CAMERA’s documentation of Amanpour over the course of several decades has revealed her bias against Israelis, and affinity for the Jewish state’s adversaries.
While major news outlets have extensively covered how rising gas prices impact voters ahead of the midterms, those same outlets buried the story when senior Iranian officials explicitly confirmed that Tehran is targeting oil tankers to inflate energy costs and influence the vote.
On the third anniversary of the Oct. 7 attacks, many major media outlets focused on Palestinians and Gaza, or the upcoming Israeli elections, instead of Israeli grief and commemoration.
Media outlets have a moral duty to help undo the damage they have inflicted on both the Jewish state and journalism after reporting which falsely identified terrorists as journalists, CAMERA's Shay Khatiri writes in National Review.
They put on kid gloves with a U.S. enemy and wear brass knuckles against America’s closest partner in the Middle East, CAMERA's Shay Khatiri writes at JNS.
By ignoring the threat that Hamas posed to Israel, The Washington Post's Shadi Hamid was free to accuse Israel of using excessive violence and committing war crimes in its war against Hamas, David Gerstman writes in The Jerusalem Post.
Gaza’s civilian deaths have become a weapon in the information war, creating a dangerous incentive to put civilians in harm’s way, CAMERA's Leah Benoz writes in The Jerusalem Post.
“NAZA” claims to “describe things as they really are.” Based on Yuval Abraham’s track record, the film expects a gullible audience to blindly trust but not verify, CAMERA's Shlomi Ben-Meir writes in TheWrap.
There is nothing American about weaponizing U.S. citizenship, CAMERA's Tamar Sternthal writes in The Washington Times. It is time for journalists to look past the strategically placed American flags to the inconvenient facts of terrorism — even if it means exposing a town that is no place like home.
What exactly was the audience applauding when the screening of Naza ended at the Venice Film Festival? What was it? The war? The addition of yet more false material intended to constrain Israel’s ability to defend itself, asks CAMERA Español's Marcelo Wio in The Objective. Or the fear of ostracism, of cancellation, of the social, artistic, and moral gulag?
