This study analyzes the award-winning documentary film
Searching for Rodakis, directed by Kerem Soyyilmaz, produced in 2023. The aim of this study is the historic comprehension and analysis of this filmic narrative in the field of social–semiotic literacy and its utilization in historical studies for approaching issues of conflict in modern history, otherness, collective experience and trauma, and collective memory. The research material is the documentary
Searching for Rodakis (produced by Denmark, Turkey 2023; screenplay/director, Kerem Soyyilmaz; duration, 57’), which received the following awards: Adana Golden Boll FF 2023 Turkey | Best Documentary, Thessaloniki International Doc. Festival 2023 Greece, Greek Film Festival Los Angeles 2023 USA, and Istanbul Documentary Days 2023 Turkey. As regards the historic context, the year of production, 2023, coincides with the 100th anniversary of the signing of the Treaty of Lausanne, where Turkey’s current borders were set and the “population exchange” legally sealed, i.e., the violent expulsion of 400,000 Muslims, citizens of Greece, many of whom spoke only Greek, and 200,000 Orthodox citizens of Turkey, who in the majority spoke Turkish. At the same time, the Treaty of Lausanne ratified and finalized the expulsion of approximately one million Orthodox who were forced to leave the Ottoman Empire, as well as 120,000 Muslims who had fled Greece since the beginning of the Balkan Wars (1912–1913). About two million people were deported and lost their citizenship and property, in the context of “national homogeneity” (which connotes an ethnic cleansing), with the official states ignoring the criticisms of lawyers and academics who spoke of violations of constitutional rights. Mohammedan Greeks, estimated at around 190,000 as early as 1914, based on ecclesiastical statistics in the Pontus region, did not receive attention from the provisions of the Treaty of Lausanne, even though linguistically and culturally (origin, customs, culture and traditions) they did not differ in any way from the Orthodox Greeks. In Turkey, there was general indifference to the thousands of desperate people who arrived, with the exception of a few academics and the Lausanne Exchange Foundation. The filmic scenario is as follows: as a Greek tombstone of unknown origin is discovered underneath the floorboards in an old village house in Turkey, an almost forgotten story from the country’s creation unravels—the forced population exchange between Greece and Turkey in 1923. The engraved Greek letters tell of a woman, Chrysoula Rodaki, who died in 1887. Thus the search for her descendants begins. It leads director Kerem Soyyilmaz to local archives, where his own family’s role in history is laid bare; to abandoned ghost towns, and through the memories of older villagers—all while Soyyilmaz meets massive support for his quest from Greeks on the other side of the border. The stone becomes a portal to the past—and for a while, the trauma becomes redeemed when the previous owners of the village house return.
Searching for Rodakis is a movie that reconnects people, culture, and the stories that were discarded in order to build a strong, nationalist state—told through the director’s personal experiences. The research questions, as they arise from the cinematographic material itself, are as follows: How is the historical memory of traumatic events of the previous century, such as the exchange of populations according the Treaty of Lausanne, recorded in the cinematographic narrative? What are the historical sources? To what extent did the origin, ethnicity, and geographical location of the narrators as participants influence the preservation of historical memory and the historical research? What are the criteria of the approach of the creator, and what are the criteria of the participants? Methodologically, we apply historic and socio-semiotic analyses in the field of public and digital history. The results: The types of historical sources found in filmic public discourse include the oral narration of testimonies, of experiences and of memories, as well as the director’s historical research in state archives, the material cultural objects, and the director’s digital research. Thus, historic thematic categories occur, such as the specific persons and actions in Turkey/Greece, actions on-site and in online research, and the types of historical sources, such as oral testimonies, research in archives, and objects of material culture. Sub-themes such as childhood, localities and kinship also emerge. These cinematic recordings of biographical oral narratives as historical and sociological material help us understand the political ideologies of the specific period, between the years 1919 and 1923. The multimodal film material is analyzed to provide testimonies of oral and digital history; it is utilized to approach the historical reality of “otherness”, seeking dialogue in cross-border history in order to identify differences, but above all the historic and cultural similarities against sterile stereotypes. The historic era and the historic geography of the Greek and Turkish national histories concern us for research and teaching purposes a hundred years after the Treaty of Lausanne which set the official borders of the countries.
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