This talk critically reflects on the deployment and weaponization of citizen video cameras in the Israeli-Palestinian conflict — an asymmetrical conflict in which filming is both highly legal and widely ubiquitous. It draws on over eight years of research and unprecedented access to the citizen-recorded video archives of B’Tselem, an Israeli human rights organization that distributes cameras to Palestinians living in the West Bank, East Jerusalem, and the Gaza Strip and gathers the footage. A camera is given to a Palestinian with the conviction that “seeing is believing,” or that visual recordings will cause change to the sociopolitical order. While much has been written about the counter-hegemonic potential of visual technologies in the wake of the Arab Spring, this paper complicates the notion that visual recordings alone can cause change. It argues that ​more is at stake in the Israeli-Palestinian conflict, and other conflicts: often, believing precedes seeing, and therefore seeing fails to alter belief​. This paper highlights visual surveillance and counter surveillance at the citizen level, and how Palestinians originally filmed to “shoot back” at Israelis, who were armed with shooting power via weapons as the occupying force. It also traces how Israeli private citizens began filming back at Palestinians with their own cameras, including personal cell phone cameras, thus creating a simultaneous, echoing counter surveillance. Theoretically, this paper follows in the wake of recent scholarship in visual studies that has proposed an examination of conflict through visuality, from scholars such as Ariella Azoulay, Judith Butler, Gil Hochberg, and Nicholas Mirzoeff among others. The radical act of examining conflict through visuality means foregoing questions of what “really happened” or other such lines of inquiry that assume an underlying, essential truth that can be “re-presented” through the media. Instead a visual studies approach means asking questions of how we see a conflict, visually — in place of how visual media represent what “objectively” occurred. Drawing on over 5,000 hours of footage, only a fraction of which is easily accessible to the public domain, this talk offers a nuanced perspective on the visual, media-driven strategies and battlegrounds of the Israel-Palestine conflict.