The Treason Media relies on the short memories and their skill in promulgating the Big Lie to advance their agenda of fascism and totalitarian rule, but a few people in the Blogosphere are watching how French TV fabricated a blood libel against the Israelis in 2000.
It's another incident of fake news that the Treason Media happily passes along from its Palestinean/Islamofascist partners in order to provide the images that will keep the Religion of Terminal Grievance and Death whipped into an anti-everything-but-them furor. The Notorious G.R.E.E.N.H.E.L.M.E.T. isn't involved with this personally, but his ethic of staging news for convenient editing is in full effect here. A snip:
I noted almost immediately that Palestinians and anti-Zionists, insisting that Israel killed the boy on purpose, used Al Durah in a way familiar to medievalists--as a blood libel. This was the first blood libel of the twenty-first century, rendered global by cable and the Internet. Indeed, within a week, crowds the world over shouted "We want Jewish blood!" and "Death to the Jews!". For Europeans in particular, the libelous image came as balm to a troubled soul: "This death erases, annuls that of the little boy in the Warsaw Gherro," intoned Europe1 editorialist Catherine Nay. The Israelis were the new Nazis.The Treason Media: They Distort, You Comply.
And second, when I saw the raw footage in the summer of 2003--especially when I saw the scene Enderlin had cut, wherein the boy(allegedly shot in the stomach, but holding his hand over his eyes) picks up his elbow and looks around--I realized that this was not a film of a boy dying, but a clumsily staged scene.
On October 31, 2003, at the studios of France2 in Jerusalem in the company of Charles Enderlin and his Israeli cameraman, I saw the raw footage of Al Durah from the only Palestinian cameraman who actually captured the scene on film--footage France2 still refuses to release for public examination. I was floored. The tapes feature a long succession of obviously faked injuries; brutal, hasty evacuation scenes; and people ducking for cover while others stand around. One fellow grabbed his leg in agony, then, upon seeing that no one would come to carry him away, walked away without a limp. It was stunning. That was no cameraman's conspiracy: It was everyone--a public secret about which news consumers had no clue.
But the real shock came when I mentioned this to Enderlin, who said he trusted this cameraman. "They always do that," he said. "It's a cultural style." So why wouldn't they have faked Al Durah? "They're not good enough," he said. A year later, the higher-ups at France2 made the same remark to three French journalists who also noted the pervasive staging: "You know well that it's always like that," they said.
I tried unsuccessfully to interest the mainstream press in this obvious fakery, but nobody was interested. "I don't know how much appetite there is for this material here," one person at a major studio told me. So I made Pallywood (Palestinian Hollywood)--a video-essay showing the dishonesty and the still-more-astounding Western complicity in using this footage to inform us about the Middle East. Then I made a follow-up, Al Durah: The Making of an Icon (and soon, Icon of Hatred). I established a website, The Second Draft, where I posted the movies along with my evidence so that, unlike France2, people could check my sources. And now the accused have asked me to testify.