This dissertation examines the evolution of Armenian genocide memory through the documentary films of J. Michael Hagopian. In the mid-20th century, the Armenian genocide remained largely unrecognized and was systematically denied by the Turkish state. However, by the late 20th century, the genocide had become a cornerstone of Armenian-American identity and a subject of increasing scholarly and public discourse. This study explores how Hagopian’s films played a pivotal role in this transformation, documenting survivor testimonies and shaping public awareness in an era of growing historical consciousness. Rather than analyzing Hagopian’s entire body of work, this dissertation focuses on select films that exemplify his contributions to genocide remembrance and historical advocacy. These include Where Are My People? (1965), The Forgotten Genocide (1975), and key films from his Witness Trilogy , which collectively illustrate his evolving approach to visual storytelling, oral history, and the fight against genocide denial. By situating these films within the broader sociopolitical changes of the 1960s–1990s—including the rise of human rights movements, ethnic power movements, and the civil rights movement’s influence on marginalized communities—this study argues that Hagopian’s pioneering use of documentary film not only countered denial about the genocide but also contributed to the development of Armenian genocide studies as an academic field. His work paralleled and reinforced the cultural and political efforts of Armenian-Americans seeking recognition of the genocide in both the U.S. and global arenas. By tracing the intersection of historical memory, visual media, and political activism, this dissertation sheds light on how the Armenian genocide was gradually “unforgotten” in the late 20th century. It demonstrates that Hagopian’s films were more than historical records—they were acts of resistance, memory preservation, and advocacy that helped shape the trajectory of genocide recognition and remembrance.
","abstract_html":"<p>This dissertation examines the evolution of Armenian genocide memory through the documentary films of J. Michael Hagopian. In the mid-20th century, the Armenian genocide remained largely unrecognized and was systematically denied by the Turkish state. However, by the late 20th century, the genocide had become a cornerstone of Armenian-American identity and a subject of increasing scholarly and public discourse. This study explores how Hagopian’s films played a pivotal role in this transformation, documenting survivor testimonies and shaping public awareness in an era of growing historical consciousness. Rather than analyzing Hagopian’s entire body of work, this dissertation focuses on select films that exemplify his contributions to genocide remembrance and historical advocacy. These include Where Are My People? (1965), The Forgotten Genocide (1975), and key films from his Witness Trilogy , which collectively illustrate his evolving approach to visual storytelling, oral history, and the fight against genocide denial. By situating these films within the broader sociopolitical changes of the 1960s–1990s—including the rise of human rights movements, ethnic power movements, and the civil rights movement’s influence on marginalized communities—this study argues that Hagopian’s pioneering use of documentary film not only countered denial about the genocide but also contributed to the development of Armenian genocide studies as an academic field. His work paralleled and reinforced the cultural and political efforts of Armenian-Americans seeking recognition of the genocide in both the U.S. and global arenas. By tracing the intersection of historical memory, visual media, and political activism, this dissertation sheds light on how the Armenian genocide was gradually “unforgotten” in the late 20th century. It demonstrates that Hagopian’s films were more than historical records—they were acts of resistance, memory preservation, and advocacy that helped shape the trajectory of genocide recognition and remembrance.</p>","abstract_has_math":false,"creators":["Okonyan, David"],"institution":null,"degree_name":"History, PhD","degree_level":"Restricted to Claremont Colleges Dissertation","degree_discipline":"School of Arts and Humanities","degree_department":null,"school":null,"contributors":["JoAnna Poblete","Romeo Guzmán"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2025,"date_issued":"2025-01-01T08:00:00Z","date_published":"2025-01-01T08:00:00Z","updated_at":"2026-07-24T01:41:09Z","subjects":["Armenian Genocide","Genocide Studies","Memory Studies","History"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://scholarship.claremont.edu/cgu_etd/957","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["JoAnna Poblete","Romeo Guzmán"]},{"key":"dc:creator","label":"Author","values":["Okonyan, David"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2025-11-13T08:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["School of Arts and Humanities"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Restricted to Claremont Colleges Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["History, PhD"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Armenian Genocide","Genocide Studies","Memory Studies","History"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://scholarship.claremont.edu/cgu_etd/957"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This dissertation examines the evolution of Armenian genocide memory through the documentary films of J. Michael Hagopian. In the mid-20th century, the Armenian genocide remained largely unrecognized and was systematically denied by the Turkish state. However, by the late 20th century, the genocide had become a cornerstone of Armenian-American identity and a subject of increasing scholarly and public discourse. This study explores how Hagopian’s films played a pivotal role in this transformation, documenting survivor testimonies and shaping public awareness in an era of growing historical consciousness. Rather than analyzing Hagopian’s entire body of work, this dissertation focuses on select films that exemplify his contributions to genocide remembrance and historical advocacy. These include Where Are My People? (1965), The Forgotten Genocide (1975), and key films from his Witness Trilogy , which collectively illustrate his evolving approach to visual storytelling, oral history, and the fight against genocide denial. By situating these films within the broader sociopolitical changes of the 1960s–1990s—including the rise of human rights movements, ethnic power movements, and the civil rights movement’s influence on marginalized communities—this study argues that Hagopian’s pioneering use of documentary film not only countered denial about the genocide but also contributed to the development of Armenian genocide studies as an academic field. His work paralleled and reinforced the cultural and political efforts of Armenian-Americans seeking recognition of the genocide in both the U.S. and global arenas. By tracing the intersection of historical memory, visual media, and political activism, this dissertation sheds light on how the Armenian genocide was gradually “unforgotten” in the late 20th century. It demonstrates that Hagopian’s films were more than historical records—they were acts of resistance, memory preservation, and advocacy that helped shape the trajectory of genocide recognition and remembrance.
"]},{"key":"dc:title","label":"Title","values":["The “Unforgetting” of the Armenian Genocide: The Documentary Work of J. Michael Hagopian and the Remembering of the Armenian Genocide in the Late 20th Century"]}]}],"canonical_facts":{"dc:contributor":["JoAnna Poblete","Romeo Guzmán"],"dc:creator":["Okonyan, David"],"dc:date.available":["2025-11-13T08:00:00Z"],"dc:description.abstract":["This dissertation examines the evolution of Armenian genocide memory through the documentary films of J. Michael Hagopian. In the mid-20th century, the Armenian genocide remained largely unrecognized and was systematically denied by the Turkish state. However, by the late 20th century, the genocide had become a cornerstone of Armenian-American identity and a subject of increasing scholarly and public discourse. This study explores how Hagopian’s films played a pivotal role in this transformation, documenting survivor testimonies and shaping public awareness in an era of growing historical consciousness. Rather than analyzing Hagopian’s entire body of work, this dissertation focuses on select films that exemplify his contributions to genocide remembrance and historical advocacy. These include Where Are My People? (1965), The Forgotten Genocide (1975), and key films from his Witness Trilogy , which collectively illustrate his evolving approach to visual storytelling, oral history, and the fight against genocide denial. By situating these films within the broader sociopolitical changes of the 1960s–1990s—including the rise of human rights movements, ethnic power movements, and the civil rights movement’s influence on marginalized communities—this study argues that Hagopian’s pioneering use of documentary film not only countered denial about the genocide but also contributed to the development of Armenian genocide studies as an academic field. His work paralleled and reinforced the cultural and political efforts of Armenian-Americans seeking recognition of the genocide in both the U.S. and global arenas. By tracing the intersection of historical memory, visual media, and political activism, this dissertation sheds light on how the Armenian genocide was gradually “unforgotten” in the late 20th century. It demonstrates that Hagopian’s films were more than historical records—they were acts of resistance, memory preservation, and advocacy that helped shape the trajectory of genocide recognition and remembrance.
"],"dc:identifier":["https://scholarship.claremont.edu/cgu_etd/957"],"dc:subject":["Armenian Genocide","Genocide Studies","Memory Studies","History"],"dc:title":["The “Unforgetting” of the Armenian Genocide: The Documentary Work of J. Michael Hagopian and the Remembering of the Armenian Genocide in the Late 20th Century"],"thesis:degree_discipline":["School of Arts and Humanities"],"thesis:degree_level":["Restricted to Claremont Colleges Dissertation"],"thesis:degree_name":["History, PhD"]},"updated_at":"2026-07-24T01:41:09Z"}