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December 22, 2014 / 30 Kislev, 5775
 
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Posts Tagged ‘patriotism’

Equating Zionist Pioneers With Arab Terrorists

Wednesday, March 13th, 2013

The film is grainy and amateurish, but the image is stirring: one-armed Yosef Trumpeldor, Zionist national hero, plowing a field in the Galilee in 1913.

By coincidence, the 100-year-old film clip of one of the most remarkable figures in Israel’s history was posted on YouTube shortly before Trumpeldor’s name appeared in the news in connection with the controversial study of Israeli and Palestinian textbooks that was released in February.

The study – “Victims of Our Own Narratives?” – was funded by the U.S. State Department and carried out by a Jerusalem-based Council of Religious Institutions of the Holy Land. Staff researchers examined books used in Israeli and Palestinian schools and concluded that both sides are equally guilty of incitement against the other.

The Israeli Ministry of Education called the study “biased and unprofessional” and three members of the international Scientific Advisory Panel overseeing the study rejected their colleagues’ methodology and conclusions.

One of the most controversial sections of the study dealt with the textbooks’ promotion of “martyrdom-sacrifice through death.” The study found passages in Palestinian books such as: “Every stone is violated, every square cries out in anger, every nerve is abuzz, death before submission, death before submission, forward!” and “With all this, the call to raise the overall performance to the level of shedding one’s blood becomes a sacred national right which it is difficult to relinquish or be lenient on.”

The study then argued that Israeli textbooks likewise promote “the value of martyrdom-sacrifice through death.” As evidence, it cited two books that described Yosef Trumpeldor as a hero and quoted his dying words, “No matter, it is good to die for our country.”

“Trumpeldor’s heroic defense of his home is a very different kind of ‘martyrdom’ from that frequently associated with the Palestinian movement,” notes Prof. Gil Troy of McGill University, author of the book Why I Am a Zionist. “To overlook that point, and implicitly compare Trumpeldor’s death in defense to suicide bombers or any kind of terrorism in offense – which Palestinians frequently call ‘martyrdom operations’ – is like comparing a policeman and an armed robber because both have guns. Trumpeldor died defending his home and country, not slaughtering innocents to advance a political goal.”

As a teenager growing up in Russia in the late 1800s, Trumpeldor was attracted to Zionism as well as the pacifism and communalism of the philosopher Leo Tolstoy.

“He did not have a trace of militarism in his character,” Prof. Anita Shapira, a leading Israeli historian of Zionism, has written. Nonetheless, Trumpeldor served with distinction in the Russo-Japanese war of 1904-1905, suffering wounds that cost him his left arm. Despite his injuries, he requested and was granted permission to return to the battlefront.

Trumpeldor arrived in the Holy Land in 1912 and, together with a small group of likeminded pioneers, settled at the Migdal farm, a fledgling Jewish settlement in the Galilee, on the site of what had been a Jewish town in biblical times. A harsh environment and primitive living quarters were the norm.

After the Migdal project broke up in 1913 over ideological disagreements and other problems, Trumpeldor traveled to Europe as a Zionist emissary. He served as a delegate to the Eleventh Zionist Congress, in Vienna, and then organized Zionist cells in Russia. Returning to Palestine in 1919, Trumpeldor volunteered to work at an Upper Galilee settlement called Tel Chai.

The small kibbutzim and other Jewish settlements in that region had few residents and fewer weapons, making them easy targets for local Arab terrorists. Attacks ranging from robbery to arson and murder were commonplace.

Some Zionist leaders favored sending aid to the northern border towns. Yitzhak Tabenkin argued, “If we withdraw from Tel Chai, we will retreat all the way to the desert.” But Menachem Ussishkin, chairman of the Zionist Commission, warned that “we would, by sending young men with arms, anger the Arabs unnecessarily.” Ussishkin eventually changed his mind and reinforcements were sent, but they arrived too late.

On March 1, Arab forces entered Tel Chai on the pretext of searching for illegal weapons, and a battle ensued. Six of the Jewish defenders, including Trumpeldor, were killed.

The last stand at Tel Chai, and Trumpeldor’s dying words, became an inspiration to the young Zionist movement. “This was the first time in Jewish history for two thousand years that Jews had preferred to die in battle rather than to retreat,” Prof. Shapira notes.

How Old Movies Show What New Movies Say Are Lies

Sunday, March 3rd, 2013

Originally published at Rubin Reports.

Many young people nowadays are indoctrinated to believe that American culture has always been dominated by conservative, racist, and other nasty influences. Understanding of the complex history has not been balanced by this new indoctrination and distortion. It’s merely been made biased in the opposite direction far more systematically than it ever was before.

Racism against African-Americans and many other things in American history are undeniable–and shouldn’t be. Consequently there was plenty of room for improvement. But that same history also shows there is no need for endless self-flagellation.

I’ve often noticed this but it came to my attention again in rewatching the film that brought John Wayne to stardom. What better way to learn about the true and dominant themes of democracy, equality, and real anti-elitism than that classical Western directed by John Ford, “Stagecoach” (1939)?

As a traditional Western, the film depicts the Americans—not whites, Americans—as good guys in a battle with the Apaches. The legitimacy of Americans being in the southwest is not questioned.Aside from this are the following plot points:

–The stagecoach driver is married to a Mexican-American woman. No negative aspersions are cast at all. This is totally accepted. Incidentally, all three of John Wayne’s wives were “Hispanic.”

–The heroes of the film are an outlaw, whose motives for killing a man are portrayed sympathetically, and a prostitute.

–One theme that runs through the film is how the “respectable” people are mean to the prostitute and that’s a terrible thing.

–Although the women are treated by the male characters as delicate, etc., their behavior shows them to be courageous, clear-headed, and as tough as circumstances require.

–The main villains are a banker and an ex-Confederate officer who has turned gambler, shot men in the back, and is a social snob.

–The banker, who is absconding with his bank’s embezzled funds, is a super-patriotic hypocrite. For example, he says, “And remember this — what’s good business for the banks is good for the country” and, “It always gives me great pride in my country when I see such fine young men in the U.S. Army.”

Another line from the banker is, “America for Americans! Don’t let the government meddle with business! Reduce taxes! Our national debt is shocking, over a billion dollars! What the country needs is a businessman for president!”

That’s not in 2012 but 1939. And remember that as he is the bad guy so the audience is expected to groan and think that such a person is horrible and disgusting. When the mass media in 2013 portray a group like the Tea Party as racist–reduce taxes; high national debt–or in 2012 portray Mitch Romney unfavorably–a businessman for president?–the ground was well-prepared. In what film was a community organizer a villain?

Other plot points include:

–The moralistic, deliberately uglified—respectable women of the town are presented as narrow-minded prigs.

–One of the stations the stage coach visits is run by a Mexican-American team, including the manager, who are portrayed sympathetically.

–When one of the passengers makes a racist remark about the Apache wife of the Mexican-American manager, he’s made fun of. And note that the man’s statements are made in the context of fear that she might somehow be a spy for the Apache forces whose imminent attack they fear. And on top of that he’s not from the West and unused to seeing Native Americans. The other man who distrusts her is, of course, the evil banker. While she might actually be helping the Apaches, the banker is wrong when he accuses her of being a thief of his stolen loot, which he soon finds.

–In an early scene, the cavalry scout has reported that the Apaches have gone to war. Asked how do they know he’s telling the truth, an officer replies, “He’s a Cheyenne. They hate Apaches worse than we do.” So all Native Americans are not portrayed as the same; some are allies. Today, the fact that some tribes were aggressive and “imperialistic,” engaging in massacres and tortures of others—motivating the latter to side with the U.S. army–is hidden, since that would distract from the narrative that only whites are racist and aggressive.

Printed from: http://www.jewishpress.com/indepth/analysis/rubin-reports/how-old-movies-show-what-new-movies-say-are-lies/2013/03/03/

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