Videos by Shant Bayramian
Using Atom Egoyan’s "Ararat" (2002), this audiovisual essay demonstrates the power and relevance ... more Using Atom Egoyan’s "Ararat" (2002), this audiovisual essay demonstrates the power and relevance of self-reflexivity and metacinematic techniques, particularly the mise en abyme, in Egoyan’s film and within the Armenian diasporic context. Furthermore, it briefly explores how metacinematic techniques function in the more general field of Diasporic Cinema.
Published in Tecmerin volume 3, no. 6 (2020).
https://tecmerin.uc3m.es/en/journal-6-1/ 5 views
Papers by Shant Bayramian
University of Amsterdam, 2019
The purpose of this thesis is to explore the filmic representation of the Armenian diasporic “thi... more The purpose of this thesis is to explore the filmic representation of the Armenian diasporic “third
space” by formally analyzing different filmic representations of Armenian diasporic subjects
relating to the Armenian “homeland”. These filmic representations have emerged due to the
postcolonial and poststructuralist understandings of identity and diasporas, which have
subsequently led to similar conceptualizations within Armenian diasporic scholarly discourse.
However, Armenian diasporic cinema discourse remains within a mono-dimensional
theorization, as it has understood Armenian diasporic films from a singular and static identity
position. Such an insight doesn’t shine light onto the fluctuations, fluidity, and elasticity of the
Armenian diasporic identity within Armenian diasporic films. Therefore, Homi Bhabha’s concept
of the “third space” is applied to the Armenian diasporic identity and the Armenian diasporic
films of Calendar (Atom Egoyan, 1993), Ararat (Egoyan, 2003), Apricot Groves (Pouria
Heidary, 2016), and The Journey (Edwin Avaness and Emy Hovanesyan, 2002) in order to
formally analyze how the “homeland” is negotiated, contested, and articulated for different
Armenian diasporic subjects that come from varying Armenian diasporas. In doing so, the
heterogeneity of the Armenian diasporic identity and ways of relating to the “homeland” become
foregrounded. It is suggested that the Armenian diasporic subjects relate to the Armenian
“homeland” through the negotiations and intersections that take place within other parts of their
identity. Therefore, the conceptual breadth of Armenian diasporic cinema is widened and more
justly related to the Armenian diasporic identity and the diasporic identity more generally.
This investigation analyzes how Sergio Leone uses the filmic techniques of music and sound, chara... more This investigation analyzes how Sergio Leone uses the filmic techniques of music and sound, character development, cinematography, and visual effects to portray the death of the Old
Aerials is a mixture between the genres of surrealism and german-expressionism. The purpose of t... more Aerials is a mixture between the genres of surrealism and german-expressionism. The purpose of the film is to combine potent visual imagery with the audience’s confused state of mind. Aerials is a story about a troubled family where The Father sacrifices his daughter to the demon, and The Mother avenges her daughter’s death by killing her husband. Highly influenced by Luis Bunuel’s Un Chien Andalou (1929) and Christopher Nolan’s Doodlebug (1997), the film leans towards fast cuts and eerie music to stress on the mother’s kafkaesque nature. Aerials follows the “nothing symbolizes anything” motif of surrealism.
My exploration will explore my passion of basketball to the area of science. I have always wanted... more My exploration will explore my passion of basketball to the area of science. I have always wanted to know how I would get the ball to fall down from that net flawlessly at so ease. Also, as watching basketball as a little kid, I was intrigued by the travel of the ball; how NBA superstars would get it in from different angles and from an incredibly huge distance. For this exploration, I will be taking two things into consideration: the angle in which the ball is thrown and the speed in which it is thrown. The aim of this exploration is to find the velocity in which the ball is thrown, at a given angle, in order for the basketball to pass through the hoop from the free throw line. After finding a series of velocities for their corresponding angles, a relation will be shown in a table. Since the basketball travels in a parabolic motion, I will be using vectors and the equations of projectile motion in order to calculate either the velocity or the angle. This exploration will help me understand how the beauty of basketball is created using mathematical formulae. Comprehending the depth of basketball will widen my knowledge for the future, while playing basketball in my college years. Also, integrating math and physics with a sport I love makes me admire these two subjects more.
The aim of this investigation is to answer the question, to what extent did the CIA and the Ameri... more The aim of this investigation is to answer the question, to what extent did the CIA and the American Government play a role in Allende’s downfall in the coup d’état of 1973 in Santiago, Chile? This question is important for investigation because it shows the degree of how CIA’s and American Government’s furtive involvement in Chile affected upon the downfall of Salvador Allende during his presidency from 1970-1973.The scope of this investigation focuses on how far did the 40 Committee, CIA, and American Government use clandestine strategies, majorly Track 1, Track 2 , and project FUBELT, to avoid Allende from getting elected as president (1970) in Santiago , and how they slowly deteriorate Allende’s presidency in Chile (1970-1973). The main body of evidence will provide insight on what the CIA did to attack Chile economically and physically. One method to be used is an examination of The Pinochet File by Peter Kornbluh. Kornbluh uses national classified archives to write his book. This information helps convey its reliability and helps view two types of arguments; one from a historian and others from people involved in the CIA themselves. Another method employed is to analyze activities of the CIA in Chile that is detailed in a secret Memorandum from William Colby to Henry Kissinger “CIA’s Covert Action Program in Chile since 1970”. This primary source states that the CIA “played no direct role in the events which led to the establishment of the new military government”, this helps the main argument in this investigation on how the CIA and American Government played an indirect, major role in Chile, and to what extent were the major and indirect roles utilized.
This extended essay investigates the question “Why and to what extent did the Young Turks cause t... more This extended essay investigates the question “Why and to what extent did the Young Turks cause the Armenian Genocide in 1915?”
The investigation makes use of primary and secondary sources, such as books and archives. One method used in this investigation is the examination of Taner Akcam’s A Young Turks’ Crime against Humanity. Akcam’s argument helps support the main argument outlined in the essay, but it also disagrees with some of his arguments at points, which is vital for the strong analysis presented. This investigation makes use of many primary sources from Ottoman archives. It quotes key speeches made by CUP leaders which validate the argument of the investigation. In context of the variety of sources used, the investigation provides a balanced viewpoint on the topic as a whole, which reflects upon views gathered from different historians.
The investigation is structured in a chronological manner: starting off with a brief introduction on the significance of the topic, giving insight on the Young Turk’s background which establishes a base for argument, analyzing specific events such as The Balkan Wars, World War I, and Battle of Sarıkamiş, and concluding reasons from those analyzations; finally concluding a mixture of historians views. The research itself broadens up, but concludes it narrowly, giving direct answers to the question, providing limited space for speculation.
The main conclusions reached are that the Young Turks did in fact initiate the Armenian Genocide in a vigorous manner, to preserve the Ottoman Empire during the edge of its collapse in the beginning of World War I. Additionally, it is concluded that ideological and ethnic problems add up to the main reasons of why the Armenian Genocide was initiated. This investigation is limited because it leaves out detailed, minor events that might have influenced the initiation of the genocide.
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Videos by Shant Bayramian
Published in Tecmerin volume 3, no. 6 (2020).
https://tecmerin.uc3m.es/en/journal-6-1/
https://necsus-ejms.org/marxism-in-metropolis/
Papers by Shant Bayramian
space” by formally analyzing different filmic representations of Armenian diasporic subjects
relating to the Armenian “homeland”. These filmic representations have emerged due to the
postcolonial and poststructuralist understandings of identity and diasporas, which have
subsequently led to similar conceptualizations within Armenian diasporic scholarly discourse.
However, Armenian diasporic cinema discourse remains within a mono-dimensional
theorization, as it has understood Armenian diasporic films from a singular and static identity
position. Such an insight doesn’t shine light onto the fluctuations, fluidity, and elasticity of the
Armenian diasporic identity within Armenian diasporic films. Therefore, Homi Bhabha’s concept
of the “third space” is applied to the Armenian diasporic identity and the Armenian diasporic
films of Calendar (Atom Egoyan, 1993), Ararat (Egoyan, 2003), Apricot Groves (Pouria
Heidary, 2016), and The Journey (Edwin Avaness and Emy Hovanesyan, 2002) in order to
formally analyze how the “homeland” is negotiated, contested, and articulated for different
Armenian diasporic subjects that come from varying Armenian diasporas. In doing so, the
heterogeneity of the Armenian diasporic identity and ways of relating to the “homeland” become
foregrounded. It is suggested that the Armenian diasporic subjects relate to the Armenian
“homeland” through the negotiations and intersections that take place within other parts of their
identity. Therefore, the conceptual breadth of Armenian diasporic cinema is widened and more
justly related to the Armenian diasporic identity and the diasporic identity more generally.
The investigation makes use of primary and secondary sources, such as books and archives. One method used in this investigation is the examination of Taner Akcam’s A Young Turks’ Crime against Humanity. Akcam’s argument helps support the main argument outlined in the essay, but it also disagrees with some of his arguments at points, which is vital for the strong analysis presented. This investigation makes use of many primary sources from Ottoman archives. It quotes key speeches made by CUP leaders which validate the argument of the investigation. In context of the variety of sources used, the investigation provides a balanced viewpoint on the topic as a whole, which reflects upon views gathered from different historians.
The investigation is structured in a chronological manner: starting off with a brief introduction on the significance of the topic, giving insight on the Young Turk’s background which establishes a base for argument, analyzing specific events such as The Balkan Wars, World War I, and Battle of Sarıkamiş, and concluding reasons from those analyzations; finally concluding a mixture of historians views. The research itself broadens up, but concludes it narrowly, giving direct answers to the question, providing limited space for speculation.
The main conclusions reached are that the Young Turks did in fact initiate the Armenian Genocide in a vigorous manner, to preserve the Ottoman Empire during the edge of its collapse in the beginning of World War I. Additionally, it is concluded that ideological and ethnic problems add up to the main reasons of why the Armenian Genocide was initiated. This investigation is limited because it leaves out detailed, minor events that might have influenced the initiation of the genocide.
Published in Tecmerin volume 3, no. 6 (2020).
https://tecmerin.uc3m.es/en/journal-6-1/
https://necsus-ejms.org/marxism-in-metropolis/
space” by formally analyzing different filmic representations of Armenian diasporic subjects
relating to the Armenian “homeland”. These filmic representations have emerged due to the
postcolonial and poststructuralist understandings of identity and diasporas, which have
subsequently led to similar conceptualizations within Armenian diasporic scholarly discourse.
However, Armenian diasporic cinema discourse remains within a mono-dimensional
theorization, as it has understood Armenian diasporic films from a singular and static identity
position. Such an insight doesn’t shine light onto the fluctuations, fluidity, and elasticity of the
Armenian diasporic identity within Armenian diasporic films. Therefore, Homi Bhabha’s concept
of the “third space” is applied to the Armenian diasporic identity and the Armenian diasporic
films of Calendar (Atom Egoyan, 1993), Ararat (Egoyan, 2003), Apricot Groves (Pouria
Heidary, 2016), and The Journey (Edwin Avaness and Emy Hovanesyan, 2002) in order to
formally analyze how the “homeland” is negotiated, contested, and articulated for different
Armenian diasporic subjects that come from varying Armenian diasporas. In doing so, the
heterogeneity of the Armenian diasporic identity and ways of relating to the “homeland” become
foregrounded. It is suggested that the Armenian diasporic subjects relate to the Armenian
“homeland” through the negotiations and intersections that take place within other parts of their
identity. Therefore, the conceptual breadth of Armenian diasporic cinema is widened and more
justly related to the Armenian diasporic identity and the diasporic identity more generally.
The investigation makes use of primary and secondary sources, such as books and archives. One method used in this investigation is the examination of Taner Akcam’s A Young Turks’ Crime against Humanity. Akcam’s argument helps support the main argument outlined in the essay, but it also disagrees with some of his arguments at points, which is vital for the strong analysis presented. This investigation makes use of many primary sources from Ottoman archives. It quotes key speeches made by CUP leaders which validate the argument of the investigation. In context of the variety of sources used, the investigation provides a balanced viewpoint on the topic as a whole, which reflects upon views gathered from different historians.
The investigation is structured in a chronological manner: starting off with a brief introduction on the significance of the topic, giving insight on the Young Turk’s background which establishes a base for argument, analyzing specific events such as The Balkan Wars, World War I, and Battle of Sarıkamiş, and concluding reasons from those analyzations; finally concluding a mixture of historians views. The research itself broadens up, but concludes it narrowly, giving direct answers to the question, providing limited space for speculation.
The main conclusions reached are that the Young Turks did in fact initiate the Armenian Genocide in a vigorous manner, to preserve the Ottoman Empire during the edge of its collapse in the beginning of World War I. Additionally, it is concluded that ideological and ethnic problems add up to the main reasons of why the Armenian Genocide was initiated. This investigation is limited because it leaves out detailed, minor events that might have influenced the initiation of the genocide.