(This article has been published at Pajamas Media, June 23, 2009)
The footage of a Palestinian man [sic] being shot dead [sic] next to his 12-year-old son, Muhammad Jamal al-Durrah, by Israeli forces in Gaza in 2000 has been etched in the minds of many Iranians, as state television has continually replayed the images to highlight the “Zionist regime’s brutality.”
Now, the Islamic regime itself has become the subject of similar allegations at home and abroad after gruesome footage of a dying young woman during the suppression of an opposition protest on Saturday was released on the internet.
The image of Neda Salehi Agha-Soltan, a 27-year-old philosophy student, bleeding to death on the asphalt road of a Tehran street after she was shot in the chest, has become the rallying cry of the country’s opposition, which is disputing the June 12 election of Mahmoud Ahmadi-Nejad.
Only neither Jamal (the father) nor Muhammad al Durah (the son) were killed, not by Israelis soldiers, probably not by anyone, and certainly not “on TV.” These days when real footage, shot spontaneously, of victims of brutal repressive forces make it out of Iran, a country where the leaders make every effort to shut down the media, it may be useful to revisit the case of Muhammad al Durah.
With al Durah, we have a case of footage uncensored by authorities coming out of a conflict in which the allegedly repressive regime — the Israelis — provides the most welcoming atmosphere of freedom for journalists. These journalists repay the Israelis for their tolerance by running Pallywood footage staged by the Palestinians, specifically designed to provoke outrage. And in the case of Muhammad al Durah, the boy behind the barrel at Netzarim Junction on September 30, 2000, the footage was not only staged, but, thanks to the efforts of France2’s Middle East correspondent, Charles Enderlin, it made it around the world with the imprimatur of Western Mainstream media. In short order, it became an icon of hatred, provoking outrage, hatred and violence against both Jews and Israelis — the first blood(less) libel of the 21st century.
One of Enderlin’s favorite arguments is, “look, if there were any substance to these allegations, the Israelis would be all over me and Talal. The fact that they’ve done nothing is proof that we’re right, and Talal is “as white as snow.” He most recently repeated these arguments at his blog.
So let me suggest a counter-argument: If there were any substance to Charles Enderlin’s defense, he would have informed himself of the details of the evidence.
Instead, he continues to remain supremely ignorant of all the telling problems with both Talal’s account and his own.
His performance in his interview with Schapira for the new movie shows us precisely the kind of know-nothing folly that first inspired the term Pallywood, which came not from evidence of Palestinian fakes — I’d already seen many — but from Enderlin’s complacent response to having them pointed out: “Oh yeah, they do that all the time. It’s a cultural thing.”
Here are some views of the moral and intellectual bankruptcy of a major MSM figure, one of the most influential journalists in Europe for the last two decades. Not one word that he utters has any substance in terms of serious argumentation. In any first-year graduate seminar in history the kind of cavalier contempt for hard evidence and argumentation that Enderlin displays here would earn him the disbelief of fellow students and a ticket to ride from the professors… Unless, of course, we were in an honor-shame culture where someone with protected status could get away with anything he wanted to say.
Both in the details, and in the argumentation, Enderlin gets an “F” in Second Draft of journalism.
It’s a smear campaign by people who don’t like my work
Here is Charles in court the day of the showing of Talal’s rushes (the beginning of his downfall), pugnaciously leading with his chin. He is typically dismissive — “you can say he was killed by Martians…” and categorical “we didn’t fabricate these images” (if that we includes Talal, it’s problematic). But the most revealing “argument” is that people who oppose him do so because they “don’t want my reports, my books, and my commentaries.”
Note the revealing slip at the beginning: “This is a libel suit… uuuh, a libel against me.” He’s the one bringing the libel suit against Karsenty, but he’s trying to position himself as the victim. Indeed, we met one vociferous ex-Israeli French journalist in the court who was indignant at how Enderlin was being dragged through the judicial mud by this suit against him.
But the larger question is certainly worth considering. Enderlin, true to style, uses conspiracy-theory logic. Cui bono? To whom the good? If I lose this case, then my whole oeuvre will be in doubt. Ergo, those who attack me on this case actually want to discredit me entirely.
Actually, I had never heard of Enderlin before this, and my concern was both to challenge so powerful and hate-engendering an icon — a blood libel — and, as I became involved, to challenge the inexcusable complaisance of the MSM with Pallywood footage. As I’ve learned more about Enderlin, I think he’s right on one point: his behavior here should call into question the rest of his work which, as I’ve learned, is also tendentious and treats evidence loosely. But to go from that to “it’s a conspiracy to shut me up” not only shows the paranoid quality of Enderlin’s thinking, but also the nature of his appeal: “Don’t listen to them; they don’t like my politics.” Alas, this works all too often these days.
That’s how I do a story: “The child is dead” is a statement. What’s your problem with it?”
Here’s Charles asked about why he claimed that the child was dead and then three “takes” later, he’s still moving. This is, of course, a critical issue, since the scene in which the child moves was one that he cut from his broadcast.
I don’t know if Schapira asked him why he cut it, but I presume he’d have answered the same way he has for 9 years — “it was the death throes, and too unbearable for the public to view.” You be the judge on to whom this cut footage is unbearable — the viewer or Talal’s and Enderlin’s “narrative.”
In response, Enderlin let’s us know how he works: “This is the way I do a story…”
I’m very sorry, but the fact is the child died. Maybe not at the precise moment I showed. But this is the way I do a story. “The child is dead,” is a statement. What’s your problem with it?
How many Teamsters does it take to change a lightbulb?
You got a problem with that?
Like the Teamsters, this man thinks he won’t be challenged by anyone who counts. He doesn’t have to give a serious answer, because the people who count — his bosses at France2, his fellow journalists — support him fully.