Earlier today I received an e-mail from Philippe Karsenty sharing the news that the Israeli government at last decided to issue a report that the infamous “documentary”, in which an Arab father and son are supposedly attacked and shot at by the Israeli army, was a hoax. The report is a result of the work of numerous experts.
The movie was one of the numerous “masterpieces” of Pallywood – a prolific propaganda industry, which produces false documentaries and pictures designed to demonize Israel. The al Dura hoax is not an exception – the unarmed father and son depicted in the footage allegedly suffered many bullet wounds and the boy was reportedly killed.
Even a layman could tell that was a fake – the father was supposedly hit by 12 bullets and yet no blood is seen. Unlike other such hoaxes, this one received enormous publicity, especially after being aired by major TV networks, which didn’t bother to explain its inconsistencies.
The well-founded doubt about the movie came first from Germany, but the person, who pursued the issue relentlessly for years was the French intellectual Philippe Karsenty. The reluctance of the French television to admit that they promoted an anti-Israeli hoax brought the issue in front of the courts (the final decision is to be announced later this month).
The struggle for revealing the truth was carried on exclusively by Karsenty, with very little support from government institutions. The Israeli governments are notoriously bad in handling the PR of their country, often missing many opportunities to confront with facts the blackmail against Israel. That gives more power to the clumsily made Palestinian propaganda whose lies are not that hard to refute.
The al Dura case was treated in very much the same way. Consecutive Israeli governments tried to ignore it hoping that it eventually would go away. The only result was that the hoax spread even more and the silence of Israel was exploited by the Arabs as an admission of guilt.
The new development is a welcome change, which shows that Philippe Karsenty’s work finally receives the recognition it deserves.
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