Ararat and Collective Memories of the Armenian Genocide
Atom Egoyan’s Ararat (2002) has been misread and inappropriately critiqued as a failed cinematic representation of the Armenian genocide. The author of this article argues that the film is instead an ambitious meditation on the question of how to represent genocide in general, and the Armenian genoc...
| Κύριος συγγραφέας: | |
|---|---|
| Τύπος μέσου: | Ηλεκτρονική πηγή Review |
| Γλώσσα: | Αγγλικά |
| Έλεγχος διαθεσιμότητας: | HBZ Gateway |
| Journals Online & Print: | Φόρτωση...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Έκδοση: |
Oxford University Press
2006
|
| Στο/Στη: |
Holocaust and genocide studies
Έτος: 2006, Τόμος: 20, Τεύχος: 2, Σελίδες: 235-255 |
| Άλλες λέξεις-κλειδιά: | B
Κριτική
|
| Διαθέσιμο Online: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Σύνοψη: | Atom Egoyan’s Ararat (2002) has been misread and inappropriately critiqued as a failed cinematic representation of the Armenian genocide. The author of this article argues that the film is instead an ambitious meditation on the question of how to represent genocide in general, and the Armenian genocide specifically. He traces a number of themes in Ararat, including the political stakes involved in genocide commemoration, the reasons for and costs of denial, the difficulty and urgency of constructing a past when only ruins remain, the problematic nature of cinematic treatments of genocide, the intensely personal ways in which collective memory helps to shape individual and family identities, and the complexities of determining which versions of the past are reliable. |
|---|---|
| ISSN: | 1476-7937 |
| Περιλαμβάνει: | Enthalten in: Holocaust and genocide studies
|
| Persistent identifiers: | DOI: 10.1093/hgs/dcl003 |