press tvs news and brief israel presses head with its attack on gaza's al shafa hospital which is turning to the focal point of its deadly raids in the besieg territory according to health officials in gaza israeli. army's bulldozers and tanks have destroyed parts of the southern entrance to the medical complex. lebanon's hezballah movement fires rockets and precision guided missiles at seven israeli military sites in support of the palestinian resistance in the besieged gaza strip. it said the missiles directly hit their targets causing casualties among the regime's forces. in is. with un

officials in geneva iran's foreign minister has slammed the united states over its involvement in israel's brutal aggression on the besieged gaza strip hussein amir abdullahyan expressed hope that his trip to switzerland would speed up the delivery of humanitarian aid to gaza. a former state department official says leading us officials willfully ignore israeli war crimes in the besieged gaza strip over domestic policy concerns. josh paul says. many officials are disturbed by israel's actions, but turn a blind eye to rules governing us arms transfers to the regime. hundreds of israeli protesters have gathered outside the knesset and occupied outlots to demand the resignation of prime minister benim netanyahu over the gaza bloodshed. they blame netanyahu for the regime's defeat following last months unprecedented operation by the palestinian resistance movement. they also called for the release of captives held by hamas.

the storytellers of the arab world encourage the palestinian filmmakers were scattered throughout arab countries. they were the first people to take some steps to make the dream come true. in jordan abraham's. karhan

with his movie, struggle and jotish, became the first palestinian filmmaker who played a major role in the process of making a feature film. the movie started the jordanian cinema, but neither with this movie or other movies made by other arab filmmakers were created either quantitatively or qualitatively. sarahan and his colleagues could not establish any significant cinema trend that was aimed at the goal of liberating palestine. on the other hand, israeli cinematographers began to present hand-picked images of very beautiful, legendary and rich country that was the island of stability in the middle east. the... goal of making those

movies was to present a perfect image of the newly established israel to encourage the jews everywhere in the world to immigrate to israel. of in these documentaries the israeli cinema.

was always showing and trying to reach a greater israel. before that, the israeli cinema rarely made feature films, but since the 1960s, the development and support of fictional cinema was put top of israel's cultural policies. in that decade, movies were made in israeli cinema that were known as a buddha genre.

the movie salah was the first movie of this genre. these movies, which were mostly super. official and crude comedies were made based on the story of the immigration and settlement of jews from all over the world in israel, these scenes were not satisfactory for the israelis. after a while israel made huge investment on production of fiction films, on the one hand, the jewish immigrant community that had been transferred to palestine from all over the world, after several decades, still had no

sense of commonality and national pride. cinema could... instill the spirit of patriotism in the immigrant groups by telling stories of unity, somebody come and help me cut him down. the movies that were made with new strategy opened a window so the audiences all over the world could see the story of the establishment of israel and its fake history from the angle israel wanted.

the united states of america is proud to be the first nation to recognize the new state of israel, with this approach, cinema would practically become a part of the battlefield and pave the way for hollywood stars to go to israel. in those movies, israel was portrayed as an oppressed nation that was invaded by war mongering arabs. i hear's a country surrounded by five arab nations ready to shove them into the mediterranean. no guns, no tanks, no friends,

nothing, people fighting with their bare hands for a little piece of desert, because it's the last place on this whole earth that the can go to and try to live in and why did you come back? it was very clear that the stars who stepped in to help israel would not easily back down. in the last circle, it was always israel that proved its ability to defend itself and its citizens with the final victory.

while the israelis were equipped both in the media and in practice, nasa clearly assume the leadership rule in solving the palestinian issue by establishing the palestine. the arab's league meeting in cairo clearly proved to the israelis. that the arabs were disunited. june 5th, 1967 became the great test of the united arab nation. israel attacked egypt and captured the sinai desert.

israel also inflicted heavy defeats on the arab armies on the jordanian and syrian fronts. the myth of nasa, the dream of a united arab nation and the palestinian refugees dreams. all collapsed in the six-day war and vanished into thin air. the palestinians under the leadership of yasir arafat believed only hope for the liberation of palestine is palestinians themselves and no one else. they pin all their wishes and dreams on yasir arafat. the most famous palestinian fighter, arafat managed to

establish left-wing nationalus gorilla organization, named the fata organization in jordan. to expand its activities and strengthen itself against the zionist front, the fata organization started recruiting new members. a palestinian woman who had studied photography in cairo, was one of the new members who joined fatah. she started a small photography studio in her apartment in aman and set up photography equipment in her

kitchen, her main concern was to make commemorative pictures of the gorillas and marters. mustafa abu ali and honey joharier. two palestinians who studied cinema and were living in jordan, joined mersad. they had worked for the jordanian television for many years. they borrowed cameras from there and recorded everything as much as possible, demonstrations, public gatherings or any other political and cultural activities. الوطنيه نبني السلطه الوطنيه

نبني عالمنا الجديد في عيد راس السنه ولا يهتم بكم هو اجبن من جبان وهو اكثر من كلب ايها الاخوه اقتلوني لاني ساقول الحقيقه and later a photography department was established and first sparks of the palestinian documentary cinema were formed from the heart of that structure. the 60's was decade of the great rebellion of european filmers against hollywood. et c'est là notre but aujourd'hui ou demain il ne s'agit pas de ça, il s'agit de manifester. as the most famous filmmaker the new wave in france, was at the forefront of all the rebellions that targeted the

capitalist system, in 1968, guddard, the most revolutionary anti-hollywood filmmaker went to jordan. we visited the palestinian camps, met abu ali ali, honey, jaharia and their friends and filmed the refugee camps and gorilla bases. باسم الله باسم الفتح باسم الثوره الشعبيه باسم الدم باسم الجرح اللي بينزف حريه باسمك باسمك يا فلسطين اعلمناها للملايين باسمك باسمك يا فلسطين اعلمناها للملايين عاصفه عاصفه عاصفه عاصفه the

videos in a movie titled here and elsewhere. اسبل يا يحكى ان ان انا فداعي دعي ايه فدايه عصفه عصفه ايه عصفه شعب شاعب ايه شاعب غزه غزه ايه غزه بلدنا بلدنا ايه بلدنا يافا يافا ايه باسم الدم بسم الشرب باسم الدم بسم الشرب اللي بيمزف حريه in the same year, the u.s. proposed a peace plan to the conflicting parties in the middle east. the palestinians objected and started demonstration on the streets of jordan. the

experience of accompaniing palestinians with great revolutionary. directors had awaken the dormant dreams of abu ali and his friends. when the photography department team, whose main members were mustafa abu ali, hany, johariah, and mersal, watched the recorded images of the demonstrations, they came to the conclusion that they have everything they needed to make a movie, so they started working and made a 20-minute movie called say no to the peace plan. it was the first movie of resistance organizations. the movie was screened to the senior leaders of faata. the palestinian leaders found something in the movie that became the main reason for their interest in cinema, the power of cinema and explaining the situation in the battlefield.

the revolution cinema was the title fatal leaders chose for the palestinian cinema. mustafa abu ali in a statement wrote for palestine film foundation and highlighted the goals of the revolutionary cinema as follows: the sound of guns should be louder than any other sound. light weapons are the people's main weapons in the war, and in the same way, light 16 mm. cameras are the most suitable weapon for the cinema about people. the success of a movie should be measured by the same criteria as success of a military operation. they are both seeking to realize a political ideal. we creates a new people instead of being refugees to to be fighters.

this is very important. we were refugees, homeless. we became now fighters, freedom fighters. in the first step, the palestinian cinema changed a stereotypical image of the palestinian people. now after 20 years, the motivated pictures of the cinematographers replaced the image of the oppressed palestinian refugees with that of fighting warriors. the israelis cannot put up with the palestinians who were now united to liberate their land. soon enough the conflict between and israel began. gurulas were the most

important targets of israel. in its attacks on the karame village in jordan. after israel's rapid retreat, the battle became legendary victory for the palestinians whose value doubled after the heavy defeat by the arabs in the six day war. only in the first 48 hours after the end of the war, 5,000 palestinians applied for membership in the organization, the battle of... initially brought about the unity of the kingdom of jordan and the palestinians. but soon,

the gaining of power by fatal's gurillas led to internal differences, and that got out of control and led to a wide-spread and bloody conflict. king hossain of jordan was targeted in an assassination attempt. the jordanian army blamed the palestinians. in september of 1970. hussein attacked the gorilla's positions and push them back to the syrian borders. although the fatah organization inevitably set up his organization once again

in the south of lebanon, the eventful years after exile left a deep impact on palestinian society. defeated by israel and the west. disillusionment with the arabs, the bad conditions of the refugees and displacement and isolation in arab societies strengthen the unity of the people who are suffering from similar mental injuries. narrative based a common pain could act as a unifying factor. the great task was assigned to the palestinian cinema, introducing the palestinian national narrative instead of the

failed idea of a united arab nation, making more than 60 documentary films was answer to the need. الابنييه في هذا المخيم ان الغارات البربريه التي قام بها سلاح الطيران الصهيوني ددل بشكل قاطع على العقليه الفاشيه لحكم اسرائيل. those years were presented through a simple narrative that had fixed pattern. وصلنا لهنا ابني رحنا عصيد على المستشفيات ما لقيت ابني ثاني يوم قالوا لي ابنك بالمخيم فوق بعده بالردم سحبنا ورحنا جبناه واجينا لهين

دفنا يعني كقسم يعني العاده صحيح انه ما بتحترك بس هالشي هذا بده شويه من الجراعه يعني لانه مش علينا لحالنا على كل الشعب الفلسطيني العربي نحن بس نسيب بلادنا حتى ان يكون اليهود هي تعيش بيا واحنا نموت هنا احنا بنعيش وبنموت ببلادنا غير هيك ما في ابدا بعدين فشره اسرائيل واللي بشد عيد اسرائيل اذا بيهبنا نحن فدائيه حتى اخر اللحظه بعمرنا لو مات ابنا مش مهم لو احنا متنا كمان مش مهم it these movies all places are the same and it's a collective situation for palestinians. the soothing images of trees and orchards, even if they're just inside the refugee camps, they will suddenly be

bombarded. the scenes of destruction and death after strikes are eventually replaced with the epic views of weapons, military. دربي بلدي اسمي فلسطيني فلسطيني فلسطيني فلسطيني فلسطيني فلسطيني فلسطيني فلسطيني فلسطيني دمي دربي بلدي اسمي دمي دربي بلدي اسمي عنواني عربي فلسطيني. of recreating the battle scenes and these documentaries is the show a good ending to get rid of the pain of failure, by different means the documentaries emphasize the correction of the past. is made

possible by referring to children or by depicting them, they are the manifestation of the future and hope against despair and disappointment of the past. in many scenes, the images of children are merged with the images of soldiers followed by epic images of the palestinian flag. قسما بعاصفه الاباءه قسما تردده الدماعه من كل جرح دمدما قسما يجلجلهاا درا ليدق ابواب السما لا يصل على استسلام لا مليون لا من كل جلد العبيه ومن نار سلاحي يا بلادي وهاتي ومدي يا ثورتنامين تستمر ومتي ومن نار سلاحي يا بلادي وهدا هو ردي و

that continuously appear in the palestinian cinema and literature. they are the embodiments of hope, resurrection and struggle. at first glance, this structure describes specific events, but since these stereotypes are repeated over and over in the form of similar scenes, it becomes something more than the recurring stereotypes. the most important achievement of the repetitive structure is a creation of a shared historical memory. the memory paints a unified picture of the palestinian nation. ما هبطت ما حدا عرف وين راح وين اجوا. مات مات واللي طاب طاب ال الله لا يجيبها هذك الساعه اشو واحد بده يحكي على وعده الله يلعن ا as a result geographically and socially the

divided community. of refugees is united around a single memory, the memory of the united palestinian nation,

پدر جمع بوده، پدر این شهرای هسته ای ما بوده. این ها نشون دادن این دشمنان ما که چقدر شقی و در این راه حتی از کشتن دانشمندان هم ابایی ندارد.