The Committee for Accuracy in Middle East Reporting in America, or CAMERA, is a particularly absurd factory of Orwellian press releases and animated videos in English targeting the general voting population in America. It exists so to further the interests of the State of Israel and ergo cover up the transgressions against the Palestinians. As a non-profit NGO, it claims 65,000 volunteers out of its Boston headquarters.
The type of control maintained in regards to the Question of Palestine by the work of CAMERA is notable, if not for just the sheer level of contrived obfuscation the organization is able to generate. In the perverse fantasy of CAMERA, the world is one of noble Israelis and Palestinian terrorists. It has been well-established for some time that CAMERA's impact on accuracy in American news reporting has swayed general opinion so far to the Right, and furthermore so far into a haze clouded by the influx of capital, that all Americans who fail to understand the conflict are pro-Israeli.
While Jews themselves are not a demographic powerhouse, the production base of many goods Israel imports from the US does affect voter turnouts. One significant company is Caterpillar earthworks, whose machinery is used to demolish Palestinian homes. Across the Mid-to-South West, factories making items vital to Israeli defense and settlement infrastructure, including Bell Helicopter and a significant number of gun manufacturers, have tilted voting districts not just spiritually but economically towards the status quo. The end of the Israeli occupation would in fact result in a sort of economic reciprocation that will ripple across the system in a way to make Marx gleeful. The occupation is a prosperous investment for Americans, and it transcends partisan lines. For instance, President Obama comes from Chicago, he knows what will happen to Caterpillar if he tries to actually make progress. Further south, Rick Perry is mindful of the same issue, exports.
CAMERA, as an Ideological State Apparatus, has elements within it that are reminiscent of what Lenin says in STATE AND REVOLUTION:
The state is a product and a manifestation of the irreconcilability of class antagonisms. The state arises where, when and insofar as class antagonism objectively cannot be reconciled. And, conversely, the existence of the state proves that the class antagonisms are irreconcilable.The contradictory nature of CAMERA's media output highlights the disparity in rights for Israelis and Palestinians, in a sort of fashion reminiscent of George Orwell's Memory Hole. CAMERA furthers its ideology in a way that stonewalls any debate about the conflict. As such, trying to profile such an obvious organization seems so simple. What is therefore regretful is how CAMERA continues to succeed DESPITE the revelation for over two decades of how wrong it truly is. Althusser, however, did not include in his thinking the work of Christian Metz, worthy of further interrogation.
Metz emphasized through the lens of Freud and Lacan that the viewer experiences a sort of relaxation as a result of watching a film that makes them prone to accept subliminal suggestion.
What becomes clear, from an aesthetic point of view, is the quality of the video above. In a sense, the spinning of the figures above do hypnotize the viewer, in a psychological fashion, so to make them more willing to unquestionably accept Israeli policies.
This can be seen repeated daily on our television screens and in cinemas, which have demonized Arabs for decades, but with particularly ferocity since 9/11. These small markers to remind audiences of the Arab enemy, the 'Other', are consistently on exhibit in our culture, all extensions of this one Ideological State Apparatus, an unreasonable and brutal hatred of the Mohammedan Turks. For decades prior to 9/11, Arab-American and Muslim American groups were speaking out in protest to continued demonization and mis-characterization in cinema. Casey Kasem led a protest over lyrics in the Disney film ALADIN that were demeaning and offensive. The invocation of 'terrorists' by neo-conservatives like Donald Rumsfeld, Dick Cheney, and Ronald Reagan was matched by a steady stream of anti-Arab film characterizations, as Dr. Jack Shaheen profiles exhaustively in REEL BAD ARABS. However, this Ideological State Apparatus remains firmly entrenched within the American mind.