Readers following the way that Israel is discussed abroad these days might be aware of two intertwined and mutually reinforcing tropes. According to the first trope, the story of Israel is not about complicated events with multiple players but about the moral character of Israel alone. Israel’s opponents generally appear as bystanders or corpses. Arabs don’t make decisions: they are merely part of the set upon which the Jews perform.
According to the second trope, Israel has dirty secrets that it is trying hard to keep under wraps. Thus, the claim that Israel “crushes dissent” has become common among the country’s critics, leading to expressions of the need to “tear off the mask,” “end the charade,” or “break the silence.”
Both tropes are on display in the new movie Censored Voices, to which Martin Kramer, in “Who Censored the Six-Day War?,”has skillfully applied his historian’s toolkit. (Kramer did the same last year in his detailed deconstruction of Ari Shavit’s account in My Promised Land of the Lod battle of 1948, which played to the same tropes.) The movie is about 1967, but it’s a product of the present moment. Like the work of the NGO Breaking the Silence, whose recent report on the 2014 Gaza war dominated international press coverage a few months ago, it is of the popular genre we might call the “moral striptease.” In this genre, introspective Israeli veterans—of whom Israel has many, a fact of which it can be proud—publicly undress, confessing their failings and those of their countrymen. These accounts are taken at face value and presented as disembodied truths, without details of the environment in which they occurred or the assumptions under which the soldiers operated, and without information that would allow corroboration.