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- Mar 6, 2017
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That ānuanceā however does not include any background information whatsoever and so the images and narrative are presented to BBC audiences in an entirely context-free manner.
On the second page audiences find a video in which Habjouqa states:
āā¦Palestine was home. And I was the one sitting at checkpoints and experiencing this Kafkaesque realityā¦ā
In the video appearing on the fifth page Habjouqa tells the story behind some of her photographs concerning a story from 2013.
āThere had been a wedding and Iād missed it. There was a woman who had come in, in a wedding dress and had the wedding party because she hadnāt been given permission to access Gaza because of the blockade. [ā¦] And then he paused and he said the most sobering sombre thing, he said āyou know no matter what they do to us, we will always find a way to live, to love, to laugh.ā
BBC audiences are not told that the Egyptian girl had been denied entry to the Gaza Strip by the Egyptian authorities or of the Palestinian terrorism that made the blockade necessary.
On page nine audiences find a video in which an image of āFurniture makers in the West Bank, with Israelās separation barrier behind themā with no explanation of why the anti-terrorist fence had to be built.
The narrative advanced in this feature is glaringly obvious: Habjouqa states in the last video that her work relates to people who ārefuse to let suffering be the definition of their existenceā.
How that suffering is related to their leadersā choices and how those choices brought about the ācheckpointsā, āblockadeā and āseparation barrierā of course goes completely unexplained in this latest chapter in the BBCās drip fed narrative of Palestinian victims completely devoid of agency and responsibility.
(full article online)
BBC Culture joins the drip feed of narrative
On the second page audiences find a video in which Habjouqa states:
āā¦Palestine was home. And I was the one sitting at checkpoints and experiencing this Kafkaesque realityā¦ā
In the video appearing on the fifth page Habjouqa tells the story behind some of her photographs concerning a story from 2013.
āThere had been a wedding and Iād missed it. There was a woman who had come in, in a wedding dress and had the wedding party because she hadnāt been given permission to access Gaza because of the blockade. [ā¦] And then he paused and he said the most sobering sombre thing, he said āyou know no matter what they do to us, we will always find a way to live, to love, to laugh.ā
BBC audiences are not told that the Egyptian girl had been denied entry to the Gaza Strip by the Egyptian authorities or of the Palestinian terrorism that made the blockade necessary.
On page nine audiences find a video in which an image of āFurniture makers in the West Bank, with Israelās separation barrier behind themā with no explanation of why the anti-terrorist fence had to be built.
The narrative advanced in this feature is glaringly obvious: Habjouqa states in the last video that her work relates to people who ārefuse to let suffering be the definition of their existenceā.
How that suffering is related to their leadersā choices and how those choices brought about the ācheckpointsā, āblockadeā and āseparation barrierā of course goes completely unexplained in this latest chapter in the BBCās drip fed narrative of Palestinian victims completely devoid of agency and responsibility.
(full article online)
BBC Culture joins the drip feed of narrative