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Эгоян Атом

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Эгоян вместе с сестрой Евой (сейчас концертная пианисткой из Торонто) были отправлены родителями в город Виктория в Британско Колумбии.

==Деятельность=====Фильмография=======режиссер====

*1979 - Howard in Particular

*1980 - After Grad with Dad

*2001 - Последняя магнитофоннная запись Крэппа / Krapp’s Last Tape

*2001 - Диаспора / Diaspora

*2002 - Арарат / Ararat СКАЧАТЬ

*2005 - Где скрывается правда / Where the Truth Lies СКАЧАТЬ

===Фильмография=======сценарист====

*1979 - Howard in Particular

*1980 - After Grad with Dad

*2002 - Арарат / Ararat

===Фильмография=======продюсер====

*1984 - Ближайший родственник / Next of Kin

*1987 - Семейный просмотр / Family viewing

*2002 - Арарат / Ararat СКАЧАТЬ

===Фильмография=======актер====

*1985 - Knock! Knock!

*1988 - The Box of Sun

==Достижения==

**===Премии и награды===

*ОСКАР

*Лучший сценарист (адаптация)- 1998 - Славное будущее / The Sweet hereafter

**КАННСКИЙ КИНОФЕСТИВАЛЬ

Победитель в категориях

*Приз экуменического жюри - 1997 - Славное будущее / The Sweet hereafter

---------------------------------------==Разное==

*Почетный гражданин Еревана 2002 г.

 

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==Библиография==

*http://www.nndb.com/people/

*http://worldarmeniancongress.com/ru/peoples/issue.php?Action=Full&NewsID=352

*Ноев Ковчег. Информационно-аналитическая газета армянской диаспоры стран СНГ. N 7 (53) Август 2002 года http://www.noev-kovcheg.ru/index.asp?n=53

*Известные персоны Армении // http://www.persons.am/ru/search.php?category=0

*http://www.izvestia.ru/culture/article20247

*Мамулов С.С. Удивительный народ из страны чудес. Книга 4. М., 2005

*http://en.wikipedia.org/wiki/Atom_Egoyan

 

*http://www.armeniosonline.com.ar/famosos/index.htm

*http://www.interkavkaz.info/index.php?showtopic=1641&st=120

*http://www.allbio.ru/art/egoyan/

*http://viparmenia.com/vb/showthread.php?t=2170

   Информация*http:Биография    Born: 19-Jul-1960Birthplace: Cairo, Egypt   Cairo-born, Canadian-bred and of Armenian descent, Atom Egoyan is one of the most celebrated contemporary filmmakers on the international scene. Through his uniquely personal feature films and numerous related projects, he has created a remarkable body of work that has received both critical acclaim and commercial success around the world. Egoyan was raised in Victoria, BC, moving to Toronto at age 18 to study International Relations and classical guitar at the University of Toronto. It was there that he began to seriously explore the art and language of the cinema, and started making his own films which progressed to reflect his own, very personal thematic obsessions, delving into issues of intimacy, displacement and the impact of technology and media in modern life. His debut feature, Next of Kin (1984) earned Egoyan the Genie nomination (Canadian Academy Award) for Best Director, and went on to win Germany's Mannheim International Film Week Gold Ducat Award, receiving theatrical distribution around the world. Family Viewing (1987) won the Locarno International Critics Prize, and was nominated for eight Genie Awards including Best Film. The film gained wide notoriety when Wim Wenders declined the jury prize at the Montreal Film Festival for his own film, Wings of Desire, and handed it over to Egoyan, his Canadian colleague. Next came Speaking Parts (1989), which marked his first Cannes premiere (Director's Fortnight), and earned even more international acclaim and Genie Award nods. The Adjuster (1991) premiered at Cannes in the Quinzaine des Realisateurs, and was awarded the Special Jury Prize at the Moscow International Film Festival. It went on to capture the Toronto/CITY Award for Best Canadian Film at the Toronto International Film Festival. 1993?s Calendar, shot in Armenia, earned the C.I.C.A.E. prize for Best Film in the Forum of New Cinema at the Berlin International Film Festival, and once again landed Egoyan Genie nominations for Best Direction and Screenplay. Egoyan achieved a wider audience with the darkly mysterious Exotica (1994). The first English Canadian film to be invited into Competition at the Cannes Film Festival in nearly a decade, Exotica was awarded International Critics Prize for Best Film. Honoured by festival and critical associations around the world, Exotica received major worldwide release, including a 500-screen US release from Miramax Films. In Canada, released by Alliance, Exotica played theatrically for over half a year. The film swept the Genies, earning eight awards, including Best Picture and Best Director. The Sweet Hereafter (1997) had its world premiere in Official Competition at the 50th Cannes Film Festival where it became the most-honoured film of the Festival, winning The Grand Prize of the Jury as well as the International Critics Prize and the Ecumenical Award for Humanist filmmaking. The movie then opened the Toronto International Film Festival where it was doubly honoured with both the International Critics Award and the Toronto/CITY Award for Best Canadian Film. The Sweet Hereafter provided Egoyan a second sweep of the Genies by winning eight major awards, including Best Picture and Best Director. Sold to virtually every possible worldwide market, The Sweet Hereafter was the subject of unprecedented critical response, named to more than 250 major top-ten lists for 1997. The Sweet Hereafter held the top position on more than two-dozen of those lists, including The New York Times, The Los Angeles Times and Newsweek. Egoyan received Academy Award nominations for his Directing and for his Adapted Screenplay. This made him the first Canadian to be so honoured for work in a Canadian Film. His next two films were Irish in origin. In 1999, Egoyan directed Felicia's Journey in Ireland and England. Based on the novel by William Trevor, starring Bob Hoskins, Elaine Cassidy and Arsinee Khanjian, it premiered in competition at Cannes, before opening the Toronto Film Festival and holding the prestigious closing night spot at the New York Film Festival. Produced by Icon Entertainment, this film earned another four Genie Awards. Krapp's Last Tape is an adaptation of Samuel Beckett's stage-play, starring John Hurt. This has been seen internationally since premiering in 2000 at the Venice Film Festival. Ararat, Egoyan’s meditation on the Armenian Genocide of 1915, was distributed in over thirty countries, after its premiere at the Cannes International Film Festival in 2002. It has won numerous awards, including Best Film at the 24th Durban Film Festival in South Africa, Best Film on Human Rights by the Political Film Society of Hollywood, the Freedom of Expression Award from the National Board of Review in New York, and the Genie award for Best Film from the Canadian Academy of Film and Television. Egoyan's most recent film, Where The Truth Lies, produced by Robert Lantos, stars Kevin Bacon, Colin Firth, and Alison Lohman, and is based on Rupert Holmes's novel by the same name. Where The Truth Lies premiered in competition at the 2005 Cannes International Film Festival, and had its North American premiere at the Toronto International Film Festival in 2005. His other works include many short films and original programs for television as well as a number of art installations presented internationally (including the Oxford Museum of Modern Art, Venice Biennale, and Le Fresnoy in France). Exploring his long-standing interest in classical music, Egoyan made his debut as an opera director in 1996, with the Canadian Opera Company production of Salome. This production was subsequently presented in Houston and Vancouver before being remounted by the COC for a sold-out run in 2002. His original opera, Elsewhereless, composed by Rodney Sharman, written and directed by Egoyan, premiered in Toronto in 1998, and was remounted in Vancouver. Later that year he directed the world premiere of Gavin Bryars' Dr. Ox's Experiment for English National Opera in London. His art and theatre projects include the installation Steenbeckett, for London's Artangel's 10th anniversary, and Hors D'Usage, for Montreal's Le Musee d'art contemporain, which opened in the Fall of 2002. Egoyan's film works have been presented in numerous important retrospectives in major centers throughout the world. He has earned many exceptional honours in his career. There have been a number of books written about his work, and he co-edited a collection of essays, SUBTITLES: on the foreignness of film, published by MIT press in 2004. Egoyan was President of the Jury at the 2003 Berlin Film Festival, and has served on juries in Cannes, Sundance, and Toronto. He was knighted by the French Government with the Chevalier des Arts et Lettres, and has received the Anahid Literary Award from the Armenian Center at Columbia University, and was inducted into the Order of Canada. He has received honorary doctorates from universities across Canada. Egoyan is currently working on the Canadian Opera Company's production of Richard Wagner's Ring Cycle, directing Die Walkyrie. The successful production will be remounted next summer.  www.egofilmarts.com  FILMOGRAPHYWHERE THE TRUTH LIES (2005) NEXT OF KIN (1984) FAMILY VIEWING (1987) SPEAKING PARTS (1989) THE ADJUSTER (1991) CALENDAR (1993) EXOTICA (1994) THE SWEET HEREAFTER (1997) FELICIA'S JOURNEY (1999) KRAPP'S LAST TAPE (2001) ARARAT (2002)    Atom Egoyan Atom Egoyan (born July 19, 1960) is a critically acclaimed Canadian filmmaker of Armenian descent. His work often explores themes of alienation and isolation, featuring characters whose interactions are mediated through technology, bureaucracy or other power structures. Atom Egoyan Egoyan was born to Joseph and Shushan Yeghoyan in Cairo, Egypt and was raised in Victoria, British Columbia, Canada. As a teenager, he became interested in reading and writing plays. Significant influences included Samuel Beckett and Harold Pinter. He graduated from the University of Toronto. Egoyan is now based in Toronto, where he lives with his wife, Arsinee Khanjian, an actress who appears in many of Egoyan's films, and their son, Arshile.  Egoyan has directed a dozen full-length feature films, several television episodes, and a few shorter pieces. His early work was based on his own material, and he received some notice for the film Exotica (1994), but it was Egoyan's first attempt at adapted material that resulted in his best-known work, The Sweet Hereafter (1997), which landed him two Academy Award nominations (Best Director and Best Screenplay Based on Material from Another Medium) as well as the Grand Prize of the Jury from the Cannes Film Festival. The film Ararat (2002) also generated some publicity for Egoyan, as it was the first major motion picture to deal directly with the Armenian Genocide. Ararat later won the Best Picture prize at the Genie Awards, which has honored Egoyan several times in the past, and the Golden Apricot at the Yerevan International Film Festival.  CRITICS' FORUM  Belated History: Revisiting Atom Egoyan's "Ararat"  By Hovig Tchalian  It may seem unusual to review a film released almost four years ago. But as we enter the first year of the tenth decade of commemorating the Armenian Genocide, Atom Egoyan's "Ararat" (2002) presents an ideal opportunity to do so in the context of the film's central theme, the uncanny act of remembering-again. "Ararat" is a powerful, reverent and unquestionably personal look at the ravages of the Genocide, both immediate and more distant. But the film as a whole is also deeply flawed, precisely because of its personal nature. Like Egoyan's other films, the premise of "Ararat" is complex and multi-layered. It revolves ostensibly around the making of a film about the Genocide by Edward Saroyan (played by Charles Aznavour), a well-known director now well past his prime. In typical Egoyan fashion, the stories of the other characters weave themselves into the central story of the making of Saroyan's film: Raffi, the main character (played credibly by David Alpay), is in love with his step-sister, Celia; she is locked in struggle with her mother, Ani (played by Egoyan's wife, Arsin?e Khanjian); Ani is an art historian interested in Arshile Gorky (played movingly by Simon Abkarian) and his representation of himself and his mother, which Celia accuses her of using as a way of coming to terms with the death (or, according to Celia, her murder) of her second husband, Celia's father; the film's producer, Rouben (played by Eric Bogosian), hires Ani as a consultant, in order to help add elements of Gorky's biography as a plotline in the film. The stories converge on Raffi's attempt to bring (or perhaps sneak) several rolls of film into Canada that he claims to have shot in Anatolia (present-day Eastern Turkey, historically Western Armenia) for use in the production. An aging customs officer, David (played ably by Christopher Plummer), is the only person who stands in his way. David is himself close to retirement and having trouble adjusting to his divorced son's relationship with his half-Turkish gay lover (played by Elias Koteas), an actor who winds up playing the part of the main Turkish antagonist in Saroyan's film, Jevdet Bey. As is clear from the extended synopsis above, the various elements of the film make for a complex storyline. Though it can be argued that some of the details are "wasted" here (other, better films, of Egoyan's are far more "efficient" and less heavy-handed), there is still a clear purpose to them. For instance, the twin details of the director's waning talents-a fact mentioned off-handedly by Raffi-and the customs officer's impending retirement-revealed slowly throughout-are subtle but significant. Together, they represent the film's central concern, what we might call the "latency" or "belatedness" of history-in other words, the difficulty of proving after the fact an event that took place in the past. We understand that the Genocide narrative in the imaginary film is told too late to change the facts but, equally, struggling even to transmit them meaningfully to posterity. Like its director, the film is tragically past its prime. The same may be said of any attempt to capture the full weight of history, a fact that Egoyan (as a director of the film that tells its own, similar story) recognizes all too well. The two aging characters and the structure of the film-within-a-film repeat themselves across a host of other dualities: we find out that Ani has been married twice, first to Raffi's father, who was killed in an attempt to assassinate a Turkish diplomat, and second to Celia's father, who apparently (and like Gorky) committed suicide; we discover that Raffi is actually sneaking two sets of films across the border, one set of rolls (that may in fact contain Heroin) given to him by the Turkish soldier who helped him get into view of Ararat and a roll of film that he took on his own camcorder that includes a shot of the Madonna and child in Aghtamar that mirrors Gorky's painting; we are also told that Gorky painted that image in 1934, as a way of coming to terms with the killing of his mother in 1915 (an act that Ani is trying to uncover and understand in the present). Such parallels, sometimes subtle and sometimes less so, all build on the idea of belatedness. They do not represent dualities so much as an almost endless string of repetitions and revisions, of strange but hopeful attempts, as I suggested earlier, to remember-again. By the end of the film, the sheer number and dizzying array of motifs in the film come perilously close to overwhelming its subject as well as its viewer. A surprisingly effective repetition in the film is the one that involves Ali, who plays the part of the Turkish official, Jevdet Bey, in Saroyan's film. He is a half-Turkish Canadian citizen who reveals during the course of filming that he has trouble believing that the Genocide was ever more than a civil disturbance and those killed much more than casualties of war. Raffi's futile attempt to convince him otherwise is more than an act of will. His all-too-human response of confronting a Genocide denier-in the person of Ali-becomes at the same time a heroic attempt to reach back into and reverse history itself-in the person of Jevdet Bey. History and art collide in Raffi's personal encounter with collective memory and the reconstruction of historical experience. The personal nature of Raffi's encounter ensures the emotional and artistic integrity of the film, its heart and soul. But surprisingly, it also represents the film's undoing. The delicate balance between art and tragedy represented in Raffi's experience begins to unravel as we extend it to include Egoyan's own experience of making a quite personal film about the Genocide. From this broader perspective, the film is unable to navigate the fine line between art and historical commentary. In that sense, the complex associations among the film's various elements must be seen as a heroic but doomed attempt to capture the fullness of the Genocide and its implications, both personal and collective. To put it differently, the film puts forward the idea that a historical event is infinitely complex, all the while attempting to shed light on what actually happened. Not surprisingly, reviews of the film have described it either as "slanted" or "committed," a distinction that even a filmmaker of Egoyan's talents would be hard-pressed to overcome. As mentioned earlier, the film's complex plot converges on Raffi's attempt to sneak the rolls of film out of Turkey and into Canada, and in the film's rationale, into the light of day. The customs officer, David, suspects that the roll given to Raffi by the soldier contains drugs. David explains that many of those who ingest those drugs to sneak them past the officers, when confronted with the crime, get so nervous that the packets explode in their system, causing an immediate overdose. The conversation parallels the very first scene in the film, in which Aznavour's character, Saroyan, tries to get a pomegranate ("nour") past customs. (It also parallels the imagined story in Saroyan's film, in which Gorky fails in his attempt to get a letter about the Turkish siege on Van to the American authorities and is caught by Jevdet Bey.) When David refuses to allow Saroyan to bring the fruit across the border, Saroyan ingests the seeds instead, explaining that he expects them to bring him luck. (We find out later that his mother, a deportee, had a single pomegranate with her on her journey and survived by ingesting a seed a day and considering it a full meal.) The most obvious parallel in all these cases is to the truth at the heart of the Genocide, which starts as a letter of distress in Saroyan's film and becomes, in Egoyan's, both pomegranate seed and packet of heroin, sustaining to those who would give it life and a potentially explosive issue to those intent on suppressing it. The film's resolution, if there is one, comes in the form of Raffi's liberation. David releases him from customs, accepting the various lies he has told as a way of getting at the truth, of imagining its possibility. This act in turn leads to David's acceptance of his son and sets everything that has come before it awash in the light of hope. It is reminiscent of perhaps the single most affecting moment in the film, in which Gorky, struggling to paint his mother's portrait, gives himself over to the music playing on his phonograph and dances to it, palette and paintbrush in hand. Egoyan has earlier shown us captive Armenian women made to dance by Turkish soldiers, a scene that transforms Gorky's, by contrast, into the ultimate act of imagination and hope, a dance on the grave of history itself. The film's final scene is of Gorky's mother sewing a button back onto her son's jacket. The button is missing in Gorky's famous portrait but hidden from view, covered over by a flower his mother gives him to hold over it just before the photograph is taken. The humble act of sewing it back on stands in for the far more difficult goal of setting history right, after the fact. It presents the film's hopeful answer to the problems posed by history's belatedness. "Ararat" is not Atom Egoyan's finest film. That distinction belongs to "The Sweet Hereafter" (1997), a simple, graceful and ultimately more powerful meditation on the effects of a school bus crash on the residents of a Midwestern town. The earlier film does not try as hard to confront the full impact of its tragedy, though one admittedly smaller in scope. Paradoxically, Egoyan's personal feelings about the events depicted in "Ararat" render it a painfully personal attempt to address an unresolved historical tragedy in all its complexity. But it is worth revisiting, if only to confront the immensity and hope of the enterprise. SUBMITED BY THE AUTHOR All Rights Reserved: Critics Forum, 2006 Hovig Tchalian holds a PhD in English literature from UCLA. He has edited several journals and also published articles of his own.  This and all other articles published in this series are available online at www.criticsforum.org. To sign up for a weekly electronic version of new articles, go to www.criticsforum.org/join. Critics' Forum is a group created to discuss issues relating to Armenian art and culture in the Diaspora..   Selected FilmographyNext of Kin (1984) Family Viewing (1987) Speaking Parts (1989) The Adjuster (1991) Calendar (1993) Exotica (1994) The Sweet Hereafter (1997) Felicia's Journey (1999) Ararat (2002)

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