The 100th Anniversary - and Events to Mark it

[Mher]

Re: The 100th Anniversary - and Events to Mark it

Things that go over you little empty heads are conspiracy? Yeah and a bunch of camel jockeys also did 9/11 LOL You Amerigatsis are amazing. Here you go my arab looking bro start educating yourself by watching this:

Սթափվե´ք, այլապես կգա այն օրը, երբ ժողովուրդը կստիպի ձեզ սթափվել https://www.youtube.com/watch?v=xNEz5W9_lKo

I don't know why I continue to bother to acknowledge your hetamnatsants and dillusional existence, but anyway

From his posts its very easy to realize the writer of that blog is some unstable bobby fisher type loony living in his moms basement ranting about things he knows nothing about. Its sadly obvious to me he has not been to armenia in recent years, and has no contacts in armenia, because otherwise he would know that nobody in Armenia takes preparliment seriously. Lol but of course mr angry living in moms basement wouldn't know that. They are more of a joke that the crazy person who got arrested on fifth of november throwing molotov xxxxtails (who had also posted a similar video before nov5). Any moron can put up a video on youtube (just like any moron can run a blog), it doesn't mean anyone but some other unusual social outcasts like them follow those views. Even more importantly, the preparliment group is far more prorussian than prowest. Not that it matters considering they are a complete joke and have no following whatsoever. but in the crazy tinhat conspiracy universe, facts shouldn't bother you i guess. So I'm sorry to tell you that everything you think you know about Armenia comes from a crazy person

Once again my delusional friend, I'm parskahye, born and raised in Majidiye,Tehran, where I've spent a majority of my life. you on the other hand probably grew up in the United States, and have enjoyed the full benefits of being a US citizen, and yet you call someone else an amerigahye (like its an insult). I've been to Armenia over and over again, and have relatives living there who served in Armenian army and deal with life there every day. Once again its obvious to me how out of touch you are with the daily realities of life in Armenia, otherwise you wouldn't say the crazy things you say-based on what you learned from mr armenian bobby fisher.

And once more you seem to have forgotten, as if to demonstrate your child like attention span, that I've made it clear to you my photo is Monte Melkonian

http://www.melkonian.org/gal/02.html

[Serjik]

Re: The 100th Anniversary - and Events to Mark it

Things that go over you little empty heads are conspiracy? Yeah and a bunch of camel jockeys also did 9/11 LOL You Amerigatsis are amazing. Here you go my arab looking bro start educating yourself by watching this:

Սթափվե´ք, այլապես կգա այն օրը, երբ ժողովուրդը կստիպի ձեզ սթափվել https://www.youtube.com/watch?v=xNEz5W9_lKo

lol so i see you enjoy reading conspiracy fantasy fiction

[Mher]

Re: The 100th Anniversary - and Events to Mark it

I read in the rise of Russia blog that there will be a revolution in Armenia on April 24. I guess that also qualifies as an event LOL

lol so i see you enjoy reading conspiracy fantasy fiction

[Haykakan]

Re: The 100th Anniversary - and Events to Mark it

Germany refuses to use term "Genocide"

01.26.2015 11:43NEWS


Responding to a parliamentary question, the government of Germany
announced that it would not use the term "Genocide" for the 1915
Armenian Genocide, and that the appraisal of 1915 was primarily the
responsibility of Turkey and Armenia.

A Der Tagesspiegel news report carried by Deutsche Welle Türkçe
reports that, responding to a parliamentary question submitted by The
Left Party, the government of Germany has stated that "the appraisal
of 1915 was primarily the responsibility of Turkey and Armenia" and
that "the mass killings and deportations of 1915/1916 should be
subject to the assessment of academists".

The government also stated that it had no plans of holding a
commemoration event on 24 April 2015.

The Central Council of Armenians in Germany had expressed a desire for
government representatives to participate in commemorations. "The
Federal Government is currently examining the possibilities of
participation" was the government's response.

Jelpke: Germany is evading responsibility

Left Party Member of Parliament Ulla Jelpke criticized the stance of
the government, stating that this amounted to evading Germany's
responsibility in the crime. Jelpke added that the German Reich was an
ally of the Ottoman Empire during World War I, was aware of the
massacre, and was partially culpable.

There are more than 20 countries across the world that recognize the
Armenian Genocide. France, Italy, Poland and Russia recognized the
Armenian Genocide; while denial of the Armenian Genocide was declared
illegal in Greece, Switzerland, Slovakia and Spain.

http://www.agos.com.tr/en/article/10356/germany-refuses-to-use-term-genocide

[Serjik]

Re: The 100th Anniversary - and Events to Mark it

I read in the rise of Russia blog that there will be a revolution in Armenia on April 24. I guess that also qualifies as an event LOL

[Haykakan]

Re: The 100th Anniversary - and Events to Mark it

Hurriyet Daily News, Turkey
Jan 9 2015


Israel won't recognize 1915 as Armenian Genocide: Israeli ambassador to Baku

BAKU


A woman places a lit candle on portraits of Armenian intellectuals who
were killed and deported under the Ottoman rule during the World War
I, on April 24, during a commemorative march on Istiklal Avenue in
Istanbul. AFP Photo

Israel does not intend to recognize the killings of Armenians in 1915
as a genocide this year, Israeli Ambassador to Azerbaijan Rafael
Harpaz has said, the Azerbaijani website Trend reported on Jan. 8.

"Israel is a democratic country. Everybody has two opinions [on the
issue], not one," Harpaz said.

Referring to some Israeli politicians' call for the government to
officially recognize the genocide, he said the government already has
"a very clear opinion ... which was earlier stated by Foreign Minister
Avigdor Lieberman."

Harpaz also expressed hope that relations between Israel and Turkey
will improve.

"There are enough common interests and issues in the world for us to
cooperate," he said.

"Take the example of Turkish Airlines. Turkish Airlines is the biggest
foreign airline active in Israel. Istanbul is the biggest hub for
Israelis. The same goes for tourism and trade, which are up. So we
hope that our political relations with Turkey will improve," the
ambassador added.

January/09/2015

http://www.hurriyetdailynews.com/israel-wont-recognize-1915-as-armenian-genocide-israeli-ambassador-to-baku.aspx?pageID=238&nID=76711&NewsCatID=359

[Haykakan]

Re: The 100th Anniversary - and Events to Mark it

Petition urges Google to set Armenian Genocide doodle on April 24

16:11, 07 Dec 2014

Petition launched on Change.org urges Google to set an Armenian
Genocide doodle on April 24. A Google Doodle is a special, temporary
alteration of the logo on Google's homepage. The text of the petition
reads:

"The Armenian Genocide was the Ottoman government's systematic
extermination of its minority Armenian subjects from their historic
homeland within the territory constituting the present-day Republic of
Turkey.

The starting date is conventionally held to be 24 April 1915, the day
Ottoman authorities rounded up and arrested some 250 Armenian
intellectuals and community leaders in Constantinople. The total
number of people killed as a result has been estimated at between 1
and 1.5 million.

This is why we have the responsibility of spreading awareness about
the genocide, and why Google should get involved for all humanity."

http://www.armradio.am/en/2014/12/07/petition-urges-google-to-set-armenian-genocide-doodle-on-april-24/

[Haykakan]

Re: The 100th Anniversary - and Events to Mark it

Q&A: Fatih Akin Discusses His New Film ‘The Cut’

The director Fatih Akin, 41, born in Germany to Turkish parents, has mined his mixed heritage to make two complex, critically acclaimed films —“Head-On” (2004) and “The Edge of Heaven” (2007) — which comprise the first parts of what he calls his “Love, Death and the Devil” trilogy. The final installment, “The Cut,” which is set to open at the Venice Film Festival on Sunday, goes back in time to 1915 to replay scenes from one of the most painful and contentious chapters in Turkish history: the Armenian genocide.

The film stars the French-Algerian actor Tahar Rahim (“A Prophet”) as an Armenian blacksmith who travels around the world — from Aleppo to Havana to North Dakota — in search of his two daughters, with whom he lost touch after the outbreak of systematic violence that would eventually claim the lives of an estimated 1.5 million Armenians.

“The Cut” — shot on 35-millimeter film with Cinemascope lenses, with locations in five countries and a budget of 15 million euros, or about $20 million — is by far the most ambitious film Mr. Akin has ever attempted, and he admits to being a bit jittery about its reception. The film was previously expected to debut at the Cannes Film Festival, but Mr. Akin pulled it from consideration for “personal reasons.” In the following edited interview, he discusses why he brought “The Cut” to Venice, how he thinks the film will be received in Turkey, and the wide range of directors who influenced it, including Elia Kazan and Terrence Malick.

Q. You recently told a newspaper in Turkey that the country was ripe for a major film that dealt with the Armenian genocide. The paper has since received death threats. Have you changed your mind?

A. No, I still believe Turkey is ready. Two friends of mine, both producers, read the script. One of them said they will throw stones, the other said they will throw flowers. That’s what it is — guns and roses. But I’ve shown the film to people who deny the fact that 1915 was a genocide and to people who accept it and both groups had the same emotional impact. I hope the film could be seen as a bridge. For sure there are radical groups, fascist groups, who fear any kind of reconciliation. And the smaller they are, the louder they bark. The newspaper that I gave the interview to, Agos, is actually an Armenian-Turkish weekly newspaper where the journalist Hrant Dink worked.

Q. He was Armenian and was murdered in 2007 by a teenage Turkish nationalist. In 2010, you attempted to make a film about Dink’s life, but couldn’t find an actor in Turkey to play the part.

A. I wrote down five names of Turkish actors I thought could play him. And all of them were nervous about the script. I don’t want to hurt anybody, I don’t live in Turkey, in a way I am safe, protected. But these actors, maybe they’d have some problems. No film is worth that.

Q. The scenes from “The Cut” that are set in Turkey were actually filmed in Jordan. Why?

A. Mostly because of logistical reasons. The film takes place in 1915, in southeastern Turkey, very close to today’s Syria, actually. And I needed a lot of old trains, historical trains, like the ones from the Baghdad Railway that Germans were building through the Turkish Empire in those days. You find those trains and those landscapes in Jordan.

Q. But you also filmed parts of “The Cut” in Germany, Cuba, Canada, Malta.

A. It’s a road movie. The plot is about a father looking for his lost children. The Armenian genocide wasn’t only about violence, it was also about forced migration, the spreading around the world of these people, from Anatolia to Port Said, Egypt; to Havana; to Canada; to California; to Hong Kong.

Q. To what extent was this story based on the life of a real person?

A. I did a lot of research while I was writing this and I discovered diaries of Armenians who went to Havana in their early 20s. Oral histories and literature about the death camps and the death marches. I collected a lot of very rich portraits of witnesses and tried to sew them together.

Q. You’ve described the film as a kind of western.

A. Yes. “The Cut” is not just a film about the material, it’s about my personal journey through cinema, and the directors who I admire and who influence my work. Elia Kazan’s “America America” is a very important influence. So is the work of Sergio Leone, how he used framing. It’s also an homage somehow to Scorsese. I wrote this film with Mardik Martin, Martin Scorsese’s very early scriptwriter who wrote “Mean Streets” and the first draft of “Raging Bull.” Because he was Armenian, I discovered him on this project, and he helped me write it. And we spoke a lot about obsessional characters in Scorsese films.

The film deals also a lot with my admiration for Bertolucci, and Italian westerns and how Eastwood adapted Italian westerns. And the way we try to catch the light, always having it behind us, is very inspired by the work of Terrence Malick. So this film is very much in the Atlantic ocean, somewhere near the Azores — for a European film it’s too American, for an American film it’s too European.

Q. Why do the Turkish characters in your film speak Turkish while the Armenians speak English?

A. The main reason is that if I wanted to control the film, I had to control the dialogue. And I don’t speak Armenian at all. There are a lot of examples in the history of cinema. Bertolucci shot “The Last Emperor” with the Chinese speaking English. I used the concept that Polanski used in “The Pianist,” where he made all the Polish characters speak English and the Germans speak German, making English a language of identification. It’s a clear concept, but it’s surprising for some people because they’re used to my films in German and Turkish. But this film is more about the whole world. It’s not set in a minimalistic frame.

Q. How was working with Tahar Rahim?

A. “A Prophet” made a huge impact on me, it was great film — a masterpiece. And 90 percent of the quality of the film came from Tahar Rahim. When we met, there were a lot of things that we shared. We had relevant backgrounds — he had grown up in France with an Arab background, and I had grown up in Germany with a Turkish background.

Q. Are you excited or nervous about the debut of your film at Venice?

A. I’m nervous and excited. I spent too much time on it — usually you spend two years with a film, but on this film I spent seven years, the last four years I was working every day. Yes, I’m nervous.

Q. “The Cut” was initially headed to the Cannes Film Festival but you pulled the movie at the last minute, citing “personal reasons.” What happened?

A. We showed the film to Cannes and Venice at the same time. The reaction of Venice was very enthusiastic and Cannes was a bit much more careful, like they always are. So I was nervous, and I followed my instincts. But I couldn’t talk about my decision in the press because Venice asked me to wait until they made their own announcement. The people in Cannes never rejected the film but I had the feeling that it wasn’t what they expected from me. Because it’s historical, because it’s in English, it’s not minimalistic, I’m not sure. But I cannot fulfill other people’s expectations. I have to fulfill my own.

http://www.nytimes.com/2014/08/27/ar...-cut.html?_r=1

[bell-the-cat]

Re: The 100th Anniversary - and Events to Mark it

I read a while back that Fatih didnot end up making the film because he could not get turkish actors ton play the roles. Did he find the actors he was looking for?

That was a different film, one about Hrant Dink, which ended up not being made because he could not find any Turkish actors of the right age willing to play Dink.

[bell-the-cat]

Re: The 100th Anniversary - and Events to Mark it

I think that was the reason for Ararat's rejection, which, admittedly, wasn't very good (although I liked the Arshile Gorky scenes -- perhaps it should have been a biopic?). I know that film had its defenders and proponents on here and within the Armenian community. To that I say (borrowing a delicious line from Muriel Spark's The Prime of Miss Jean Brodie): "For those who like that sort of thing, that is the sort of thing they like."

I remember being amused by Egoyan's belated response to critics of the film's failings: that all of the failings were deliberate, that there were conscious scripting and editing decisions to make parts of the film fail in order to reveal the impossibility of attaining a completely accurate account of the genocide.

If only that sort of excuse could be used everywhere: hey, this is not a ghastly amateurish painting I've just done - I'm a great artist who is showing their depth and creativity by pretending to paint in the manner of a bad artist with no talent whatsoever in order to make a statement on the impossibility of ever attaining perfection in painting.