Aurora Mardiganian, a young and beautiful Armenian girl, lives with her parents in the Turkish city of Harpoot. Her father, a prosperous merchant, was preparing to send her to the West to ... See full summary »
Anna Q. Nilsson
"Aghet - A Genocide" - On the Armenian Genocide by the Young Turk government of the Ottoman Empire during World War I. It is based on eyewitness reports by European and American personnel ... See full summary »
The iconic "1915 Armenian Genocide" was originally produced in 1980 (digitally restored and re-released in 2010) is based on the eyewitness accounts of four survivors whose compelling story... See full summary »
Internationally known director Carla Garapedian follows the rock band System of a Down as they tour Europe and the US pointing out the horrors of modern genocide that began in Armenia in 1915 up though Darfur today.
How do you define classic rock? Is it a genre, a radio format, or music from a specific period of time? Filmmaker & lifelong rocker Daniel Sarkissian travels the world, interviewing iconic artists in search of an answer.
Country Joe McDonald
A US Senator's son (Jaime Kennedy) who attempts to forget the break up of his fiancée, is forced to vacation in Turkey by his best friends. A para-sailing trip mishap lands him in a small ... See full summary »
People tell stories. In Toronto, an art historian lectures on Arshile Gorky (1904 -1948), an Armenian painter who lived through the Armenian Genocide in the Ottoman Empire. A director invites the historian to help him include Gorky's story in a film about the genocide and Turkish assault on the town of Van. The historian's family is under stress: her son is in love with his step-sister, who blames the historian for the death of her father. The daughter wants to revisit her father's death and change that story. An aging customs agent tells his son about his long interview with the historian's son, who has returned from Turkey with canisters of film. All the stories connect.Written by
The Italian release of this film was intended to be on April 24th 2003. However, its showing was unexpectedly banned by Italian authorities a day before the planned release, with the authorities explaining that the film's distributor had failed to submit in time the application to obtain the required censorship certificate. See more »
Every scene in this film is based on this document.
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Closing disclaimers: 1) The historical events in this film have been substantiated by holocaust scholars, national archives, and eyewitness accounts, including that of Clarence Ussher. 2) To this day, Turkey continues to deny the Armenian Genocide of 1915. See more »
(Politically Lying, Unholy, Cowardly Killers)
Performed by System of a Down
Written by Daron Malakian (as Malakian) / Serj Tankian (as Tankian) / Shavo Odadjian (as Odajian) / John Dolmayan (as Dolmayan)
DDevil Music (ASCAP)/ System of Down (ASCAP)/ Sony/ ATV Tunes LLC,
All rights on behalf of DDevil Music, System of A Down & Sony/ ATV Tunes LLC
Administered by SONY/ ATV Music Publishing, 8 Music Square West, Nashville, TN 37202
All rights reserved. Used by Permission See more »
Memory, History, Representation & other Fallacies of Genius
Egoyan's most accomplished piece is, I think necessarily, also his most acutely misinterpreted. The trouble for most viewers is that they cannot understand why he didn't take a more direct / balanced / serious approach to the history involved. What most people fail to understand is that, as in most of Egoyan's films, History is not something one can directly interact with. And, while Egoyan and his film have a strong sense of cultural and historical responsibility; the actual history takes a back seat to its representation and the ramifications of its perverted resurrection.
The point of distancing oneself from the material by producing filmic layers that at times seem even to mock the historical horror of the depicted events, is to illuminate indirectly the essential nature of history: namely that History and Memory are enframed [term and definition stolen from Martin Heidegger] by, not only an arbitrary series of collective definitions, but also within a framework of communal Being. History and Memory are revealed in this film as malleable constructs that differ only in socially acceptable notations of subjectivity.
One is collectively subjective [though not universal] and the other is defined by being individually subjective. History and Memory are representations of distorted fictions; distorted by their very nature as representations - much like cinema. Film / Memory / History these are interchangeably used to comment on each other in all of Egoyan's Films but Ararat achieves a level of genius only developmentally present in his other admittedly brilliant works.
I had the good fortune to hear Egoyan Speak at a screening of his film Family Viewing. He answered several questions about Ararat and I will only say that anyone posting here that believes Egoyan missed something and that they have some fantastic absolutist factory sealed definition of his failures in Art or Cultural Responsibility have sorely underestimated the man.
Take another look...and then another...this film is brilliant.
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