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...
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| Type de support: | Électronique Review |
| Langue: | Anglais |
| Vérifier la disponibilité: | HBZ Gateway |
| Journals Online & Print: | En cours de chargement...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publié: |
Oxford University Press
2006
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| Dans: |
Holocaust and genocide studies
Année: 2006, Volume: 20, Numéro: 2, Pages: 235-255 |
| Sujets non-standardisés: | B
Compte-rendu de lecture
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| Accès en ligne: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Résumé: | 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. |
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| ISSN: | 1476-7937 |
| Contient: | Enthalten in: Holocaust and genocide studies
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| Persistent identifiers: | DOI: 10.1093/hgs/dcl003 |