The film Five Broken Cameras, directed by Emad Burnat and Guy Davidi, is beyond just a documentary; it is an intimate and urgent portrayal of Palestinian resistance against Israeli occupation. The film, which chronicles the experiences of Burnat, a Palestinian farmer from the West Bank village of Bil’in, uses the destruction of his five cameras as a metaphor for the relentless assault on Palestinian life, land, and identity. Each broken camera represents a phase in the village’s ongoing struggle against the construction of the Israeli separation barrier and the encroachment of Israeli settlements on Palestinian territory. Through this deeply personal narrative, Five Broken Cameras brings to the forefront the broader political context of the Israeli-Palestinian conflict, shedding light on the systemic oppression faced by Palestinians and their resilient fight for liberation. This analytical review aims to situate Five Broken Cameras within the larger framework of modern Middle Eastern politics, with a focus on Palestinian liberation. By drawing connections between the film and key academic works, including those by Helga Baumgarten, Rashid Khalidi, Oren Yiftachel, Ella Shohat, and Neve Gordon, this essay will explore the film’s engagement with themes of Palestinian nationalism, identity, resistance, and the nature of the Israeli state. The review will argue that Five Broken Cameras is not just a documentation of events but a powerful indictment of Israeli policies and a call for international solidarity with the Palestinian struggle for self-determination.

Five Broken Cameras is situated at the intersection of personal narrative and political struggle, offering a microcosmic view of the broader Israeli-Palestinian conflict. To fully understand the film’s significance, it is essential to contextualize it within the larger themes of Middle Eastern politics, particularly those concerning the construction of Palestinian national identity, the ethnocratic nature of the Israeli state, and the dynamics of resistance against occupation. The film reflects the evolution of Palestinian nationalism and identity, which have been shaped by decades of struggle against Israeli occupation. Helga Baumgarten, in her article “Three Faces/Phases of Palestinian Nationalism, 1948-2005,” outlines the historical trajectory of Palestinian nationalism, highlighting three distinct phases: the initial struggle for statehood, the rise of the Palestine Liberation Organization (PLO), and the subsequent fragmentation of Palestinian politics (Baumgarten, 2005). Five Broken Cameras can be seen as emblematic of the third phase, where grassroots movements and local resistance, such as that in Bil’in, play a crucial role in the reassertion of Palestinian identity and nationalism.

The village of Bil’in, as portrayed in the film, becomes a site of resistance and a symbol of Palestinian resilience. The villagers’ struggle against the Israeli separation barrier is not just a fight for land but a fight for the preservation of Palestinian identity and sovereignty. The film captures the villagers’ determination to resist the fragmentation and erosion of their community, which parallels the broader Palestinian experience under occupation. This grassroots resistance, as Baumgarten notes, is critical in keeping the Palestinian national cause alive, especially in the face of political fragmentation and the failure of formal political leadership (Baumgarten, 2005). Rashid Khalidi’s work on Palestinian identity further deepens our understanding of this aspect of the film. In Palestinian Identity: The Construction of Modern National Consciousness, Khalidi explores the ways in which Palestinian identity has been constructed and reconstructed in response to historical events, particularly the Nakba (catastrophe) of 1948, when hundreds of thousands of Palestinians were displaced from their homeland (Khalidi, 1997). Khalidi argues that Palestinian identity is deeply rooted in the collective memory of dispossession and the ongoing struggle for return and self-determination. Five Broken Cameras exemplifies this construction of identity through resistance. The act of filming itself is a form of resistance, as Burnat documents the daily injustices faced by his community and asserts their right to exist. The camera becomes a tool of empowerment, allowing Burnat to reclaim the narrative from dominant media portrayals that often marginalize or demonize Palestinians. By documenting the struggle, Burnat contributes to the preservation of Palestinian identity and memory, ensuring that the experiences of his village are not forgotten or erased.

Oren Yiftachel’s concept of ethnocracy, as discussed in his article “Ethnocracy: The Politics of Judaizing Israel/Palestine,” provides a critical lens through which to view the actions of the Israeli state as depicted in Five Broken Cameras. Yiftachel argues that Israel operates as an ethnocracy—a state that privileges one ethnic group (Jews) over others (Palestinians) (Yiftachel, 1999). This system of governance is characterized by policies that aim to Judaize the land of Israel/Palestine, including the establishment of Jewish settlements in the West Bank, the construction of the separation barrier, and the marginalization of Palestinian citizens within Israel. The film vividly illustrates the impact of ethnocracy on the ground. The Israeli separation barrier, which snakes through the West Bank, is a concrete manifestation of the state’s ethnocratic policies. The barrier not only separates Palestinians from their land but also serves as a tool of domination, reinforcing the power dynamics between the Israeli state and the Palestinian population. The villagers’ resistance to the barrier is therefore not just a fight for land but a challenge to the very structure of the Israeli state, which seeks to erase Palestinian presence and rights in the land of historic Palestine. The encroachment of Israeli settlements on Palestinian land, as depicted in the film, further exemplifies the ethnocratic nature of the Israeli state. These settlements are a key component of the state’s strategy to assert Jewish dominance over the West Bank, effectively making the creation of a contiguous Palestinian state impossible (Yiftachel, 1999). The film shows how these settlements, supported by the Israeli government, encroach on Palestinian land and livelihoods, leading to the displacement and dispossession of Palestinian communities. This process of Judaization is central to Yiftachel’s concept of ethnocracy and is a critical factor in the ongoing conflict.

Resistance is the core theme of Five Broken Cameras. The film portrays various forms of resistance, from nonviolent protest to the act of documenting the struggle, and the personal resilience of Burnat and his community. This resistance is rooted in a deep commitment to Palestinian liberation and the rejection of the Israeli occupation, which is viewed as illegal and illegitimate. One of the most powerful aspects of Five Broken Cameras is its portrayal of nonviolent resistance. The villagers of Bil’in, led by figures such as Adeeb and Phil, engage in weekly protests against the separation barrier. These protests, often met with brutal repression by the Israeli military, are a form of civil disobedience that challenges the occupation without resorting to violence. The film captures the courage and determination of the villagers, who face tear gas, rubber bullets, and arrests, yet continue to resist. The significance of nonviolent resistance in the Palestinian struggle is underscored by Baumgarten’s analysis of Palestinian nationalism. Nonviolent resistance has a long history in the Palestinian national movement, particularly during the First Intifada (1987-1993), which was characterized by widespread civil disobedience, strikes, and protests (Baumgarten, 2005). The film can be seen as a continuation of this tradition, where nonviolent resistance serves as a powerful tool to assert Palestinian rights and challenge the legitimacy of the Israeli occupation. The effectiveness of nonviolent resistance is also evident in the international attention that the Bil’in protests have garnered. The village’s struggle has become a symbol of Palestinian resistance worldwide, attracting solidarity from international activists, human rights organizations, and even Israeli peace activists. This international solidarity is crucial in amplifying the Palestinian voice and putting pressure on the Israeli government to halt its illegal activities in the occupied territories.

In Five Broken Cameras, the act of filming itself is a form of resistance. Burnat’s decision to document the protests and the daily life of his village is an act of defiance against the Israeli occupation. In a context where the mainstream media often portrays Palestinians as aggressors or victims, Burnat’s footage provides an alternative narrative that highlights the humanity, resilience, and agency of the Palestinian people. The camera, as depicted in the film, becomes a weapon in the struggle for justice. Each time one of Burnat’s cameras is destroyed, it is replaced by another, symbolizing the unbreakable spirit of the Palestinian people (Burnat & Davidi, 2011). The destruction of the cameras, which occurs at the hands of Israeli soldiers and settlers, represents the broader attempt to silence Palestinian voices and erase their experiences. However, Burnat’s persistence in filming ensures that these voices are heard, and their stories are told. This act of documentation is also a way of preserving memory. The film captures the destruction of the village’s olive trees, the arrests of its residents, and the deaths of its protesters, ensuring that these events are not forgotten (Burnat & Davidi, 2011). In this way, Five Broken Cameras serves as a historical record of the Palestinian struggle, contributing to the preservation of collective memory and identity.

The personal resilience of Burnat and his family is another key aspect of the film’s portrayal of resistance. Despite the constant threats to their lives and livelihoods, Burnat and his fellow villagers remain committed to their struggle. This resilience is embodied in the repeated destruction of Burnat’s cameras, each of which represents a phase in the village’s resistance (Burnat & Davidi, 2011). The fact that Burnat continues to film despite these setbacks is a testament to his determination and the broader determination of the Palestinian people to resist the occupation. Burnat’s personal story, intertwined with the collective struggle of his village, highlights the human cost of the conflict. The film shows how the occupation impacts not only the land but also the lives of individuals and families. Burnat’s son, Gibreel, grows up witnessing the violence and repression faced by his community, yet he also grows up witnessing the courage and resilience of his people. This personal dimension of the film adds a layer of emotional depth to the political narrative, making the viewer more invested in the Palestinian cause. Moreover, Burnat’s resilience is also a form of defiance against the Israeli state’s attempts to break the spirit of the Palestinian people. The repeated destruction of his cameras can be seen as symbolic of the broader Israeli strategy of attempting to crush Palestinian resistance through repression and violence. However, Burnat’s refusal to give up, and his continued documentation of his village’s struggle, demonstrates the failure of this strategy. The film ultimately conveys a message of hope and perseverance, suggesting that despite the immense challenges they face, the Palestinian people will continue to resist until they achieve their freedom.

Ella Shohat’s analysis of the representation of the Israeli-Palestinian conflict in Western media, as discussed in her work “Israeli Cinema: East/West and the Politics of Representation,” offers valuable insights into the significance of Five Broken Cameras as a counter-narrative. Shohat argues that Western media and cinema have historically portrayed Palestinians through a lens of Orientalism, often depicting them as terrorists or as a monolithic group devoid of individuality or agency (Shohat, 1989). Five Broken Cameras challenges this Orientalist narrative by providing a Palestinian perspective that emphasizes the humanity, diversity, and agency of the Palestinian people. The film’s intimate portrayal of Burnat’s family and community contrasts sharply with the dehumanizing portrayals often found in Western media. By focusing on the personal stories of the villagers of Bil’in, the film humanizes the Palestinian struggle and challenges the stereotypes that have long dominated Western discourse on the Israeli-Palestinian conflict. Furthermore, the film’s collaborative nature, with an Israeli co-director (Guy Davidi), adds another layer of complexity to its representation of the conflict. This collaboration challenges the binary oppositions often present in representations of the Israeli-Palestinian conflict, suggesting the possibility of solidarity and cooperation between Israelis and Palestinians who oppose the occupation and seek a just solution to the conflict.

Finally, Neve Gordon’s concept of biopolitics, as discussed in his book “Israel’s Occupation”, provides a framework for understanding the film’s depiction of the Israeli state’s control over Palestinian lives. Gordon argues that the Israeli occupation is not just about controlling territory but also about controlling the Palestinian population through various means, including surveillance, restrictions on movement, and economic deprivation (Gordon, 2008). Five Broken Cameras illustrates this biopolitical control through its portrayal of the daily life of the villagers, who are subjected to constant surveillance, harassment, and violence by the Israeli military and settlers. The separation barrier itself is a tool of biopolitical control, as it not only restricts the villagers’ movement but also isolates them from their land, resources, and each other. The film shows how the barrier disrupts the social and economic fabric of the village, making it difficult for the villagers to sustain their livelihoods and maintain their community. This biopolitical control is also evident in the film’s depiction of the arrests and imprisonment of Palestinian activists. The Israeli state’s use of detention and imprisonment as a means of suppressing dissent is a key aspect of its biopolitical strategy, as it seeks to break the spirit of resistance by targeting individuals and families (Gordon, 2008). However, as the film shows, this strategy often backfires, as it only strengthens the resolve of those who resist and galvanizes the wider community to continue their struggle.

In conclusion, Five Broken Cameras is a powerful and poignant film that offers a unique and compelling perspective on the Israeli-Palestinian conflict. By situating the film within the broader context of modern Middle Eastern politics, this analytical review has highlighted the ways in which Five Broken Cameras engages with key themes of Palestinian nationalism, resistance, and the nature of the Israeli state. The film not only documents the struggle of the villagers of Bil’in but also serves as a broader indictment of Israeli policies and a call for international solidarity with the Palestinian cause. Through its intimate portrayal of personal and collective resilience, Five Broken Cameras challenges dominant narratives about the conflict and asserts the humanity and agency of the Palestinian people. The film’s impact extends beyond its immediate context, offering a powerful reminder of the importance of resistance, solidarity, and the fight for justice in the face of oppression.

Bibliography

Baumgarten, Helga. (2005). “Three Faces/Phases of Palestinian Nationalism, 1948-2005.” Journal of Palestine Studies, vol. 34, no. 4, pp. 25-48.

Gordon, Neve. (2008). Israel’s Occupation. University of California Press.

Khalidi, Rashid. (1997). Palestinian Identity: The Construction of Modern National Consciousness. Columbia University Press.

Shohat, Ella. (1989). Israeli Cinema: East/West and the Politics of Representation. University of Texas Press.

Yiftachel, Oren. (1999). “Ethnocracy: The Politics of Judaizing Israel/Palestine.” Constellations, vol. 6, no. 3, pp. 364-391.

Burnat, Emad, & Davidi, Guy. (2011). Five Broken Cameras. Kino Lorber.