For nearly a century, members of the Dildilian family practiced the art of photography in Ottoman Turkey, Greece and the United States. This book contains over 300 photographs, most taken during the Ottoman era. The photos record a crucial half century of Armenian culture, with the earliest dating from 1888, when Tsolag Dildilian opened and operated the family business in central Anatolia, first in Sivas and later in Marsovan and Samsun, and the last taken in late 1930s Greece after the family's forced exile from their homeland in 1922. The photographs and the stories that unfold around them capture a defining period in the nearly 3,000-year history of the Armenians in Anatolia and the Armenian Highlands. The early- twentieth century witnessed the violent erasure of the Armenians from their historic homeland, with catastrophic effects for the Dildilian family and their community. Yet this was also a period of unprecedented educational, cultural and commercial development for the Armenians. The Dildilian family was intimately involved in the triumphs and tragedies of these years and this book, through its rich pictorial history, sheds unprecedented light on the real-life experiences of Armenians in the devastating years of the Armenian Genocide and beyond. It is an unusual and original contribution to the social history of the Near East.

For nearly a century, members of the Dildilian family practiced the art of photography in Ottoman Turkey, Greece and the United States. This book contains over 300 photographs, most taken during the Ottoman era. The photos record a crucial half century of Armenian culture, with the earliest dating from 1888, when Tsolag Dildilian opened and operated the family business in central Anatolia, first in Sivas and later in Marsovan and Samsun, and the last taken in late 1930s Greece after the family's forced exile from their homeland in 1922. The photographs and the stories that unfold around them capture a defining period in the nearly 3,000-year history of the Armenians in Anatolia and the Armenian Highlands. The early- twentieth century witnessed the violent erasure of the Armenians from their historic homeland, with catastrophic effects for the Dildilian family and their community. Yet this was also a period of unprecedented educational, cultural and commercial development for the Armenians. The Dildilian family was intimately involved in the triumphs and tragedies of these years and this book, through its rich pictorial history, sheds unprecedented light on the real-life experiences of Armenians in the devastating years of the Armenian Genocide and beyond. It is an unusual and original contribution to the social history of the Near East.

"Denial of Genocides in the Twenty-First Century discusses genocide denial in the twenty-first century by concentrating on communication, social networks, and public spheres of daily life"--

This volume explores the shifting tides of how political violence is memorialized in today's decentralized, digital era. The book enhances our understanding of how the digital turn is changing the ways that we remember, interpret, and memorialize the past. It also raises practical and ethical questions of how we should utilize these tools and study their impacts. Cases covered include memorialization efforts related to the genocides in Rwanda, Cambodia, Europe (the Holocaust), and Armenia; to non-genocidal violence in Haiti, and the Portuguese Colonial War on the African Continent; and of the September 11 attacks on the United States.

The organization 'Genocide Watch' estimates that 100 million civilians around the globe have lost their lives as a result of genocide in only the past sixty years. Over the same period, the visual arts in the form of documentary footage has aided international efforts to document genocide and prosecute those responsible, but this book argues that fictional representation occupies an equally important and problematic place in the process of shaping minds on the subject. Edited by two of the leading experts in the field, The History of Genocide in Cinema analyzes fictional and semi-fictional portrayals of genocide, focusing on, amongst others, the repression of indigenous populations in Australia, the genocide of Native Americans in the 19th century, the Herero genocide, Armenia, the Holodomor (Stalin's policy of starvation in Ukraine), the Nazi Holocaust, Nanking and Darfur. Comprehensive and unique in its focus on fiction films, as opposed to documentaries, The History of Genocide in Cinema is an essential resource for students and researchers in the fields of cultural history, holocaust studies and the history of film.

The displaced are often rendered silent and invisible as they journey in search of refuge. Drawing on historical and contemporary examples from Turkey, the Ottoman Empire, Iraq, Syria, UK, Germany, France, the Balkan Peninsula, US, Canada, Australia, and Kenya, the contributions to this volume draw attention to refugees, asylum seekers, exiles, and forced migrants as individual subjects with memories, hopes, needs, rights, and a prospective place in collective memory. The book's wide-ranging theoretical, literary, artistic, and autobiographical contributions appeal to scholarly and lay readers who share concerns about the fate of the displaced in relation to the emplaced in this age of mass mobility.

Featuring over 100 colour images, this book explores the photographic self-representations of the urban middle classes in Turkey in the 1920s and the 1930s. Examining the relationship between photography and gender, body, space as well as materiality and language, its six chapters explore how the production and circulation of vernacular photographs contributed to the making of the modern Turkish citizen in the formative years of the Turkish Republic, when nation-building, secularization and modernization reforms took centre stage. Based on an extensive photographic archive, the book shows that individuals actively reproduced, circulated and negotiated the ideal citizen-image imposed by the Kemalist regime, reflecting not only state-imposed directives but also their class aspirations and other, wider social and cultural developments of the period, from Western fashion trends and movies to the increasing availability of modern consumer items. Calafato also reveals that the freedom from state control afforded by personal cameras allowed the desired image to be sometimes tweaked by incorporating elements from Ottoman and Turkic traditions, by pushing the boundaries of gender norms or by introducing playfulness. Making the Modern Turkish Citizen offers a valuable portrait of the ongoing political and social changes on the lives of the Turkish middle class, and of how they saw and wanted to present themselves, privately and publicly.