Actualizado en  abril de 2024   

Volume 6 / Issue 1
[gris]September 2010[/gris]
Genocide: eyewitness of films
[gris]ISSN 1553-5053[/gris]


Of the more tan 50 genocides that occurred in the twentieth century, the Armenian genocide stands out for two particular reasons:

1. for being the first to inaugurate political state terrorism in the twentieth century, that which obliterates an entire community for religious, racial or ideological reasons through a well-thought, systemic plan that exposes not only the forces of repression but also threatens a large part of the population in criminal acts and

2. for being the only genocide in the twentieth century that has not had any type of sanction (placed upon it) Not only did the perpetrators receive no judicial condemnation, nor any type of international sanction to Turkey, but even more grievously, to the Turkish state which, at 90 years from the event maintains its denial that said genocide has ever taken place.

This symbolic “no place (here)” of systemic assassination of a million human beings for religious and ethnic reasons assumes the precedent of the genocides that followed. “Who remembers the Armenian genocide?” is one of Adolph Hitler’s questions, remembered by a character in the film Ararat. This article deals with how to maintain memory and succeed in articulating a massive crime to a group of victims awaiting an act of justice, (it deals with) the duty of telling and remembering and, at the same time, the problem of symbolic means to convey an accurate rendering (of events.)

Genocide: Silence, Justice and Transference

Relating to the film Ararat by Atom Egoyan

Copyright/Permisos: Los/as autores/as conservan los derechos de autor © y permiten la publicación a Aesthethika, bajo licencia CC BY-SA / Reconocimiento - Reconocimiento-CompartirIgual 4.0 Internacional. La adopción de esta licencia permite copiar, redistribuir, comunicar públicamente la obra, reconociendo los créditos de la misma, y construir sobre el material publicado, debiendo otorgar el crédito apropiado a través de un enlace a la licencia e indicando si se realizaron cambios.

Genocides: The Witness of Cinema

Genocide: Silence, Justice and Transference

The Politics of Memory

About Roberto Benigni’s film La vita è bella

Life is not beautiful, it’s life

“Sophie’s Choice”: The Lethal Factor


aesthethika // Revista internacional de estudio e investigación interdisciplinaria sobre subjetividad, política y arte