Over the course of the first two decades of the twenty-first century, within the occupied Palestinian territories, photographic technologies and image-oriented politics would grow increasingly central as activist and human-rights tools of bearing witness to Israeli state and settler violence. This essay investigates the Israeli right-wing and international Zionist response to these Palestinian visual archives and their perceived threat. In particular, it tracks the rise and normalization of a repudiation script that impugned the veracity of these images, arguing that they were fraudulent or manipulated to produce a damning portrait of Israel. Drawing on post-colonial and settler-colonial studies, as placed into dialogue with digital media studies, the essay focuses on three cases studies of repudiation (2000, 2008, 2014, respectively) to consider how the long colonial history of repudiation in the Israeli context would be progressively updated by right-wing Israelis and their international supporters to meet the challenges posed by the smartphone age. By the second decade of the twenty-first century, the script had become an increasingly standard Zionist response to viral images of Palestinian death or injury at Israeli state or settler hands. Repudiation was thus marshaled as a solution to the viral visibility of Israeli state violence by bringing the otherwise damning images back into line with dominant Israeli ideology, a process of shifting the narrative from Palestinian injury to Israeli victimhood. The story of the “false” image of Palestinian injury endeavors strips the visual field of its Israeli perpetrators and Palestinian victims, thereby exonerating the state. Or such is the nature of this digital fantasy in the Israeli colonial present.

在 21 世纪的前 20 年中，在被占领的巴勒斯坦领土内，摄影技术和以图像为导向的政治将日益成为见证以色列国家和定居者暴力的激进主义和人权工具的核心。本文调查了以色列右翼和国际犹太复国主义对这些巴勒斯坦视觉档案及其感知威胁的反应。特别是，它追踪了一个否认这些图像的真实性的否定脚本的兴起和正常化，认为它们是欺诈性的或被操纵以产生该死的以色列画像。借鉴后殖民和定居者-殖民研究，与数字媒体研究进行对话，本文侧重于否认的三个案例研究（2000 年、2008 年、2014 年、分别）考虑以色列右翼及其国际支持者如何逐步更新以色列背景下长期的殖民历史，以应对智能手机时代带来的挑战。到 21 世纪的第二个十年，该剧本已成为犹太复国主义对巴勒斯坦人在以色列国家或定居者手中死亡或受伤的病毒图像的日益标准的回应。因此，通过将原本令人憎恶的形象重新与以色列占主导地位的意识形态相一致，将否认作为解决以色列国家暴力的病毒式可见性的解决方案，这是一个将叙事从巴勒斯坦伤害转变为以色列受害者的过程。巴勒斯坦伤害努力的“虚假”形象的故事剥夺了以色列肇事者和巴勒斯坦受害者的视野，从而免除国家的责任。或者这就是以色列殖民时代这种数字幻想的本质。