Postmodern Views of Postmodern Views of History/Memory and IdentityHistory/Memory and Identity

AraratArarat & & Slaughterhouse VSlaughterhouse V

OutlineOutline Postmodernism, History and Identity: General Postmodernism, History and Identity: General

Issues & Questions Issues & Questions Ararat and SL-V Ararat and SL-V Ararat: Ararat:

– General Introduction and Question General Introduction and Question – Two Major Themes: the “Lack”; the Need to find Two Major Themes: the “Lack”; the Need to find

or tell the “historical” truth. BUT . . .or tell the “historical” truth. BUT . . . The “Objective” & “Official” + the PersonaThe “Objective” & “Official” + the Persona

l.l. The Metafictional – Truth Problematized but RThe Metafictional – Truth Problematized but R

econstruction Confirmed. econstruction Confirmed. Atom Egoyan’s ‘Home-Coming’Atom Egoyan’s ‘Home-Coming’ ReferencesReferences

What did we discuss last What did we discuss last week?week?

Definitions of Postmodernism and Postmodernity

Flatness (collage & pastiche), de-subjectivization, waning of affect, schizophrenia

lack of history vs. “constant presence” of history

Image Society (music video) and Society as Spectacle (The Living Mall)

IdentityIdentity

Identity as a Process of Identification Identity as a Process of Identification (of (of social conditioningsocial conditioning and and individual individual choiceschoices). ).

Two Kinds: Individual and collective; Two Kinds: Individual and collective; – Individual: defined through mind, body, Individual: defined through mind, body,

writing, clothing and other social writing, clothing and other social actions. actions.

– Collective: gender, race, national, etc. Collective: gender, race, national, etc.

HISTORY

History and Identity: History and Identity: General QuestionsGeneral Questions

In the process of identification, the past (individual memIn the process of identification, the past (individual memory and collective history) always plays a role. ory and collective history) always plays a role.

How does How does traumatrauma impact on individual victims and th impact on individual victims and their survivors? (e.g. obsession, escape, silence & represeir survivors? (e.g. obsession, escape, silence & repression, repetition compulsion, creative reconstruction)sion, repetition compulsion, creative reconstruction)

What is “What is “HistoryHistory” (grand narrative)? How is it conne” (grand narrative)? How is it connected with personal histories (small narratives)? cted with personal histories (small narratives)?

Is Is historical truthhistorical truth to be known? Can it be re-presented to be known? Can it be re-presented realistically? (e.g. realistically? (e.g. 二二八真調會二二八真調會 ) )

Are we (survivors or readers) numb to tragedies, historAre we (survivors or readers) numb to tragedies, historical or present?ical or present?

Part of the debate between Part of the debate between Realism vs. PostmodernisRealism vs. Postmodernism m

The Two Texts vs. The Two Texts vs. Traumatic HistoryTraumatic History

Why? Egoyan – as a descendant Why? Egoyan – as a descendant

1. His separation from Armenian tradition went to Canada in 1962 at the age of two from Egypt. went to Canada in 1962 at the age of two from Egypt.

-- Lived in BC, separated from Armenian community, c-- Lived in BC, separated from Armenian community, church, or language. hurch, or language.

2. Gradual recognition of Armenian roots in college and a2. Gradual recognition of Armenian roots in college and awareness of this genocide. wareness of this genocide. -- His father's mother was an orphan of Armenian geno-- His father's mother was an orphan of Armenian geno

cide and his grandfather narrowly escaped from it. cide and his grandfather narrowly escaped from it. 3. Burden—lack of general recognition: 3. Burden—lack of general recognition:

-- a remote area not known to his audience; -- a remote area not known to his audience; -- a history denied by the Turkish government. -- a history denied by the Turkish government.

Vonnegut –as a SurvivorVonnegut –as a Survivor

“ “When I got home from the Second World War tWhen I got home from the Second World War twenty-three years ago, I thought it would be ewenty-three years ago, I thought it would be easy for me to write about the destruction ofasy for me to write about the destruction of

Dresden, since all I would have to do would be Dresden, since all I would have to do would be to report what I had seen [...].to report what I had seen [...].

But But not many wordsnot many words about Dresden came from about Dresden came from

my mind then. [...]my mind then. [...] And And not many wordsnot many words come now, either [...]. (2) come now, either [...]. (2)

Metafictional Styles Metafictional Styles A response to one’s/human inability to fully kA response to one’s/human inability to fully k

now and represent history, or to make it meannow and represent history, or to make it meaningful; ingful;

(later) literature of exhaustion and replenishm(later) literature of exhaustion and replenishment. ent.

ThematicallyThematically, it expresses ontological (existen, it expresses ontological (existential) insecurity and uncertainties. tial) insecurity and uncertainties.

FormallyFormally, it exposes and revises traditional nar, it exposes and revises traditional narrative elements such as plot, narrative frame, rative elements such as plot, narrative frame, narrator and characters. narrator and characters. – overplotting (Ararat) vs. underplotting (SL-V) overplotting (Ararat) vs. underplotting (SL-V)

The Two Texts as Historiographic The Two Texts as Historiographic Metafiction Metafiction

Metafiction: Metafiction: reality = fictionreality = fiction

Metafiction is a term given to fictional writing which self-consciously and systematically draws attention to its status as an artifact in order to pose questions about the relationship between fiction and reality. In providing a critique of their own methods of construction, such writings not only examine the fundamental structures of narrative fiction, they also explore the possible fictionality of the world outside the literary fictional text. (Patricia Waugh 2).

The Two Texts as Historiographic The Two Texts as Historiographic Metafiction (2)Metafiction (2)

Historiographic metafiction – history = fictiHistoriographic metafiction – history = fictionon

rejects grand narratives and asserts the srejects grand narratives and asserts the s

pecificity and particularity of the individupecificity and particularity of the individual past event. (al past event. (plural historiesplural histories) )

““both both inscribes and underminesinscribes and undermines the aut the authority and objectivity of historical sourcehority and objectivity of historical sources and explanations” (122-123, Linda Huts and explanations” (122-123, Linda Hutcheon)cheon)

Ararat: Plotlines: Ararat: Plotlines:

1. Missing & Protective 1. Missing & Protective fathers and mothers fathers and mothers

1) Gorky’s photo take1) Gorky’s photo taken in Van n in Van

characters: Missionary characters: Missionary Ussher, the boy GorkUssher, the boy Gorky, the photographer y, the photographer and his son, Jevdet Band his son, Jevdet Bey. ey.

2) Raffi’s & Celia’s (ste2) Raffi’s & Celia’s (step brother and step-sistp brother and step-sister of different fathers aer of different fathers and mothers)nd mothers)

e.g. chap 5 e.g. chap 5 3) David (customs officer) 3) David (customs officer)

and Philip (his son) – Aland Philip (his son) – Ali triangle + Philip’s soi triangle + Philip’s sonn

Ararat: Plotlines (2) Ararat: Plotlines (2) 2. The need to tell “the historical truth” or the stories. 2. The need to tell “the historical truth” or the stories. Gorky silent -- Cannot get over the past (witnessing the Gorky silent -- Cannot get over the past (witnessing the

brutal killing of his friend, and Armenian women) brutal killing of his friend, and Armenian women) 1) Gorky 1) Gorky her dead husband (a terrorist) her dead husband (a terrorist) Ani Ani 2) his mother 2) his mother Sorayan + Rouben // Egoyan Sorayan + Rouben // EgoyanDifferent forms of ‘rendering’ history with artifacts: pDifferent forms of ‘rendering’ history with artifacts: p

hoto, painting, book, film, videotape and – hoto, painting, book, film, videotape and – Storytelling. Storytelling. 3) Raffi 3) Raffi supplement supplement the film with shootingsthe film with shootings of real footage.of real footage.

Starting QuestionsStarting Questions Some reviewers think that the film is ‘unfortSome reviewers think that the film is ‘unfort

unately’ “confused and confusing,” leavinunately’ “confused and confusing,” leaving the audience with an unclear message abog the audience with an unclear message about the genocide. Do you agree? ut the genocide. Do you agree?

There are There are two different kinds of ‘history’two different kinds of ‘history’ in in this film: personal history and national historthis film: personal history and national history. How do they influence or overlap with eacy. How do they influence or overlap with each other in each character? h other in each character?

Ani and Raffi, Ani and Celia, David and Philip, Ani and Raffi, Ani and Celia, David and Philip, Ali and Raffi, Saroyan, Archile Gorky. Ali and Raffi, Saroyan, Archile Gorky.

How is the film within the film different in stylHow is the film within the film different in style from the film, Ararat?e from the film, Ararat?

Topic I: Personal Investment in Topic I: Personal Investment in Public History Public History

The following examples show how what’s usually conThe following examples show how what’s usually considered to be “objective” history or official story isidered to be “objective” history or official story invites or involves personal investment.nvites or involves personal investment.

1.1. Ani’s History of Arshill Gorky Ani’s History of Arshill Gorky Ani, Raffi, and Celi Ani, Raffi, and Celia; over the death of the fathersa; over the death of the fathers

2.2. Raffi’s getting a ‘realistic’ footage of the film Raffi’s getting a ‘realistic’ footage of the film Raffi and Celia; over the meaning of their existenceRaffi and Celia; over the meaning of their existence

3.3. Sorayan’s film and getting a Turk to play the role Sorayan’s film and getting a Turk to play the role of Turkish soldier of Turkish soldier Raffi and Ali – over their views Raffi and Ali – over their views of historyof history

4.4. Custom Officer David’s investigation of drug smuCustom Officer David’s investigation of drug smuggling ggling David and Raffi – over honesty and “trut David and Raffi – over honesty and “truth” of smuggling. h” of smuggling.

Personal + Public Histories (1):Personal + Public Histories (1): Ani and Celia Ani and Celia

Battle between Ani and Celia – Battle between Ani and Celia – – Celia wants to believe that her father does Celia wants to believe that her father does

not commit suicide; not commit suicide; – Ani uses the story of Gorky and his mother tAni uses the story of Gorky and his mother t

o assert the right of a mother; she does not fo assert the right of a mother; she does not feel responsible for helping Celia deal with heel responsible for helping Celia deal with her past; er past;

– Bottled up, Celia becomes disruptive and evBottled up, Celia becomes disruptive and even destructive. en destructive.

Personal Histories (1): Ani, Raffi, aPersonal Histories (1): Ani, Raffi, and Celiand Celia

Both children need to understand Both children need to understand their fathers’ suicide, its purposes their fathers’ suicide, its purposes and meanings. and meanings.

Personal Histories Personal Histories ＋ ＋ Public (2):Public (2): Chap 16 –Chap 16 – Different views of hisDifferent views of his

tory: Ali’s, Sorayantory: Ali’s, Sorayan’s and Raffi’s’s and Raffi’s

Personal Histories (2): Sorayan as Personal Histories (2): Sorayan as a Director a Director

Adjusting himself: -- pomegranate seeds -- not angry at Ali.--the film as his tribute to his mother.

Personal Histories (2): Raffi & AliPersonal Histories (2): Raffi & AliRaffi — resist sentimentalism first. -- feels it through the film Ali – does not care about history but identifies with his role

The Public + Personal (3): The Public + Personal (3): David & PhilipDavid & Philip

Unable to accept Ali fUnable to accept Ali first; (the issues of reliirst; (the issues of religion and homosexuagion and homosexuality) lity)

““I couldn’t punish I couldn’t punish him for being honest.him for being honest.””

Through Raffi, he opThrough Raffi, he opens up at the end of ens up at the end of his career as a custohis career as a custom officer. m officer.

Personal Histories (2): Raffi’s QuPersonal Histories (2): Raffi’s Questest

What does Raffi get in TurkWhat does Raffi get in Turkey and near Ararat? Images ey and near Ararat? Images only and drugs. only and drugs.

Raffi goes in searching and Raffi goes in searching and almost destroys himself by almost destroys himself by being implicated in drug-dbeing implicated in drug-dealing. ealing.

Resolution: Resolution: Feels the father’s ghost throuFeels the father’s ghost throu

gh an artistic image. gh an artistic image.

Personal Histories (4): Personal Histories (4): David, Philip, AliDavid, Philip, Ali

David tries to accept Philip and Ali, but hDavid tries to accept Philip and Ali, but he is deeply Christian. e is deeply Christian.

Philip rejects David out of his sense of inPhilip rejects David out of his sense of insecurity. security.

David tries to open up more by letting RDavid tries to open up more by letting Raffi go (not performing his duty in catchiaffi go (not performing his duty in catching him), having Philip in mind. ng him), having Philip in mind.

Topic II Topic II Historical Representation ProblematizeHistorical Representation Problematize

d and Re-Confirmedd and Re-Confirmed

1.1. Frames Frames 2.2. StorytellingStorytelling3.3. Artistic Artistic

ReconstructionsReconstructions

2.0. “story” – fictitious but 2.0. “story” – fictitious but meaningfulmeaningful

1.1. Something made up – Something made up – 1.1. ““a new twist to the story” Ani to Raffi in theia new twist to the story” Ani to Raffi in thei

r discussion of Raffi and Celia. r discussion of Raffi and Celia. – Celia’s father – pushed off the cliff Ani –Celia’s father – pushed off the cliff Ani –

Celia to Raffi: you think I’m “making up a story” Celia to Raffi: you think I’m “making up a story” 2.2. For communication and self-discovery: “For communication and self-discovery: “

What’s the story about” David to RaffiWhat’s the story about” David to Raffi3.3. To carry on a tradition: Gorky’s mother tTo carry on a tradition: Gorky’s mother t

o Gorky– “you’ll live to tell the story.” o Gorky– “you’ll live to tell the story.”

Ararat as Storytelling –against Ararat as Storytelling –against glamour glamour

Egoyan: "Films are by nature a very dubious way of prEgoyan: "Films are by nature a very dubious way of presenting history," Mr. Egoyan said. "I'm very uneasy wesenting history," Mr. Egoyan said. "I'm very uneasy with what occurs when you combine notions of atrocity ith what occurs when you combine notions of atrocity and glamour. and glamour. Every decision to light a character in a cEvery decision to light a character in a certain way, to add a certain sound effect, to put in muertain way, to add a certain sound effect, to put in musical cue, makes a film interpretive.sical cue, makes a film interpretive. There's no way th There's no way that any dramatic reconstruction is not going to be in soat any dramatic reconstruction is not going to be in some way a retelling. That's the nature of storytelling.” me way a retelling. That's the nature of storytelling.” (Egoyan) (Egoyan)

The film pays respect to the realistic representation (oThe film pays respect to the realistic representation (of Sorayan) and problematizes it by f Sorayan) and problematizes it by – 1) exposing and/or puncturing 1) exposing and/or puncturing its framesits frames; ; – 2) confirming the functions of 2) confirming the functions of story-tellingstory-telling and fictiti and fictiti

ous representation.ous representation.

RealismRealism

Sorayan’s film: Sorayan’s film: 1. What do you think about the showing 1. What do you think about the showing

of all the killings and rape and heroism? of all the killings and rape and heroism? – E.g. the women burned; the photographer’E.g. the women burned; the photographer’

s suicidal heroism; the last scene with a wos suicidal heroism; the last scene with a woman rapedman raped shown in the theatre. shown in the theatre.

– RealismRealism can make a strong impact on us wit can make a strong impact on us with its immediacy and accessible story. h its immediacy and accessible story.

Atom Egoyan: Atom Egoyan: on “Ararat” the Filmon “Ararat” the Film

I do not want to make those images I do not want to make those images ironic. I do, however, want to ironic. I do, however, want to underline the limitations of that kind underline the limitations of that kind of representation.”of representation.”

What are the limitations of repeating What are the limitations of repeating histories of sadness? histories of sadness?

2.1 Soroyan’s Film and its “Fra2.1 Soroyan’s Film and its “Frames” Exposed or Puncturedmes” Exposed or Punctured

1. 1. The Frames ExposedThe Frames Exposed::Van under attack; Van under attack; Film making Film making Usher vs. Jevdet Bey over the Usher vs. Jevdet Bey over the

document of turning down document of turning down Turkish support Turkish support

Self-defense in Van in 1915 (e.Self-defense in Van in 1915 (e.g. the photographer) g. the photographer)

Film making Film making presented presented by Raffi to David by Raffi to David

Sorayan’s Film and its “FramesSorayan’s Film and its “Frames” Exposed or Punctured” Exposed or Punctured

Frames Punctured Frames Punctured Ani’s intrusionAni’s intrusion into the set and Usher’s co into the set and Usher’s co

ntinued “performance”; chap 21ntinued “performance”; chap 21

““Stories” within the story:Stories” within the story: More Frames Exposed More Frames Exposed

The Photo-Taking scene – The Photo-Taking scene – Anil’s voiceover Anil’s voiceover speech by Anil speech by Anil Gorky’s mother’s death Gorky’s mother’s death presented by the museum clerkpresented by the museum clerkMultiple FramesMultiple Frames: Armenian women’s dan: Armenian women’s dan

cing to death cing to death German women German women Uss Ussher her U’s journal U’s journal Film Film Raffi Raffi D David avid

Stories within the story:Stories within the story:2.2 2.2 Personal “Truth” ConfirmedPersonal “Truth” Confirmed

2. 2. Personal “Truth”:Personal “Truth”: Sarayan to Raffi: What matters is not how Sarayan to Raffi: What matters is not how

many people get killed, but how some many people get killed, but how some people could hate you so much and stilpeople could hate you so much and still do. l do.

Raffi –David: What matters is not . . . , but Raffi –David: What matters is not . . . , but how there is no way of confirming that how there is no way of confirming that the things you said happened.the things you said happened.

2.2 Personal Truth Confirmed: Da2.2 Personal Truth Confirmed: David believes in Raffi’s honesty.vid believes in Raffi’s honesty.

2.2 Raffi’s “Truth” & “Origin2.2 Raffi’s “Truth” & “Origin” Confirmed” Confirmed

Raffi’s search for meaning: Raffi’s search for meaning:

2.2 2.2 Raffi’s “Truth” & “Origin” CRaffi’s “Truth” & “Origin” Confirmedonfirmed

What Raffi finds:What Raffi finds: 1) the fresco—the origin of Gorky’s painting; 1) the fresco—the origin of Gorky’s painting; 2) courage -- “I felt it” “His ghost.”2) courage -- “I felt it” “His ghost.”

2.3 Atom Egoyan on 2.3 Atom Egoyan on Art in Art in AraratArarat

a "meditation on a "meditation on the spiritual role of artthe spiritual role of art in in the process of struggling for meaning and the process of struggling for meaning and redemption in the aftermath of genocide.redemption in the aftermath of genocide.“(http://www.cdca.asso.fr/cdca/cdca-ego“(http://www.cdca.asso.fr/cdca/cdca-egoyan_article_theguardian.htm ).yan_article_theguardian.htm ).

““I wanted more to examine I wanted more to examine the role and cthe role and consequences of art makingonsequences of art making: how people : how people mmake artifacts of their experienceake artifacts of their experience, and what , and what those artifacts mean to them.” (McSorley)those artifacts mean to them.” (McSorley)

2.3 Imaginative Re-creation 2.3 Imaginative Re-creation ConfirmedConfirmed

Marty: Upon being askeMarty: Upon being asked to read Usher’s journd to read Usher’s journal, etc., he said he has dal, etc., he said he has done research and readinone research and reading. ”Beyond that it’s pg. ”Beyond that it’s pretty much my imaginatiretty much my imagination.” on.”

Sorayan -- with the fake Sorayan -- with the fake Mt. Ararat in the backgroMt. Ararat in the background– finds his way of apund– finds his way of approaching Mt. Ararat (mproaching Mt. Ararat (making it visible in Van). aking it visible in Van).

The Other Artistic Re-The Other Artistic Re-Productions in the Film Productions in the Film

Photograph of the Painter and his Photograph of the Painter and his MotherMother

Gorky’s painting -- Not just a Gorky’s painting -- Not just a reproduction of a photograph reproduction of a photograph

Remembering Remembering

through human artifacts, through human artifacts,

which includes forms of artwhich includes forms of art

and storytelling. and storytelling.

Ararat: Opening and Ararat: Opening and ConclusionConclusion

Opening – different forms of art fade into Opening – different forms of art fade into Toronto Airport (suggesting of transition Toronto Airport (suggesting of transition and immigration) and immigration)

Closing – Closing – a tribute paid to “small” a tribute paid to “small” history, as represented by Gorky’s history, as represented by Gorky’s mothermother..

1)1) Anil connects with Gorky’s motherAnil connects with Gorky’s mother

2)2) Apparently realistic representation of Apparently realistic representation of Gorky’s mother, her sewing and singing. Gorky’s mother, her sewing and singing.

Ararat: ConclusionArarat: Conclusion

Closing –Closing –

2. The hands’ touching 2. The hands’ touching and workingand working

Atom Egoyan’s Homecoming Atom Egoyan’s Homecoming with with AraratArarat

““Home”-coming in two senses: Home”-coming in two senses: 1.1. Making a “Canadian” film after the twMaking a “Canadian” film after the tw

o international projects: o international projects: Felicia’s JournFelicia’s Journeyey (shot in Britain and Ireland, 1999); (shot in Britain and Ireland, 1999); KraKrapp’s Last Tapepp’s Last Tape (Beckett on Film series) (Beckett on Film series)

2.2. More and more ‘personal’ and emotiMore and more ‘personal’ and emotional, less cerebral. onal, less cerebral.

((The SweethereafterThe Sweethereafter 1997) 1997)

Atom Egoyan: Atom Egoyan: Films with Armenian ConnectionsFilms with Armenian Connections Next of KinNext of Kin: A bored young Canadian, while : A bored young Canadian, while

receiving experimental "video therapy", receiving experimental "video therapy", discovers tapes of an Armenian family who are discovers tapes of an Armenian family who are missing a son. The young man assumes the missing a son. The young man assumes the identity of the long-lost boy, and is readily identity of the long-lost boy, and is readily adopted by this new "family". adopted by this new "family".

CalendarCalendar: An Armenian-Canadian photographer : An Armenian-Canadian photographer gets estranged from his wife, who is closer to gets estranged from his wife, who is closer to Armenian culture, Armenian culture, during their trip to Armeniaduring their trip to Armenia, , and then, back in Toronto, he needs to find a and then, back in Toronto, he needs to find a way to face this sad memory. way to face this sad memory.

Atom Egoyan: Atom Egoyan: Films with Armenian ConnectionsFilms with Armenian Connections The AdjusterThe Adjuster: : There are two sisters from There are two sisters from

Armenia who have to burn pictures of the Armenia who have to burn pictures of the past and forget about them. past and forget about them.

The other films: The other films: – displacement in a city, dysfunction of family, displacement in a city, dysfunction of family,

rituals of remembering and survival, etc. rituals of remembering and survival, etc. – including including Exotica. Exotica.

Personal connections: Personal connections: Actors/ActressesActors/Actresses

Charles Aznavour –an Armenian French Charles Aznavour –an Armenian French singer/star; singer/star;

Eric Bogosian – American writer/actor of Eric Bogosian – American writer/actor of Armenian origin: “Like Rouben, I a ArmArmenian origin: “Like Rouben, I a Armenian and I wanted to embrace that by benian and I wanted to embrace that by being part of this project.”eing part of this project.”

The others: Bruce Greenwood (actor/ClaThe others: Bruce Greenwood (actor/Clarence Ussher), Arsinée Khanjian (Ani) , Elrence Ussher), Arsinée Khanjian (Ani) , Elias Koteas (Ali/Jevdet Bey )ias Koteas (Ali/Jevdet Bey )

© 2002 - Miramax Films

Reference Reference

Tom McSorley. “Far Away, So Close: AtTom McSorley. “Far Away, So Close: Atom Egoyan Returns Home with Ararat.” om Egoyan Returns Home with Ararat.” Take OneTake One 2002 (Sept-Nov): 8-13. 2002 (Sept-Nov): 8-13.

Egoyan, Atom. “In Other Words: Poetic Egoyan, Atom. “In Other Words: Poetic Licence and the Incarnation of History. Licence and the Incarnation of History. University of Toronto QuarterlyUniversity of Toronto Quarterly 73 (Sum 73 (Summer2004): 886-905.mer2004): 886-905.