Friday, Nov. 27, was the 48th Palestinian Arab rage day of the 2015 calendar year. That’s because this last Friday of November is the fourth to last Friday of 2015.
By the end of the day, the Israeli security cabinet decided to allow for full closures on Palestinian Arab villages. This decision allows military commanders to impose a closure without having to first wait for approval by the full government.
By 7:30 a.m. Friday, there had already been a ramming attack just outside of Jerusalem. An Arab driver rammed his car into Israeli Defense Forces soldiers in Kfar Adumin. After ramming the soldiers, the driver, allegedly jumped out of his car holding a knife, but he was shot and killed by a nearby pedestrian. The terrorist was later identified as Fadi Hassib, 30, from Al-Bireh, which is near Ramallah,
Two soldiers were wounded when Hassib drove his car into them.
Throughout the day, clashes between Palestinian Arabs and IDF troops took place. Near the Halhul-Hebron bridge on Route 35, Israeli soldiers opened fire on rioting Arabs throwing firebombs at them. Another clash involving firebombs took place at Beit Fajar, near the Gush Etzion Junction.
In the early afternoon, there was a ramming attack in which five Israeli soldiers ages 19-20 were wounded. Three of the soldiers were in serious and three in moderate condition in this attack which took place in Beit Ummar, which is located between Hebron and Gush Etzion.
This terrorist, later identified as Omar ah- Zaakik, 19, who was from Beit Ummar, was killed. All of the victims, two of them officers, were conscious.
When police and emergency vehicles arrived at the scene, local Arabs began throwing rocks at them. IDF commanders imposed a closure on Beit Ummar, following this incident.
Later in the day, a border police officer in his 30’s was stabbed in the upper body in a terrorist attack near the bus station in Nahariya. The terrorist escaped. The border policeman is a Christian from the northern town of Fassuta.
In clashes near the Gaza border on Friday, 25 people were wounded. There were at least two hotspots along this border, one near the Nahal Oz border crossing, which is due east of Gaza City, the other just north of Khan Younis.
IDF spokespeople said forces opened fire when rioters refused to disperse or cease attempting to break through the security fence.
There was a demonstration in Ramallah, near Israel’s Ofer Detention Center, where Israeli soldiers were forced to use live fire, and clashes near Kalkilya and Bilin.
America’s favorite serious Jewish actor for much of the 1960’s and ’70’s, Dustin Hoffman, is about to present an award to a filmmaker at an event put on by the Muslim Public Affairs Council.
The recipient of the award is a professional Israel hater, and MPAC is led by someone who publicly suggested Israel was to blame for 9/11 and who advocates for the removal of Hezbollah, Hamas and Palestinian Islamic Jihad from the American terrorism list. With Jews like Dustin Hoffman, who needs enemies?
This Saturday, April 27, Dustin Hoffman will appear at MPAC’s Media Award Gala in Los Angeles to present MPAC’s Media Award to the anti-Israel film “5 Broken Cameras.” According to MPAC, Hoffman is a “supporter of the documentary.”
The objective of “5 Broken Cameras,” like that of so many Pallywood videos, is to portray Arabs as the innocent victims of the rapacious Israel. This movie began as video clips of the protests that were submitted as “evidence” to Israeli courts and handed over to be used by mainstream media to show the sad plight of the Arabs. The videos which then became this movie were taken and put together by someone participating on one side of a propaganda war, and not by an objective film maker seeking to document reality – as is the role of documentaries – that fact should have sounded alarm bells for a professional actor of Hoffman’s stature.
In his very first film, “The Graduate,” (1967), Hoffman played a recent college graduate whose parents expect him to do great things, but who was stuck in an emotional and motivational dead zone. His character, Benjamin Braddock, is turned off by the plastic values of his parents’ generation, but has no passion or interests to replace them. And so he is portrayed floating in his parents’ swimming pool, suspended below the water, cocooned in indifference, pondering the bizarre lecture given to him by a family friend about “plastics.”
Over the course of his career, Hoffman’s extraordinary roles included the disabled homeless vet Ratzo Rizzo, in “Midnight Cowboy” (1969), the highly talented yet self-destructive break-through comedian Lenny Bruce in “Lenny” (1974). Hoffman won an Oscar for portraying a newly divorced father painfully attempting to know his young son in “Kramer v. Kramer” (1979), and was nominated for an Oscar for playing the opportunistically gender-bending actor/actress title role in “Tootsie!” (1982).
Hoffman’s stature as a great actor continued into the late 1980’s – he was riveting as an autistic man, Raymond Babbit, in “Rain Main,” for which he won his second Oscar (1988). Hoffman’s movie roles have become more sporadic and less artistically and financially successful in recent years.
Perhaps that explains why he was willing to be used as the latest in a long series of Jewish “fig leaves,” for anti-Israel projects. There seems to be no other reason why the Muslim Public Affairs Council would call upon Hoffman to present an award for a documentary film which portrays Israel in the worst possible light, with no balance or nuance.
Hoffman has never been involved in Middle East issues or interests – other than co-starring in a disastrous film set in Morocco. “Ishtar” (1987) was described in London’s Time Out as “so bad it could almost have been deliberate.”
There had been a rumor – which caught fire and remains rampant on the Internet – that Hoffman snubbed Israel and pulled out of appearing at a Jerusalem Film Festival in 2010 in the wake of the Gaza flotilla incident. However, Yigal Molad Hayo, the associate director of the Cinematheque at which the festival takes place, was quoted in an article in the Jewish Chronicle that the account had not been accurate, and the discussions with Hoffman had not progressed even before the Mavi Marmara incident.
It isn’t hard to imagine why the Muslim Public Affairs Council would want a famous Jewish actor to give them the kosher certification of acceptability (“Dustin Hoffman, the famous Jewish actor, hangs out with us, we must be fine” is the not-so-subtle message). But why would Hoffman agree to participate?
Hoffman is someone whose Jewishness seems to have played very little role in his life other than as a trigger to anti-Semitic bullies, and the fact that his height, his nose, his nasal voice and his plucky, outsider roles are all stereotypically Jewish. Hoffman recently spoke about the complete absence of anything Jewish in his life growing up. He did not become a bar mitzvah and he never learned any Hebrew.
The nominations for the Academy of Motion Picture Arts and Sciences Awards best movies of 2012 were announced yesterday, January 10, and two Israeli films are among those nominated.
Of course, both movies portray Israel in a negative light, so calm down before kvelling.
The movies, “5 Broken Cameras,” and “The Gatekeepers,” were both nominated in the category of Best Documentary film. Both films portray Israelis as primarily violent thugs who are intent on oppressing the Arab Palestinians.
“5 Broken Cameras” is produced and directed by an Arab Palestinian, Emad Burnat, and an Israeli Jew, Guy Davidi. It won the World Cinema Directing Award at the 2012 Sundance Festival.
Emad Burnat, the storyteller in “5 Broken Cameras,” is from the village of Bil’in, which is the site of a weekly protest by the villagers and numerous activists hungry for fights with Israelis. The protests are ostensibly about the creation of Israel’s security fence – which opponents often refer to as an “Apartheid wall,” and the film documents these protests. The 5 broken cameras in the movie’s title refer, according to Burnat, to five different cameras of his which have been broken by the Israelis in “brutal” attempts to squash the Arabs’ “non-violent” protests.
No doubt the true story behind the death of Jawaher abu Rahma, on December 31, 2010, was not included in the movie. But the story behind her death might do a better job of educating the world about the conflict than a movie like “5 Broken Cameras,” which simply promotes the standard, one-sided, often false, understanding of the conflict.
Abu Rahma’s death made headlines because it was claimed that the 36 year old woman was killed by tear gas thrown by Israelis who were trying to control one of the “non-violent” demonstrations at Bil’in. As was eventually revealed only through the piecing together of information that few wanted to see the light of day, it turns out that abu Rahma was not even at the Bil’in demonstration on the day she was allegedly killed by the Israeli tear gas. Instead, it appears that she died as the result of medical malpractice at a Ramallah hospital, where she was taken for an unrelated medical issue.
It is hard to believe that “5 Broken Cameras” would have been considered for Academy Award status were it not in lock-step with the glitterati world view of the Arab-Israel conflict: Arab good and non-violent, Israeli oppressive, brutal occupiers.
The film has been used by its creators to “expose” Israel as a brutal force, and Davidi in particular seems determined to ensure as many young Israelis as possible see the film so that they, like he did, will refuse to serve in the IDF. As the radical-left +972 site reported:
Guy Davidi has decided to take this film and use it as an educational tool to try and raise awareness among Israelis, most of whom either haven’t heard of Bil’in or don’t really know (or believe) exactly what has gone on there. The Education Ministry’s “culture basket,” which determines which films and other media and programming are introduced in Israeli schools, doesn’t take politically charged films – certainly not one like this, which exposes the darkest sides of the IDF’s violent, illegal and unethical conduct – and which shouldn’t be surprising considering that Education Minister Gidon Sa’ar is behind instituting Israeli school trips to occupied Hebron, and the effort to open a university in the settlement of Ariel.
Davidi is therefore launching a campaign to try and bring the movie to Israeli schools, to teenagers who are gearing up for their army service. If he cannot do it through Israel’s formal educational institutions, then he is doing it informally, through independent initiatives.
No doubt the Oscar nomination will make Davidi’s goals even easier to achieve, with star-struck Israelis and American Jews preening over an Israeli film making it to “the big time.”
The second movie selected for the Best Documentary category, “The Gatekeepers,” also presents Israel in the caricatured fashion the world has come to expect, as peopled by brutal thugs whose goal in life is to do nothing more than make the lives of the poor, non-violent Arabs as difficult as possible. This film, directed by Dror Moreh, takes interviews with all six surviving directors of Israel’s Shin Bet security service, and intersperses the interviews with newsreels and bomb sites. “The Gatekeepers” was named the best nonfiction film of 2012 by the National Society of Film Critics in the United States.
The movie site, Slant, provides a fairly good example of how many people who are even slightly inclined towards seeing Israel in the worst possible light, will understand “The Gatekeepers”:
Moreh’s not so lucky. As skilled an interviewer and documentarian as he may be, he’s squaring off against intelligence officers who didn’t just execute systematic torture, abuse, and other “enhanced interrogation techniques,” but devised them. And even when the so-called Gatekeepers offer up damning testimony against their organization, there’s no real threat that they’ll ever be held accountable for it. Rather, their willful participation in this documentary seems to function as a form of tacit forgiveness, rendering all the un-redacted revelations contained within doubly disquieting.
What a shame that a truly lovely film by Rana Burshtein, “Fill the Void,” about the charedi world in Tel Aviv, did not make the cut in the Academy Award’s foreign language category.