JORDANTV — Leadership Journey
20260920 143000 UTC
363 transcript segments
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[00:00:00] meetings.
[00:00:07] inadequate documentation, and you are
[00:00:11] What worries me is that we are not living in
[00:00:16] So he keeps taking you in
[00:00:18] including destruction from
[00:00:24] about me that I am with he forgot to tell us and say in
[00:01:17] to say.
[00:01:20] What is it? Egypt
[00:01:24] is a trust in
[00:01:25] your hands.
[00:01:28] I didn't see
[00:01:32] the truth of shaping consciousness for the viewer or
[00:01:36] the recipient, a matter, as
[00:01:39] we sometimes say, of extreme
[00:01:41] Charity Lottery's Facebook difficulty, but
[00:01:43] page, and on shaping consciousness with ideas is, in fact, today's episode is a
[00:01:46] very important episode. Why? We all love cinema. We watch
[00:01:51] and do many things in the many different works, and we call cinema the soft
[00:01:54] power, because it has power, but it has softness,
[00:01:57] because it has the frame, it has the sound, it has
[00:02:01] the image, it has the music, it has
[00:02:04] the story, it has us telling. So when we come
[00:02:07] to talk about history and talk about military
[00:02:11] matters, what does military mean? It means matters that concern
[00:02:13] the homeland, or sometimes, and most importantly, concern national security.
[00:02:17] That's why we thought in Beit El Kul, "Oh, so we need
[00:02:21] a national security expert, a military one, to talk to me.
[00:02:24] And I also need an important critic to tell me what to do. Should I let
[00:02:28] the enemy's cinema tell whatever story it wants? If I respond, where will
[00:02:33] It was working on I respond? Will I respond in the same place, or great wisdom, of course, from
[00:02:34] The meeting is renewed with the winning of will I respond locally in my country, and just be
[00:02:35] helps lift the shadow of the ground in drama, in talking to myself, or will I respond internationally? What should I do? How should I
[00:02:38] act? Wars nowadays are not just wars on
[00:02:42] This evening, we present to you the ground, they are wars in the media, and wars in journalism, and wars on
[00:02:44] platforms, even TikTok and your social media.
[00:02:49] of 2026. I also have to respond there, and respond with many things. That's why, Beit El Kul, I ask you all
[00:02:53] to share the viewing today, let's watch,
[00:02:57] and talk, and think together in an image, and convey
[00:03:01] all our opinions to the experts,
[00:03:04] years whether those who certainly secure our countries and our honor and homeland all
[00:03:08] the time, or those who shape the soft power
[00:03:11] and think about many
[00:03:12] us today to participate in the draw of cinematic works, the magnitude of and we demand more.
[00:03:15] It's not an easy
[00:03:17] and other episode, it's a
[00:03:19] specializations in difficult episode, but I think it's beautiful
[00:03:21] that we open the cards
[00:03:25] and talk. Let me start
[00:03:28] big prizes, starting with by saying "clapperboard" or let me say, let's be ready on
[00:03:32] the homeland and see what's happening. I am honored in
[00:03:35] this episode, which
[00:03:38] and Jordan is present in lasted for two weeks, because we really want to talk extensively about many
[00:03:42] examples. I am honored by the presence of Major General Pilot Dr. Hisham
[00:03:46] Halabi, advisor to the Military Academy for Higher Studies
[00:03:49] and Strategy, and national security expert. And I am honored on
[00:03:53] the other side, from the side of cinema and art
[00:03:57] for peace in and so on, by the film critic Ahmed Saad El Din. So we can
[00:04:00] talk from both sides. Good evening and welcome
[00:04:04] to you all. And I am happy that we are talking as
[00:04:08] we are on the verge
[00:04:10] the event that of celebrating October, God willing.
[00:04:13] The topic is not easy, but perhaps it personally provoked
[00:04:16] me that I was watching a film.
[00:04:20] Actually, the film was about the battle of
[00:04:22] the fortress, and the film was actually about
[00:04:26] a specific battle that took place,
[00:04:30] meaning it was in the 1973 war. But
[00:04:34] while you are watching the film, you know it is the 1973 war, or
[00:04:37] it was mentioned that it was on the verge
[00:04:39] they became of war. But the film conveys to you that the conflict
[00:04:43] is changing, and this battle
[00:04:45] I wouldn't say is of course known. And Major General will definitely
[00:04:48] talk about it, but the Israeli side here specifically
[00:04:51] talked about a story between
[00:04:55] a commander
[00:04:56] a triangle. of the Israeli army and a doctor.
[00:05:00] The matter turned into a humanitarian issue. The commander wants to continue and keep defending.
[00:05:04] Of course, where is he defending? He is striking our army and defending, meaning
[00:05:07] he wants to defend the fortress. And this fortress
[00:05:11] part, what worries give them a type of is already occupied. This is our country, and he occupies a part of it.
[00:05:14] And at the same time, the doctor sees
[00:05:18] that, of course, because we are trying to regain
[00:05:21] the homeland, so we are striking and want to liberate the fortress. So he sees that
[00:05:25] the soldiers started dying and so on.
[00:05:28] this conflict and confirms to you that the enemy is defending
[00:05:32] and the enemy is desperate. But
[00:05:35] the film that the land is not his and the country is not his, and that
[00:05:39] the fortress that you are defending humanely is not
[00:05:43] yours at all. But he exploits his presence
[00:05:46] on international platforms, exploits his presence in local cinema,
[00:05:50] exploits his presence in American
[00:05:53] film, I first want to talk to you as a human, your
[00:05:57] great experience, and you are a fighter first and foremost. When
[00:06:00] you see this film, how do you
[00:06:03] feel? Firstly, when I see this film, I will feel that
[00:06:07] some countries
[00:06:11] have
[00:06:14] the war, and therefore he will not break the generation he has, he doesn't want
[00:06:18] to break them. I mean, are we expected
[00:06:21] that in an anniversary like the October anniversary or any anniversary
[00:06:25] with victories, that any other side
[00:06:28] will break their generation and say
[00:06:31] we were defeated and say the truth? Of course not. Let's be
[00:06:34] realistic. And so we entered here into
[00:06:37] a kind of war called the war of narratives. Hmm, the war
[00:06:41] of narratives. He tells a narrative
[00:06:44] that is true,
[00:06:48] but it looks at the event from a very
[00:06:51] small perspective that changes the thinking
[00:06:55] and vision of other parties. But when I talk about a huge event
[00:06:58] like a war, with victories and sacrifices and a prominent mark
[00:07:02] in the history of a country, and therefore I will not come
[00:07:06] to this event as another party and I will say
[00:07:09] the truth. I will tell a narrative. A
[00:07:12] true narrative. Hmm.
[00:07:16] But it takes the event in a completely different direction, that's why it's called the war of narratives. This is a very
[00:07:20] complex science, and the very important point is that this war of narratives can be done in several
[00:07:23] ways. It can be done written, written
[00:07:27] on a page on social media, a literary
[00:07:30] story. The danger is that it can be made into a film or
[00:07:34] a drama, because people always love
[00:07:37] films, especially in the Arab region and in the world, and
[00:07:41] all over the world, sir. I mean,
[00:07:44] I say cinema and drama are national security, national
[00:07:48] security, because they do several things. Firstly, they shape
[00:07:51] public opinion, and within them is the war of narratives. The second point
[00:07:54] is that they record history. We have historians and everything, but they record it
[00:07:58] in books and references, and a correct and excellent situation.
[00:08:02] But if I take an event and make it
[00:08:06] historically in the form of a film
[00:08:08] with its correct documents
[00:08:11] and all its events, correctly, this will live for many
[00:08:17] and preserve the narrative and preserve the narrative. I will ask your permission
[00:08:20] here, Major General, our film
[00:08:23] critic. Cinema
[00:08:26] always tries to find a voice.
[00:08:29] Cinema is the voice of freedom, the voice of humanity in general.
[00:08:33] So I can't blame cinema, I mean, I can't say
[00:08:36] to the Israeli side, why
[00:08:40] are you making this film? The film you
[00:08:42] mentioned, for example, was produced in 2023. So in 2023,
[00:08:46] you are still using, of course, the term
[00:08:50] of Major General, "war of narratives." The narrative still worries
[00:08:53] you. How do you see this? This is very
[00:08:57] important, that I have many narratives,
[00:09:00] and these narratives are driving me
[00:09:02] personally. How do I
[00:09:06] then present them to the world, that
[00:09:09] I was helpless, or I
[00:09:12] made a mistake? But at the same time,
[00:09:16] I had a humanitarian dimension that was much
[00:09:19] greater than
[00:09:22] led to the defeat, especially with the passage of time, with
[00:09:26] the passage of years, from 1973 until today, we are
[00:09:29] talking about 53 years. The generation that
[00:09:33] witnessed 1973 and the generation after it
[00:09:36] are now in another age group.
[00:09:40] Who am I targeting? From
[00:09:44] 15 years old to 35 years old.
[00:09:47] Correct. This segment, if I come to
[00:09:50] look at it and study it psychologically, basically doesn't read
[00:09:54] much. Right?
[00:09:57] And it doesn't seek out history. So I have a void there.
[00:10:01] How do I fill this void in my favor? I will come
[00:10:04] now to art. Art is based on
[00:10:09] Each side of this triangle
[00:10:13] has a function. I have a part for
[00:10:16] entertainment, I entertain myself and the viewer.
[00:10:19] A part for education, so I
[00:10:23] culture. Correct. And an awareness
[00:10:27] part. Hmm. Awareness
[00:10:30] here for me is different from for you, different from for
[00:10:34] the enemy. Why? Because for me, awareness is how
[00:10:37] to extract the truth
[00:10:39] from the story I saw and correct it.
[00:10:42] But for him, awareness is that I have overturned the truth to present it
[00:10:45] to others, and people will say
[00:10:49] the humanitarian dimension. Hmm. This is the danger
[00:10:52] of art. The danger of art, because cinema
[00:10:55] is history. Today, when we ask
[00:10:58] people, or even if we talk about the 1919
[00:11:00] revolution, we bring
[00:11:05] the trilogy. Right?
[00:11:07] And we talk about it, we say Long Live the Crescent with the Cross, when they came together,
[00:11:11] when they went out together, where did we get it
[00:11:14] cinema. We watched many
[00:11:17] films, and the best, I mean, I can
[00:11:20] say the father of this soft power
[00:11:23] and its danger was
[00:11:25] Goebbels in Germany. He was the one who invented
[00:11:28] this war and succeeded in it.
[00:11:32] When he died in World War II in 1945, when
[00:11:34] it ended, American cinema took it.
[00:11:38] And I remember here the beautiful
[00:11:41] artist Omar Sharif once met him, and I was talking to him
[00:11:45] about a film called Che Guevara, which he was
[00:11:48] starring in. Of course, the first sentence
[00:11:51] he told me was, "Do you know who produced it?"
[00:11:56] Of course, I said Hollywood. He told me, "CIA production."
[00:11:59] Yes. CIA production.
[00:12:03] When did Guevara die? In 1967. This film
[00:12:06] was produced in 1968. Why? To
[00:12:10] whitewash America's image,
[00:12:13] of course, and to market
[00:12:16] script that were wrong in favor
[00:12:19] of America, against Guevara
[00:12:22] and the rest. If I come to this
[00:12:25] region here, I have the 1973 war.
[00:12:29] You are doubting it, but the military victory is
[00:12:32] there, right? You doubt it, but I have what I can
[00:12:36] respond with. How? Through soft
[00:12:39] power. I want to convey the message to other generations,
[00:12:43] for example. In Egypt, too, and using
[00:12:46] the idea of the war of narratives, we used the war of narratives very
[00:12:50] well in the film "The Passage." And the film "The Passage" was
[00:12:55] the Egyptian state.
[00:13:00] "Al-Ikhtiyar." "Al-Ikhtiyar" also documented
[00:13:03] important important terrorism. What is terrorism? People will
[00:13:07] play around with this narrative a lot and say things, but here there was
[00:13:10] great awareness that we documented terrorism
[00:13:14] at the same time, almost. I mean, terrorism existed
[00:13:17] and still exists, we didn't delay it at all, and this is the
[00:13:21] awareness of the times, which means that time
[00:13:24] is no longer there. We waited for "Haganah" to open files
[00:13:28] after 25 years, but here there was wisdom from the leadership, and
[00:13:31] at the same time we presented the film "The Passage." How did you see
[00:13:35] the film "The Passage" as a leader and a pilot
[00:13:39] major general, and that you made an era of
[00:13:42] 1967, which was the psychological setback
[00:13:45] for the Egyptian citizen and for the soldier as well, correct? And that you restore
[00:13:49] that again with new generations, correct? Well, of course, I
[00:13:53] always say documentation is of utmost importance, and documentation through
[00:13:57] films or drama in general is
[00:14:00] of utmost importance, and we don't have the luxury not to do it. We
[00:14:04] must do it. People love television and love drama,
[00:14:07] and we present documentation to them
[00:14:11] through something they love. The very important point is that
[00:14:14] when military films or
[00:14:17] any drama with military elements happen, the armed forces help,
[00:14:21] they help to adjust the scene for you
[00:14:25] from a military perspective, because if it wasn't
[00:14:27] accurate from a military perspective, its credibility would be low, even
[00:14:31] though it's correct. The way
[00:14:34] one holds a weapon, the clothes,
[00:14:37] as we saw Anthony Quinn in it,
[00:14:41] he was washing himself as if
[00:14:44] he had been washing himself for years. So this is a very
[00:14:47] important point.
[00:14:50] Military events, military works, all
[00:14:54] this, the forces helped a great deal, so the work comes out excellent
[00:14:57] and it lives on. These works live on
[00:15:00] because
[00:15:04] realistic, because realism in cinema, especially in military
[00:15:08] films, if it's not present,
[00:15:10] realism in the story itself,
[00:15:13] realism in the script. The time for this part has ended, we will definitely
[00:15:17] continue in the second part, but I want to take some
[00:15:21] words from you for our Arab viewers who are watching
[00:15:25] us, because Arab identity and Arab national
[00:15:29] security, Egypt, Jordan, Palestine, Iraq, are
[00:15:33] one, of course. The second
[00:15:36] Major General, he will talk about it in the second part. What worries you?
[00:15:39] What worries you about cinema? What worries you about
[00:15:45] a professor of national security? What worries you?
[00:15:48] the ideal city in the world, and anyone and their region
[00:15:52] has many threats,
[00:15:55] within, targeting,
[00:15:58] targeting and using the components of the states themselves. And therefore,
[00:16:01] if this will be the first question in the most important thing, that I
[00:16:05] have countries on them, meaning countries that are targeted, so if I leave them,
[00:16:09] they will be taken from me very
[00:16:12] the second part. What worries you is that I am
[00:16:15] only receiving and not
[00:16:18] resisting, that I sit and receive Western
[00:16:21] cinema that comes to me, which distorts my narratives
[00:16:24] and facts, and I don't resist
[00:16:27] it with my cinema. This
[00:16:30] is the most important point that must be present. The episode
[00:16:34] is purely Arab, and national security is not only Egyptian,
[00:16:38] but Arab. Cinema is good,
[00:16:41] we love it, but we must not be
[00:16:43] mere spectators. That's it.
[00:16:46] We will continue the discussion next week in Beit
[00:16:49] El Kul. May you be in God's care.
[00:25:34] The Middle East conflict has repeatedly become
[00:25:39] an issue before this institution, and
[00:25:42] the UN's position has been repeatedly articulated
[00:25:45] in resolutions condemning aggression and
[00:25:49] occupation, affirming Palestinian
[00:25:53] self-determination, and supporting a
[00:25:57] process for peace. People are
[00:26:00] weary of disappointment,
[00:26:03] and spoilers are doing everything they can to make
[00:26:07] us fail. We cannot
[00:26:10] underestimate the importance of
[00:26:13] success or the painful
[00:26:16] cost of failure. A
[00:26:19] two-state solution that ends the conflict by meeting the needs
[00:26:23] of both sides is and can be the only
[00:26:27] secure and lasting peace. Two
[00:26:31] states, with sovereign, independent, and viable
[00:26:34] Palestine, and security and acceptance for
[00:26:37] Israel. And let me say here, as I have said
[00:26:40] before, that the Arab World is seeking
[00:26:43] peace, real peace,
[00:26:47] diplomatic relations, economic relations,
[00:26:50] trade, investment, new
[00:26:53] normality in peace, where people are safe in
[00:26:57] their homes, where communities are able to
[00:27:00] build, and where cooperation
[00:27:03] helps the entire region prosper. We
[00:27:06] know the right way forward,
[00:27:10] and the goal can be reached: a just and
[00:27:13] final two-state settlement based on international
[00:27:17] legitimacy and the Arab Peace
[00:27:20] Initiative. For Israel, real security and normal
[00:27:23] relations with 57 Arab and Muslim countries.
[00:27:27] We must also marshal the united global
[00:27:30] response needed to achieve once and for
[00:27:34] all a lasting settlement. This has been reflected in
[00:27:37] the Amman Message and A Common Word.
[00:27:41] And four years ago, we helped create the UN's
[00:27:44] Global Interfaith Harmony Week
[00:27:47] event to focus all people,
[00:27:51] especially young people, on the
[00:27:54] essentials of tolerance and coexistence. As the
[00:27:58] custodian of Islamic holy sites of Jerusalem, I
[00:28:01] will continue my efforts to protect these places and
[00:28:05] stand up against all violations of their
[00:28:08] sanctity, including attempts for
[00:28:11] temporal and spatial division of
[00:28:14] Al-Aqsa Mosque, Sharif. This is the
[00:28:17] land where prophets walked, the land where
[00:28:21] generations of Muslims, Christians, and Jews have sought to
[00:28:24] live in obedience to God, teaching their children
[00:28:28] compassion, mercy, and respect for
[00:28:31] others. It will continue to suffer until the world
[00:28:37] the Palestinian-Israeli conflict, the central
[00:28:40] issue in the Middle East. I call on all
[00:28:44] countries to join Jordan in
[00:28:47] enforcing an international Gaza humanitarian
[00:28:50] gateway, a massive relief effort to deliver
[00:28:54] food, clean water, medicine. The
[00:28:57] conflict in the Middle East, and not
[00:29:01] for the first time, developments on the ground have made
[00:29:05] me question the worth and
[00:29:08] utility of words in capturing
[00:29:12] the crisis. Yet, not speaking about
[00:29:16] it would signal acceptance of the
[00:29:19] situation and abandonment of our
[00:29:22] humanity, and that I will not
[00:29:26] do.
[00:29:38] The voice of wisdom international
[00:29:42] forums. His Majesty King Abdullah II
[00:29:45] delivers a historical speech before
[00:29:48] the United Nations General Assembly.
[00:29:51] He addresses the most prominent challenges and global
[00:29:54] responsibilities and outlines Jordan's vision
[00:29:59] the region and the world.
[00:30:46] Welcome to a new episode of The Window. We start
[00:30:50] with the most prominent headlines.
[00:30:53] His Majesty the King begins a working visit to New York, during which
[00:30:56] he will deliver a speech at the opening session of the General Assembly