israel presses head with its attacks on gaz al shifa hospital which has turned into the focal point of its deadly raids. in the besieged territory. a un agency says out of 24 hospitals in the north of the wartorn gaza strip, only one is now receiving patients. it says 18 hospitals have been shut down while another five are providing limited care. the palestinian red cross is also unable to help those who are trapped under the rubble. in washington, pro- palestine riley turns violent as pro and police faced off outside

the democratic national headquarters, the protesters called for a ceasefire in gaza, also in britain's capital, london, and jordan's capital, atmon. protesters condemned israeli raids on alsshif hospital, as well as us support for the regime's atrocities. a group of 56 uk labor party lawers have gone against their party line by voting to amend the government's motion to officially urge for a ceasefire in gaza, the motion put forth by the scottish party called for an and to the collective punishment of the palestinian people while demanding the government worked for a ceasefire. a former state department official says leading us officials willfully ignore israelly war crimes in the besieg gauza 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.

of the storytellers of the arab world encouraged 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 with his movie struggle in jotish became the first.

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, saran and his colleagues could not establish any sign. 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. the newly established israel

to encourage the jews everywhere in the world to immigrate to israel. of in these documents. 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's genra.

the movie salah was the first movie of this genre. these movie. which were mostly superficial 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 the 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 common. 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 and 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 thing 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 assumed the leadership role in solving the palestinian issue by establishing the palestine liberation organization. really 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 siini 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 pen all their wishes and dreams on yaser arafat. the most famous

palestinian fighter, arafat managed to establish a left-wing nationalist gorilla organization named the fata organization in jordan. to expand its activities and strengthen itself against the zionist front, the... organization started recruiting new members. a palestinian woman who had studied photography in cairo, was one of the new members who joined fata. 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 gurillas and marters. mustafa abu ali and honey johariah, two palestinians who studied cinema and were living in jordan, joined mersal. they had worked for the jordanian television for many years. they borrowed cameras from there and recorded everything as much as possible. demonstration.

السلطه الوطنيه نبني السلطه الوطنيه نبني عالمنا الجديد في عيد راس السنه ولا يهتم بكم هو اجبن من جبان و and later a photography department was established and the 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 filmmaker.

in 1968, guddard, the most revolutionary anti-hollywood filmmaker, went to jordan. he visited. and their friends and filmed the refugee camps and gorrilla عاصفه عاصفه عاصفه بسم الله باسم الفتح باسم الثوره الشعبيه باسم الدم باسم الجرح اللي بينزف حريه باسمك باسمك يا فلسطين اعلمناها للملايين باسمك باسمك يا

فلسطين اه لناها للملايين. used the videos in a movie titled here and elsewhere. غزه غزه. لسه بلدنا بلدنا ايه بلدنا يافا يافا ايه باسم الدم باسم الشرب باسم الدم باسم الشرب اللي بيمذف حريه باسم الله باسم الفن باسم الثوره الشعبيه باسم الدم باسم الشرب in the

same year the us 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 hani, jaharia and mersal watched the recorded images of the demonstrations. they came to the... 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 fat. 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... 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 the 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 fata and israel began. 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 dobled after the heavy defeat by the arabs in the sixth 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 karame

initially brought about the unity of the kingdom of jordan and the palestinians. let's see. the gaining of power by fatal's gorillas led to internal differences, and that got out of control and led to a wide spread and bloody conflict. king hussein of jordan was targeted in an assassination attempt. the jordanian army blamed the palestinian. in september of 1970, king

hussein attacked the gorilla's positions and pushed them back to the syrian borders. although the fatah organization inevitably set up its 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 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. انظروا نظره واحده على هذا الركام من الابنيه في هذا المخيم ان الغارات البربريه التي قام بها سلاح الطيران الصهيوني تدل بشكل قاطع على العقليه الفاشيه لحڪام. documentaries that were made those years were presented through a simple وصلنا

لهان ما لقيت ابني رحنا على صيد على المستشفيات ما لقيت ابني ثاني يوم قالوا لي ابنك بالمخيم فوق بعده بالردم سحبنا ورحنا جبناه واجينا لهين دفنا يعني ككسم يعني العاده صحيح انه ام الا ما بتحترك بس هالشيء هذا بده شويه من الجراعه يعني ما لانه مش علينا لحالنا على كل الشعب الفلسطيني العربي نحن بس ايه ن نسيب بلادنا حتى ان يكون اليهود هي تعيش فيها ونحن نموت هنا احنا بنعيش وبنموت ببلادنا غير هيك ما في ابدا بعدين فشرت اسرائيل واللي بشد عيد اسرائيل اذا بيهبنا نحن فدائيه حتى اخر اللحظه بعمرنا لو مات ابن it seems in 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 training and battle. بلدي, اسمي دمي, دربي, بلدي, فلسطيني، فلسطینی. دربي بلدي اسمي دمي دربي بلدي اسمي عنواني عربي فلسطيني the battle

scenes and these documentaries is to 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 images of soldiers followed by epic images. لا مليون لا قسما بعاصفه الاباه قسما تردده الدمااء من كل جرح دمدما قسما يجلجلها ذرا ليدق ابواب السما لاصل على تسلام لا مليون

these are the common symbols 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. means 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 حدا عرف وين راين اجوا. اللي مات مات واللي طاب طاب. الا الله لا يجيبه

هذك الساعه اشو واحد بده يحكي على وعده الله يلعن ابوها العمر. geographically and socially, the divided community of refugees is united around a single memory. the memory the united palestinian nation,

welcome to the palestinian village of alacaba. it's in the northern jordan valley. you think life here would be relatively simple and uncomplicated. it's the palace. the way that israel treats them as hostile population, it makes them their lives as difficult as possible. those palestinian families who live in in almost about 52 communities without any kind of service. لماذا الرد الاسرائي علينا. focus is on area

c, this is the goal, the immediate goal. the headlines this hour, a un agency says only one hospital is now functioning in the northern part of the besieged gaza strep, as israel presses ahead with this attacks on... for hospital. us police attack pro-palestinian protesters rallying outside the democratic national headquarters in washington, making a number of arrests. and in the uk dozens of opposition labor party lawers have voted to call for an immediatefire in gaza, defying their leader.