Sergei Parajanov once said that he was born not on January 9, 1924, as is generally accepted, but rather in November 1923. He said that his father, overjoyed to have finally had a son, spent several weeks partying and drinking before deciding to go and record the birth of his son at the civil registry office. Consequently, according to this true or invented story, Parajanov’s centenary coincides with the centenary of Armenian cinema, which was celebrated in Yerevan in November 2023, and to which this article was written. In the Western world, presenting Parajanov as an “Armenian filmmaker” is not always self-evident, since he is rather characterized as of Armenian “origin”, or Armenian “decent”, and even sometimes as a “Georgian”, “Russian”, or “Soviet” artist. Parajanov’s work can be comprehended within a global Paradox, which consists in freely and unexpectedly crossing the conventional borders and limits, including semantic definitions. This principle theoretically and visually focuses on Parajanov’s masterpiece The Color of Pomegranates, which is arguably the best film of the Armenfilm studio. It was also described by some critics as a “non-film”, since it disrupts the very essence of cinema: the movement. Thus, the terms “Armenian” and “filmmaker” are simultaneously exact and problematic. Hence, Parajanov’s paradox can be defined as his unique ability to stand on both sides of the borders (or the definitions) at the same time. The article investigates this fundamental paradox regarding Sergei Parajanov’s Armenian identity.

KeywordsParajanov cinema Armenian filmmaker paradox idiot Godard Pasolini

The Armenian Genocide has inspired diverse artistic expressions, with film emerging as a particularly powerful medium due to its emotional impact and wide reach. This article explores key cinematic works that depict the genocide, analyzing their thematic concerns, narrative techniques, and reception. It examines how these films confront denial, shape memory, and reflect political pressures – particularly Turkey’s efforts to suppress international awareness. Through a transnational lens, the article considers how filmmakers of Armenian, non-Armenian, and even Turkish origin approach this sensitive historical subject and its enduring legacy.

KeywordsFilm International Relations Armenian Genocide Justice Publications armenian community migration.

This article examines the artistic interactions between Armenian filmmaker Sergey Parajanov (1924–1990) and Georgian photographer Yuri Mechitov (b. 1950), focusing on their collaborative experiments in photography and collage during the late 1970s–1980s. While Parajanov is internationally recognized for his films, particularly The Color of Pomegranates, this study highlights his creative partnership with Mechitov, whose portraits and documentary photographs reveal new aspects of the director’s artistic persona. Drawing on interviews, memoirs, and photographic archives, the paper analyzes how Parajanov staged his image before Mechitov’s camera, turning everyday gestures into visual allegories. Special attention is given to how Mechitov’s photographs became sources for Parajanov’s collages, where single images were transformed into layered works of visual poetry. The discussion shows how Mechitov’s documentary practice intersected with Parajanov’s surrealist sensibilities, creates a corpus that transcends the boundaries between cinema, photography, and visual art. By examining these collages, the article shows that Parajanov emerges as a versatile artist whose creative range extended beyond cinema to include collage, photography, painting, and other forms of expression. The study presents only one example of these facets, underscoring the multidimensional nature of his artistic identity.

KeywordsSergey Parajanov Yuri Mechitov film Armenian filmmaker photography collage visual art