Manual Hegemony in the Digital Age: The Arab/Israeli Conflict Online (Critical Media Studies)

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Digital Suspicion, Politics, and the Middle East

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A different type of suspicion is evident in these cases — one whose origins lie less in hybrid genres or multiple interpretive possibilities, but in the politics of suffering itself. Many Israeli consumers of these images queried not merely the story they told, but their authenticity as digital sources. Some argued passionately that they were the product of Palestinian or anti-Semitic European propaganda; others proposed that they had been staged or photoshopped to inflate the magnitude of Gazan suffering.

This discourse of suspicion over the veracity of digital footage from Palestine is frequently directed towards Israeli human rights activists and NGOs, particularly those who employ video, shared via social networks and video sharing platforms, to present their evidence. It is the rare video which has not been met by charges of video tampering and fraud, particularly among right wing Internet activists — even those videos in which scenes of violence against Palestinians have been bolstered by plentiful evidence.

What do these digital documents, and attendant controversies, tell us? The clashing interpretations with which the documents are met — interpretations that multiply via viral circulation across multiple sites, contexts, and audiences — complicate any presumption of digital self-evidence.

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Their frequently hybrid genre makes the labor of categorization even more difficult. This hybridity is exacerbated when authors and origins cannot be verified and then are speculatively attributed — a problem particularly prevalent with the YouTube platform. Offering little certainty, these documents thus raise more questions than they answer: of what are they evidence?

To what do they testify or bear witness? The repressive hand of the state? The power of popular culture to strengthen or, via parody, unsettle state authority? To the naked suffering that gives a human face to grand political narratives of occupation, resistance or war? Or to the seduction of digital militainment that makes all bleeding bodies into avatars? Evident in all of the examples we have presented in our discussion is the recurrent mobilization of the language of suspicion — about the possibility of photoshopped images, about manipulated videos, or about staged performances.

When coupled with the scrupulous interpretive practices that attend these narratives, the phenomenon might be more precisely framed as what others critics have termed, in different contexts, a hermeneutics of suspicion. As in the Israeli example, digital suspicion has no single political valence, nor does it yield singular effects.

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Rather, it is highly mobile, contingent, and variable in form and function — always working in articulation with the particular actors or communities that employ it, and in concert with the political moment from which it emerges. Of course, suspicion and paranoia are by no means new phenomenon, neither to the media field, nor to Israeli political and military theaters. What is new in the present political moment are the ways that these historically recalcitrant discourses of disbelief couple with the technological realities of the contemporary digital media moment — couplings which breed new forms of knowledge, new structures of feeling, new kinds of interpretive communities, and, in turn, new political possibilities for state institutions and activists alike.