Սիրանոյշ Գալստեան2025-11-262025-11-262008Գալստեան, Ս., «Փաստի որոշակիութիւնը եւ փոխաբերականութիւնը (հայկական որոշ ֆիլմերի օրինակով)», «Հայկազեան հայագիտական հանդէս», 2008, Պէյրութ, էջ 319-338https://haigrepository.haigazian.edu.lb/handle/123456789/979The author discerns two inherent features of documentary movies: reflecting reality/fact and the artistic presentation of reality/fact. She speculates whether the producer intervenes for the production of an artistic movie or simply for the production of reality itself, and she argues that the film stops being a movie if it becomes a compilation of objective facts. Likewise, the film stops being a documentary if the contemplations of the producer supersede the facts. Seyranian argues that any film is not simply a mere set of facts but an observation, a deflected reality whereby the producer conveys his perception of reality. She rejects the existence of pure documentary films and argues that any film automatically is affected by the attitude and influence of the producer. After setting such a framework for the documentary film, Seyranian analyzes these two aspects in a number of Armenian films, including Ara Vahuni's Kanch (1977, call) and Elegya (1978, elegy), Dmitry Kesayants's Zinvorn oo Pighe (1977, the soldier and the elephant). Harutiun Khatcherian's Boedi Veradartse (2005, the return of the poet) and Veradarts Avetiats Yerkir (1991, return to the country Promised Land), Rouben Gevorgian's Bari Hetk (1980, kind trace), Armen Gasparian's Liturgya (1990s, liturgy), Frunze Dovlatian's Barev, Yes Em (1965, Hi, it's me), Henrik Malian's Yerankuni (1967, traiangle), Menk Enk Mer Sarere (1969, we are our mountains) and Hayrik (father), Hamas Martirossian's Kerder-Yezdiner (1933, Kurds-Yezidis), Vicken Tchalderanian's Ter Voghormya (1995, Lord, have mercy), Sergey Israelian's Patandnere (1991, hostages), Sergey Paradjanov's Neran Guyne (1969, the color of the pomegranate), and Artavazd Peleshian's Menk (1969, we). Seyranian concludes that in such films reality is being generalized by a) reifying it and transforming it into a proverbial narration or making it a symbol, and b) producing the daily fact from a universal perspective and giving it a mythical dimension. The latter has more to do with the highest ability of factual expression.