On July 20th the BBC One current affairs programme ‘Panorama‘ aired an episode titled “The Train that Divides Jerusalem“. Israeli readers may be surprised to learn from the programme’s synopsis that the light rail system serving their capital city is “controversial”.
“On the anniversary of last summer’s brutal conflict in Gaza, film-maker Adam Wishart visits Jerusalem and rides the city’s controversial new train. Only nine miles from start to finish, some hoped it could help heal divisions between Israelis and Palestinians, but as Wishart discovers, it has only deepened the sense of resentment on both sides. Travelling through the old city, he comes face to face with the battle over one of the world’s holiest sites and asks, could it be the flashpoint for the start of another war?”
In fact, the title chosen for this programme is a self-fulfilling prophecy: Wishart clearly sets out to ‘prove’ that Jerusalem is divided and the train is merely a hook for his pre-existing hypothesis.
As anyone who has ever spent an afternoon or an evening in Jerusalem’s various parks, at the Mamilla Mall, the Malha Mall or at the restored First Station knows, Jerusalemites of all backgrounds and ethnicities shop, eat, play, work and stroll at such locations and many use public transport to reach them. That aspect of Jerusalem life had no place in Adam Wishart’s film; he has decided that the city is “divided” and he already knows why.
“It was meant to help unite this place but the train is dividing it further.”
“Now it’s easier for Jews to travel into Palestinian suburbs…”
Very early on in the film Wishart finds it necessary to establish his credentials.
“I’m Adam Wishart – a British Jew….”
Scattered throughout the film are references to his previous visit to Jerusalem “on a Zionist education course as a teenager” and to his Zionist grandparents. Apparently his own background is intended to be a claim to added credence for his current assertions.
At the outset of the film Wishart proposes to take viewers on “a journey into the heart of a city which feels more divided than ever” and his concluding remarks half an hour later indicate that he found exactly what he was looking for – including some fashionable disappointment with the people who did not fulfil the dreams of others who do not actually live in Israel.
“My journey has been heartbreaking. When my grandparents campaigned for the State of Israel they hoped for a place of refuge, of tolerance and equal rights for all. As I take the last train I just can’t believe this could be the place that they dreamt of all these years ago.”
The highly selective journey which takes Wishart to that conclusion begins in Jerusalem’s Old City – or as he portrays it: “a world divided by religious rivalry”. Temple Mount is described as follows:
“…one of the holiest sites for Muslims – home to the Dome of the Rock, the Al Aqsa Mosque and the courtyard that joins them. They’re all under Muslim control.”
That, of course, is a partial representation of the site’s actual status. Wishart goes on:
“It’s also home to the holiest site in Judaism – a Jewish temple destroyed over two thousand years ago. All that remains is the western wall of the courtyard – the Wailing Wall where Jews come to pray.”
The phrase “Wailing Wall” is of course a foreign invention: Jews and Israelis do not use that anachronism. Wishart goes on:
“Now some want to completely rebuild the temple on what they call Temple Mount. No matter that Muslim holy places are here already.”
The site has of course been known as Temple Mount for centuries – long before it was called anything else. Wishart then says:
“Once Jews only ever came as far as the Western Wall. Now one thousand Jews a month enter the courtyard – the heart of this Muslim place of worship.”
He gives generous airtime to the group of women engaged in what he calls “protest” at visits by non-Muslims on Temple Mount but avoids telling viewers who those women really are and how they are paid to harass visitors. Whilst Wishart’s Jewish interviewees actually represent a tiny fringe school of thought, no mainstream Israeli opinions on the topic of Temple Mount are heard and the issue of equal prayer rights for members of all religions on a site holy to Jews and Christians as well as Muslims obviously does not interest our ‘progressive’ film-maker.
Clearly adopting – and promoting – one very specific narrative, Wishart tells audiences:
“Today’s skirmish is part of growing hostility fueled by the competing claims of Jews and Muslims to this holy place. It has already escalated into serious violence. Last November a group of Temple Mount visitors were attacked by Palestinians. In response police entered the Al Aqsa Mosque. It may only have been by a few meters but for many Muslims it crossed a sacred line.”
The accompanying footage shows masked rioters using the mosque as a launch site for rocks and firecrackers. Wishart refrains from pondering whether that crosses any ‘sacred lines’.
Wishart’s half-hearted attempt to provide historic background is completely lacking in context.
“Back then  Israel only held the western part of Jerusalem – after the so-called green line. Then in 1967 Israel occupied the eastern areas.”
Viewers are not told why Israel only held part of the previously united city in 1948 or what led to the war that resulted in its reunification in 1967 and no mention is made of 19 years of Jordanian occupation.
Wishart’s journey moves on to Shuafat.
“The Palestinians who live here remain angry at being under Israeli control. The train just adds to their grievances.”
Interviewees’ hyperbole passes without challenge:
“This is a racist train to keep Jerusalem for the Jews only.”
“Every day the train passes they are butchering me. Every day they are killing me. This is what the train means to us.”
Concerning the latter interviewee viewers are told:
“…what used to be his land until it was taken to build this train station…”
It is called compulsory purchase, of course, and it happens all over the world. Wishart refrains from using that terminology however, telling audiences:
“He refused compensation because the taking of land fits into a broader picture. Since 1967 Israel has seized about six thousand acres of land in East Jerusalem. Walid has lost about ten acres.”
No source is provided for that information.
Whilst Wishart has plenty to say about Shuafat and clearly steers viewers towards a specific narrative, his account does not include any mention of Hamas’ activities in that neighbourhood.
“I can’t help feeling that the state of this place and the lawlessness – all enclosed by the barrier – make this part of Jerusalem a tinder box waiting to ignite.”
Interviewee: “It’s difficult to be a child born into an environment of occupation and racism. […] Nobody’s born a violent person but the segregation and disparities lead to war and violence.”
At around 17:02 Wishart says:
“Just as we’re leaving the camp [Shuafat] there’s an attack on the guards at the checkpoint.”
He later adds:
“It turns out that most of the noise comes from fireworks – the ammunition of the powerless.”
“These are the kids that throw stones at the soldiers”
BBC Watch asked a professional translator to verify that translation and this was his response:
“…it is impossible to make out what the boy says. I listened to it over and over again, together with an expert on Palestinian dialects. There are two words that the boy says before “al-yahud”, it is impossible to make out what these words are. But “al-yahud” is clearly heard, and of course that does not translate as “soldiers””.
Once again, apparently, we have a case of ‘creative’ BBC translation which censors the Arabic word for Jews, thus depriving audiences of important insight into the context and background to a story.
An additional case of ‘lost in translation’ appears in a section of the film showing Jerusalem Day celebrations which Wishart describes as “a celebration of Israel’s 1967 capture of East Jerusalem and the Old City” with no explanation of the subject of the reunification of the city after 19 years of Jordanian occupation during which Jews were prevented from visiting their holy sites. At 22:42 viewers see the chants of Palestinian protesters translated as:
“With our souls, our blood, we defend Palestine”
The accurate translation does not include the word ‘defend':
“With our souls and our blood, we will redeem you, oh Palestine”
From 22:55 an interviewee’s words pertaining to the Israelis celebrating Jerusalem Day are translated on screen as follows:
“This scene causes great anger for all the people of Palestine. They break into the Old City of Jerusalem and provoke people with their shameful dancing. This is unacceptable.”
Our translator pointed out that the term ‘Old City’ and the word ‘provoke’ do not appear:
“This scene leads to tremendous anger from all segments of the Palestinian people. They forcefully attack the city of Jerusalem with racist incitement and this scandalous dance. This is an unacceptable act.”
Towards the end of the film, at 24:32, and despite having previously told viewers that the government of Israel has made it perfectly clear that no changes will be made to the status quo on Temple Mount, Wishart returns to his dubious hypothesis:
“When I was here 31 years ago even my most fervently Zionist friends weren’t rushing to build a temple on this site. Now the idea is gathering support from within the mainstream. Even a member of the new cabinet supports the idea. I can’t help but think that if some Jews push much further this would surely be the last stand for the Palestinians.”
And at 25:01 he manages to introduce conspiracy into what is no more than an urban public transport system:
“I’m left wondering what is the purpose of the train. Does its ultimate destination hold a clue? It travels north, through the Palestinian neighbourhoods, and snakes round the refugee camp. What’s so controversial is that the ultimate destination is an Israeli settlement. A thousand acres taken by Israel to build a beautiful suburb. Like all settlements in occupied territory, most of the international community consider them to be illegal.”
That ‘settlement’ is the Jerusalem neighbourhood of Pisgat Ze’ev and a quick search even of Pisgat Ze’ev’s Wikipedia entry would have shown Wishart that much of the suburb is in fact built on land purchased by Jews before the Second World War. In line with the usual BBC practice, Wishart makes no effort to inform viewers of the existence of differing legal opinions concerning the legality of ‘settlements’ and he also makes no effort to clarify that under any realistic scenario, Pisgat Ze’ev would be likely to remain under Israeli control in the event of a peace agreement with the Palestinians. He even promotes his hypothesis further with the following ridiculous claims:
“The train makes permanent the expansion of Israel. This settlement is built like a fortress.”
In late 2013 the BBC’s Director of Television claimed that it measures the success of its programmes by asking itself whether they are “fresh and new”. Perhaps the saddest thing about this edition of Panorama is that it is so predictable. From the standard, jaded, presentations of ‘settlements’, ‘the wall’ and ‘international law’, through the impartiality box-ticking inclusion of brief segments pertaining to terror attacks against Israelis – with no mention of the word terror – and to the failure to seriously address the political, religious and ideological roots of Palestinian terrorism whilst misrepresenting fringe opinions as “mainstream” Israeli thought, this politicized film treads a well-trodden route which is anything but “fresh and new”.
Fresh would have been to tell BBC audiences about the increasing numbers of Muslim Jerusalemites living in mixed neighbourhoods (including Pisgat Ze’ev) or to inform viewers of the extremist incitement which goes on inside Al Aqsa Mosque. New would have been to get the history of Jerusalem right and to go back before the standard BBC starting point of 1967 by including coverage of the topics of Jewish-owned lands before 1948 and the expulsion of Jews from the Old City and other neighbourhoods by Jordan.
Adam Wishart however chose to stick with the tried and trusted formula which guaranteed the airing of his film by the BBC and his bizarre shoe-horning of a light rail system into the story does nothing to disguise that fact.
Panorama – contact details