creating a work
which besmirches their nation enhances their prospects of achieving
global recognition. That, in part, explains why so many recent Israeli
films with a social or political dimension designed for international
consumption, have tended to be masochistically critical and demeaning.
What makes this even more bizarre is that in many cases, rabidly anti-Israeli films are subsidized by the Israeli taxpayer.
This was exemplified by the
Israel bashing documentary “Five Broken Cameras” which depicts protests
against the construction of the security barrier in Bilin without even a
hint as to why a security barrier and checkpoints were required. It
demonizes Israel’s administration of the disputed territories and
portrays the IDF as cruel heartless tyrants whilst presenting
Palestinians as noble underdogs.
It is co-directed by an
extremist leftist Israeli who supports global boycott of his country and
a hostile Palestinian, who had the chutzpa to demand that the
government-subsidized documentary not be designated as an Israeli
production.
Most Israelis would consider it
the height of insanity for the government to fund and effectively
bestow legitimacy to an enterprise engaged in a global campaign to
defame, challenge its right to self-defense and delegitimize it.
The other Oscar nomination,
“The Gatekeepers”, raises far more complex issues. Yet it is likely to
inflict considerably greater damage to Israel’s standing than the cruder
propaganda production.
This documentary, directed by
Dror Moreh, is based on over 70 hours of interviews with five former
heads of the Shin Bet from 1980 to the present, all of whom served the
nation with distinction. We are unable to ascertain whether the extracts
presented reflect fair and balanced views of the participants but, to
date, none of them have protested that they were misrepresented.
The film unquestionably
portrays Israel negatively. It is presented as a colonial implant and is
replete with harsh denunciations of alleged torture, racial
discrimination, targeted assassinations, needless violence and
oppression in the disputed territories. It depicts cruel military
commanders “winning the battles but losing the war”.
Avraham Shalom, one of the
former Shin Bet heads, initially states that “with terrorism there are
no morals” and any measure to save innocent lives is warranted. But
towards the end of the film he remarks “we became cruel” and challenges
the morality of current policies. There is even an obscene analogy
between Israeli and Nazi occupation policies – implying that we practice
genocide, ethnic cleansing and apartheid.
This extremely critical
presentation raises other important issues. Without in any way
detracting from their service in defense of the state, we are not
obliged to treat these five former heads of Shin Bet as sacred cows. One
is entitled to ask why did they remain silent in office and refrain
from expressing such views until their retirement? If they felt so
strongly about these issues why did they not resign?
There are surely serious
questions of propriety involved when senior intelligence officers, upon
retirement, become bleeding hearts and engage in publicly undermining
the policies implemented throughout their career.
Particularly so, as this was
not the first outburst of this nature by former Shin Bet heads. In 2003,
four former Shin Bet heads publicly called for unilateral withdrawal.
We are all conscious of the disastrous consequences which resulted when
Ariel Sharon implemented their recommendations and uprooted the Gaza
settlements. The territories ceded were immediately overtaken by Hamas
and employed to launch missiles deeper into Israel.
However, my principal ire is
directed towards Dror Moreh who, aware that his production could have
major international impact, should at least have placed the alleged
suffering and victimization of Palestinians in context and not dealt
with such issues almost in isolation.
Moreh provided insufficient
emphasis to the context of terror which obliges Israel to take tough
steps to to defend the lives of its citizens. He should have laid
greater emphasis on the swarms of suicide bombers targeting and
murdering more than 1100 innocent Israelis during the Second Intifada;
the genocidal hatred and calls for the annihilation of the Jewish state;
the brainwashing of Palestinian children from kindergarten age upwards
into believing that the highest Islamic objective is martyrdom by
killing as many Jews as possible; the impact on a quarter of the Israeli
population traumatized by 13,000 missiles launched against them between
2005 and 2012, obliging them and their families to spend much of their
time in underground shelters.
He should have mentioned that
Prime Ministers Ehud Barak and Ehud Olmert were rebuffed after they had
offered 95% of the territories over the Green Line to the Palestinian
Authority and that despite Prime Minister Netanyahu having imposed a 10
month settlement freeze and called for negotiations without
preconditions, the Palestinians rejected all these offers.
Instead, Moreh used his documentary to repeat the mindless mantra “end the occupation”.
None of those interviewed
suggested that terror would end if Israel withdrew from the disputed
territories nor did they propose any constructive solution. They are
fully cognizant that the vast majority of Israelis yearn to separate
themselves from the Palestinians and have no desire to rule over them.
But they realize that to do so unilaterally, in the absence of adequate
security arrangements, would effectively be committing national suicide.
The fact is that Moreh produced
a film with an agenda which, according to former IDF Chief of Staff and
Deputy Prime Minister Moshe Ya’alon, amounted to a deliberate mission
to promote a distorted Palestinian narrative demonizing Israel.
Moreh himself confirmed this
when he explicitly expressed the hope that President Obama, Secretary of
State Kerry and Defense Secretary Hagel would see his film and be
encouraged to exert greater pressure on the Israeli government.
There were protests that the
government is employing taxpayer funds to subsidize global anti-Israeli
propaganda. Minister for Culture, Limor Livnat expressed reluctance to
introduce what she feared could be condemned as political censorship.
However she called on responsible film producers to exercise restraint,
knowing the severe damage they can inflict on Israel in the war of ideas
by pandering to the propaganda of our enemies. She also urged them to
acknowledge the sensitivities of the thousands of Israelis who lost
loved ones and suffered in the course of the Palestinian terror.
We all look forward to the day
when talented producers emerge from our ranks who will create works
displaying our extraordinary achievements to the world and that, despite
being the only nation in the world under continuous existential threat,
we remain a vibrant democratic state in this regional cauldron of
Islamic tyrannies.
In the meantime, without
implementing full blown censorship, we should find a means to bring an
end to the lunacy of employing Israeli taxpayer funds to promote global
anti-Israeli propaganda designed to defame the nation.
The writer’s website can be viewed at www.wordfromjerusalem.com.He may be contacted at ileibler@leibler.com
This column was originally published in the Jerusalem Post and Israel Hayom
Some of my recent articles:
Germans Lurching towards Anti-Semitism (February 28, 2013)
Israeli Politics: On the Edge of the Precipice (February 27, 2013)
Netanyahu’s Political Cynicism will backfire (February 22, 2013)
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