How to remember the unimaginable: Postmemory, prosthetic memory, and generations of remembering the Armenian genocide in film.
In this comparative study, I look at generational differences in engaging with the Armenian genocide in film. I thereby apply concepts of postmemory (Marianne Hirsch) and prosthetic memory (Allison Landsberg) to films of the 20th century, involving members of the survivor generation (Ravished Armenia, 1919) and second-generation survivors (Mother, 1991), and to films of the 21st century, involving survivor generations multiple generations removed from the Armenian genocide (two episodes from Keeping Up with the Kardashians, 2015; Aurora’s Sunrise, 2022). My conclusion is that concepts of postmemory and prosthetic memory can be applied to different survivor generations, marking a different engagement with the Armenian genocide in film connected to different survivor generations.
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