拙稿以亞美尼亞裔加拿大籍國際著名導演Atom Egoyan的電影〈A級控訴〉為例，借用「影視史學」的概念，分析該影視文本的思維方式與歷史意識，從而討論影像歷史的「再現」與「辯證」、「記憶」與「遺忘」、「承認」與「否認」等課題。〈A級控訴〉是一部探討關於1915年土耳其對當時屬於自己的領土亞美尼亞進行大屠殺的電影；而土耳其政府至今仍否認這場大屠殺。加拿大籍導演Atom Egoyan，其實是亞美尼亞難民之子。在〈A級控訴〉之前，Atom Egoyan已經有多部受國際影壇注目的電影，而其中總是或多或少傳達他關心自己母國亞美尼亞歷史的心境。〈A級控訴〉在故事的結構方面，可以分成「歷史」與「現實」。在「現實」的部分，兩個分別有著無數家庭問題困擾的家庭，無意中竟然在歷史事件中找到慰藉或者某些解決家庭問題的答案。在「歷史」的部分，電影以「戲中戲」（The film-within-the-film）的方式，「委婉」的呈現「激烈」的大屠殺場面。透過美國醫生兼傳教士的回憶錄、藝術史學家對於亞美尼亞畫家的瞭解、「戲中戲」導演的母親的口述，逐步交織成驚心動魄的屠殺史。透過反覆的辯證歷史，Atom Egoyan顯然更重視的是面對歷史的態度，而不僅僅是歷史真相的再現。

"Ararat" was a film describing the massacre of Armenian by the Turks in the Turkish government-owned territory of Armenia in1915. To this day, the Turkish government continues to deny the Armenian genocide. The Canadian director, Atom Egoyan, is a son of one Armenian refugee. Prior to "Ararat", Atom Egoyan had produced many famous international films, and most of these films have always conveyed his concern about the history of his motherland Armenia. In the aspect of the story structure, the "Ararat" contains two parts including the "history" and the "reality life". In the "reality life" part, two separately families with their own tremendous family problems unexpectedly find the solutions in the historical events. In the "history" part, the film euphemistically describes the "fierce" massacre through the approach of "the film within the film". The history of soul-stirring genocide is gradually described through the memorandum of an American doctor, who is also a missionary, an artistic historian's understanding to the Armenian painters, and the narration of the director's mother in "the film within the film." Discriminating and authenticating the history over and over again, Atom Egoyan paid much attention to the attitude of facing the history rather than disclosure of the historical truth.