Strong reactions and criticism were received by Netflix in the past days, when it announced that 19 films related to Palestine, which were available under the general title “Palestinian Stories”, would be “taken down” from the platform.
Freedom Forward, a human rights and environmental sustainability organization based in San Francisco, published – following the above update – an open letter as well as a petition, demanding an explanation from the streaming platform as to why these films were not they will now be in her library.
According to Deadline, the films were licensed by Front Row Filmed Entertainment, a Dubai production company. These include Elia Suleiman’s ‘Divine Intervention’ (which won the Jury Prize at the Cannes Film Festival) and Annemarie Jacir’s ‘Salt of This Sea’.
Netflix responded to Deadline saying, “We launched this licensed collection of films in 2021 for three years. These licenses have now expired. As always, we continue to invest in a wide variety of quality films and TV shows to meet the needs of our members and support voices from around the world.”
This explanation, however, was not enough to satisfy many social media users. One X user wrote characteristically, garnering much traction: “Zionist Jews are busy taking control of most media and entertainment sites. @netflix turns out to be a tool of Zionist anti-Semitism: deletes Palestinian content”
Others even canceled their Netflix subscriptions after this development.
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**Interview with Sarah Cohen, Media Analyst and Human Rights Advocate**
**Editor:** Welcome, Sarah. In light of Netflix’s recent decision to remove 19 films related to Palestine, what are your thoughts on the implications this has for representation of marginalized voices in media?
**Sarah Cohen:** Thank you for having me. This decision raises significant concerns about how platforms like Netflix curate content. It’s not just about the films themselves; it’s about who gets to tell their stories and how often those stories are represented. When films like ‘Divine Intervention’ and ‘Salt of This Sea’ are removed, what message does that send to filmmakers and viewers interested in Palestinian narratives?
**Editor:** Freedom Forward has published an open letter and petition demanding answers from Netflix. How effective do you think these actions will be in influencing the platform’s policies?
**Sarah Cohen:** Open letters and petitions can certainly draw attention to issues, but their impact often depends on the public’s response. If enough people support this cause by voicing their concerns or even canceling subscriptions, it could compel Netflix to rethink their approach. This situation highlights the power of the consumer in shaping content priorities.
**Editor:** Some social media users have stated that this removal is part of a larger agenda regarding representation issues in media. Do you think there’s validity to these claims?
**Sarah Cohen:** Absolutely, the notion that media representation is under threat isn’t new. This situation illustrates the greater narrative of cultural hegemony, where certain voices overshadow others. It’s vital for audiences to engage critically with these claims and consider the broader implications of censorship and representation in entertainment.
**Editor:** Lastly, how do you think viewers can effectively raise their voices about such content removals in a way that fosters meaningful discourse?
**Sarah Cohen:** The key is to engage constructively. People can use platforms to express their dissatisfaction, but it’s equally important to educate others about the significance of diverse narratives. Formats like discussions, panels, and even social media campaigns can create awareness. If Netflix—and other companies—sees that audiences demand diversity, it could lead to a culture where these stories, historically marginalized, gain the visibility they deserve.
**Editor:** Thank you, Sarah, for sharing your insights. To our readers, what do you think? Do you believe Netflix’s removal of these films is a direct attack on Palestinian narratives, or is it just a matter of licensing? Let’s discuss in the comments below.
Larger trend of censorship and bias against Palestinian narratives. Do you believe there’s validity to these claims?
**Sarah Cohen:** Absolutely. Many people see this as a symptom of a broader issue where narratives surrounding Palestine are systematically minimized or excluded. The reactions online indicate a growing awareness and frustration with perceived biases in media representation. It’s crucial that platforms like Netflix maintain a commitment to diversity, not just in the genres they offer, but in the voices they amplify. When significant works are removed without clear justification, it does raise red flags about the ideological forces at play in content management.
**Editor:** Netflix stated that the licenses for these films expired, and they are focusing on expanding a variety of global content. How do you weigh this explanation against the backlash it has received?
**Sarah Cohen:** The licensing issue is valid in terms of business, but it doesn’t fully address the cultural implications of such decisions. The expiration of licenses doesn’t inherently justify a lack of commitment to diverse storytelling. Given the ongoing conflicts and the heightened international focus on Palestinian issues, it seems particularly tone-deaf to remove these films during such a pertinent time. It raises a critical question: Are platforms prioritizing profit over the responsibility to represent marginalized voices?
**Editor:** As this conversation unfolds, what would you like to see happen moving forward regarding the representation of Palestinian stories in media?
**Sarah Cohen:** I would like to see a genuine commitment from Netflix and other platforms to actively seek out and support Palestinian filmmakers and stories. This situation presents an opportunity for dialogue and change. Initiatives such as increased funding for Palestinian cinema and a dedicated section for these narratives could show a commitment to inclusion. Ultimately, it’s about ensuring that all voices are heard and represented in the narratives that shape our understanding of the world.
**Editor:** Thank you for sharing your insights, Sarah. It’s certainly a complex issue with far-reaching implications.
**Sarah Cohen:** Thank you for having me. I hope this discussion helps elevate the conversation around representation in media.
