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SUZANNE KHARDALIAN ON ARMENIAN GENOCIDE AND WOMEN'S RIGHTS - INTERVIEW WITH NEWS.AM STYLE
http://style.news.am/eng/news/7553/suzanne-khardalian-on-armenian-genocide-and-womens-rightsinterview-with-newsam-style.html
SEPTEMBER 12, 19:21
By Lilit Petrosyan
Last year Lebanese-Armenian journalist and filmmaker Suzanne
Khardalian, who now lives in Sweden, presented a film telling about
Armenian Genocide survivors titled "Grandma's Ttattoos". The film
made a fuss all over the world. Suzanne Khardalian, has directed
over 20 documentaries, the major part of which is dedicated to the
Armenian Genocide. In an interview withNEWS.am STYLE, Suzanne told
about women's rights, Armenian Genocide and collective memory.
You have directed several films telling about the Armenian Genocide.
When and how did you decide to raise this issue through documentaries?
I have been focused on this theme since 1985. Although, I have not
shoot films telling about the Armenian Genocide, I always touched upon
this problem. It was always in my thoughts. My first film was called
"Back to Ararat". It was my first documentary which raised the issue
of the Armenian Genocide and the situation in the Armenian Diaspora.
I think whenever an Armenian person is, wherever he works, the Armenian
Genocide is a part of his history. For example, the 1918 May victory,
the liberation of Shushi in 1992, the Battle of Avarayr are a part
of our collective memory which was acknowledged, while Armenian
Genocide is a recollection that will be never forgotten. Memory has a
specific structure: it usually finds its place, gives a certain life
experiences, which can be used in the future. But the memory of the
Genocide is impossible to master. This story resembles an open wound
that needs to be healed, but signs of improvement are not seen.
Do you intend to continue the series of films raising the topic
of Genocide?
Each of us, whether it is a man or a woman, an artist, or a
representative of other professions has this recollection, the
shoulders of each of us still carry the weight of the collective
memory. For me, as an artist, it is important to somehow turn this
burden into a capital from the point of view of art, to make this
topic a source of inspiration. I think that there is nothing wrong
with this inspiration. Of course, at first glance, how can death and
mass murder inspire? But I think that today the Armenians should be
able to capitalize imperfection of their memory. Of course, it is our
problem, but I wish to make it universal so that others could to some
extent understand the pain.
I can not say that every year I will make a film about the genocide,
but the most important thing for me, is a new approach to this
subject. For example, "Grandma's Tattoos" is studying the gender
aspect of Genocide. I know that in Armenia the word "gender" is not
a pleasant expression and not accepted by society, but I believe that
this expression is misunderstood. For me it was very interesting when
after the Rwandan genocide, for the first time the issue of sexual
harassment as a military strategy was raised in international courts.
Whereas sexual violence against women is directly related to children,
as victims of mass rape often become pregnant. And where are the
stories about our women? Why are not we talking about this? At the
same time, the stories that we know about women who are victims of
genocide are "embellished" to some extent. For example, there are
stories of women who preferred to jump off cliffs and die than be
raped. As a result, a deeper study revealed that, yes, there were
many such cases, but many of the women wished to continue to live. Of
course, this was possible only in return for a very high price,
and we do not want to talk about it and do not want to open that
page in history. We are ashamed, but this page is very important
because today many Armenians, who were hiding their nationality or
our compatriots who were born in mixed families, suddenly open for
themselves the history of their ancestors.
Last year you presented "Grandma's Tattoos", a film that made a
sensation. Can you say that after screening the film in several
countries, people are now more informed about the terrible reality
of the Armenian Genocide?
I can not imagine any specific statistics, but I can tell you one
thing: there is no other film about the genocide that was watched by
so many people. The film was eight times aired on Al-Jazeera, and the
audience reached 300 million people. I am getting very impressive
letters. I think that the film should not be treated as a means of
propaganda. You cannot touch people's feelings with artificial means.
That's why the most important thing for me is that after watching the
film people linked it to their problems. For example, the Japanese also
have such a page in history when they used sexual violence against
Chinese women. Argentineans actively responded to the film because
they had difficult times during the military junta when soldiers were
separating children from their parents.
The heroes of your films are genocide survivors. Do you continue to
communicate with them after shooting the film?
There is always a pain in my heart, and, probably, it the first time
that I can tell. Each time after shooting the Genocide survivors,
I have an impression that these people are waiting to see me, to make
me collect their memories and then say: "Now I can die in peace!" It
happened to all genocide survivors, characters in the film "Back
to Ararat". The same thing also happened to the hero of the film
"I Hate Dogs" Garbis who was 101 years old, as well as one of the
characters of "Grandma's Tattoos" Maria Vardanyan.
My communication with the characters never lasted for an hour or
half an hour. I regularly communicate with them. It is a story of
long relationship. They are my relatives. For example, I lived for
about a week in Gabris' house, and he told me the things that he had
never told before.
Are you following the approach of the Turkish society to this painful
chapter of history? Have you noticed any positive changes in terms
of Armenian Genocide recognition?
The Turkish authorities will definitely stick to their policy on
the matter, and talking about it is senseless. As for society,
there are people among us who are enthusiastic about the likely
recognition of the Armenian Genocide by Turkey. There are people
who believe that society can more boldly express its position on the
matter. In different parts of the world there are brilliant Turkish
intellectuals, scholars, who are my friends. I am in good relations
with all of them. In a sense, they are aware of the problem. But there
is an important point: they will never give me what I am expecting to
get, because for them the problem is just a matter of demographics,
not justice. And enthusiasm about likelihood of Armenian Genocide
recognition by Turkey is very far from reality.
Please tell us about your plans.
I have been working on a new film about the Middle East for a year.
The working title of the movie is "Camel". I was shooting in Egypt and
Lebanon. The film will tell about some of the events in the context
of the Arab Spring. Of course, I can not completely reflect the entire
Arab Spring. I am studying the rights of women in these countries.
NEWS.am STYLE
From: A. Papazian
http://style.news.am/eng/news/7553/suzanne-khardalian-on-armenian-genocide-and-womens-rightsinterview-with-newsam-style.html
SEPTEMBER 12, 19:21
By Lilit Petrosyan
Last year Lebanese-Armenian journalist and filmmaker Suzanne
Khardalian, who now lives in Sweden, presented a film telling about
Armenian Genocide survivors titled "Grandma's Ttattoos". The film
made a fuss all over the world. Suzanne Khardalian, has directed
over 20 documentaries, the major part of which is dedicated to the
Armenian Genocide. In an interview withNEWS.am STYLE, Suzanne told
about women's rights, Armenian Genocide and collective memory.
You have directed several films telling about the Armenian Genocide.
When and how did you decide to raise this issue through documentaries?
I have been focused on this theme since 1985. Although, I have not
shoot films telling about the Armenian Genocide, I always touched upon
this problem. It was always in my thoughts. My first film was called
"Back to Ararat". It was my first documentary which raised the issue
of the Armenian Genocide and the situation in the Armenian Diaspora.
I think whenever an Armenian person is, wherever he works, the Armenian
Genocide is a part of his history. For example, the 1918 May victory,
the liberation of Shushi in 1992, the Battle of Avarayr are a part
of our collective memory which was acknowledged, while Armenian
Genocide is a recollection that will be never forgotten. Memory has a
specific structure: it usually finds its place, gives a certain life
experiences, which can be used in the future. But the memory of the
Genocide is impossible to master. This story resembles an open wound
that needs to be healed, but signs of improvement are not seen.
Do you intend to continue the series of films raising the topic
of Genocide?
Each of us, whether it is a man or a woman, an artist, or a
representative of other professions has this recollection, the
shoulders of each of us still carry the weight of the collective
memory. For me, as an artist, it is important to somehow turn this
burden into a capital from the point of view of art, to make this
topic a source of inspiration. I think that there is nothing wrong
with this inspiration. Of course, at first glance, how can death and
mass murder inspire? But I think that today the Armenians should be
able to capitalize imperfection of their memory. Of course, it is our
problem, but I wish to make it universal so that others could to some
extent understand the pain.
I can not say that every year I will make a film about the genocide,
but the most important thing for me, is a new approach to this
subject. For example, "Grandma's Tattoos" is studying the gender
aspect of Genocide. I know that in Armenia the word "gender" is not
a pleasant expression and not accepted by society, but I believe that
this expression is misunderstood. For me it was very interesting when
after the Rwandan genocide, for the first time the issue of sexual
harassment as a military strategy was raised in international courts.
Whereas sexual violence against women is directly related to children,
as victims of mass rape often become pregnant. And where are the
stories about our women? Why are not we talking about this? At the
same time, the stories that we know about women who are victims of
genocide are "embellished" to some extent. For example, there are
stories of women who preferred to jump off cliffs and die than be
raped. As a result, a deeper study revealed that, yes, there were
many such cases, but many of the women wished to continue to live. Of
course, this was possible only in return for a very high price,
and we do not want to talk about it and do not want to open that
page in history. We are ashamed, but this page is very important
because today many Armenians, who were hiding their nationality or
our compatriots who were born in mixed families, suddenly open for
themselves the history of their ancestors.
Last year you presented "Grandma's Tattoos", a film that made a
sensation. Can you say that after screening the film in several
countries, people are now more informed about the terrible reality
of the Armenian Genocide?
I can not imagine any specific statistics, but I can tell you one
thing: there is no other film about the genocide that was watched by
so many people. The film was eight times aired on Al-Jazeera, and the
audience reached 300 million people. I am getting very impressive
letters. I think that the film should not be treated as a means of
propaganda. You cannot touch people's feelings with artificial means.
That's why the most important thing for me is that after watching the
film people linked it to their problems. For example, the Japanese also
have such a page in history when they used sexual violence against
Chinese women. Argentineans actively responded to the film because
they had difficult times during the military junta when soldiers were
separating children from their parents.
The heroes of your films are genocide survivors. Do you continue to
communicate with them after shooting the film?
There is always a pain in my heart, and, probably, it the first time
that I can tell. Each time after shooting the Genocide survivors,
I have an impression that these people are waiting to see me, to make
me collect their memories and then say: "Now I can die in peace!" It
happened to all genocide survivors, characters in the film "Back
to Ararat". The same thing also happened to the hero of the film
"I Hate Dogs" Garbis who was 101 years old, as well as one of the
characters of "Grandma's Tattoos" Maria Vardanyan.
My communication with the characters never lasted for an hour or
half an hour. I regularly communicate with them. It is a story of
long relationship. They are my relatives. For example, I lived for
about a week in Gabris' house, and he told me the things that he had
never told before.
Are you following the approach of the Turkish society to this painful
chapter of history? Have you noticed any positive changes in terms
of Armenian Genocide recognition?
The Turkish authorities will definitely stick to their policy on
the matter, and talking about it is senseless. As for society,
there are people among us who are enthusiastic about the likely
recognition of the Armenian Genocide by Turkey. There are people
who believe that society can more boldly express its position on the
matter. In different parts of the world there are brilliant Turkish
intellectuals, scholars, who are my friends. I am in good relations
with all of them. In a sense, they are aware of the problem. But there
is an important point: they will never give me what I am expecting to
get, because for them the problem is just a matter of demographics,
not justice. And enthusiasm about likelihood of Armenian Genocide
recognition by Turkey is very far from reality.
Please tell us about your plans.
I have been working on a new film about the Middle East for a year.
The working title of the movie is "Camel". I was shooting in Egypt and
Lebanon. The film will tell about some of the events in the context
of the Arab Spring. Of course, I can not completely reflect the entire
Arab Spring. I am studying the rights of women in these countries.
NEWS.am STYLE
From: A. Papazian