Allelujah short 04

Allelujah is a cinematic and New Age piece that also fits well with projects of a religious or spiritual theme; Christmas and Easter included. It centers on a female vocal singing Alleluia, with violin, cello, piano.

Allelujah short 05

Allelujah Short 05 is a cinematic and New Age piece that also fits well with projects of a religious or spiritual theme; Christmas and Easter included. It centers on a female vocal singing Alleluia, with violin, cello harp and 2 synths.

Allelujah short 06

Allelujah is a cinematic and New Age piece that also fits well with projects of a religious or spiritual theme; Christmas and Easter included. It centers on a female vocal singing Alleluia.

Allelujah short 07

Allelujah is a cinematic and New Age piece that also fits well with projects of a religious or spiritual theme; Christmas and Easter included. It centers on a female vocal singing Alleluia, with violin, cello, piano, harp.

Allelujah vocal 01

Allelujah Vocal 01 is a short vocal piece featuring a female voice singing Allelujah.

Allelujah vocal 03

Allelujah Vocal 03 is a short vocal piece featuring a synthesized female voice singing Allelujah.

Amazing grace

Amazing Grace the famous hymn featuring a sampled bagpipes, piano, acoustic drums, synth pads and strings.

Ave (piano and vocal) DREAMY

This audio features vocals, piano, strings, synth and bells a curious and unique piece with a light feel.

Ave (with synth lead) DREAMY RELIGIOUS

Ave (with Synth Lead) is a short piece of music featuring vocals, synths, strings and bells.

Ave 02 DREAMY RELIGIOUS

Ave 02 is a stinger featuring vocals and bells.

Ave 01 DREAMY RELIGIOUS

Ave 01 is a recording of a singer singing Ave with bells for instrumentation.

Another sun, 2012

This work draws upon oral testimonies by Fijian soldiers who took part in the British nuclear tests at Malden and Christmas Island during the late 1950s. The photographic and video archives at the Imperial War Museum in London have been important sources for Bolatagici in understanding the Fijian experience of these events. Broadening her perspective to include Fijian and British accounts, and to compare and contrast the archival footage made by the Ministry of Defence with the recollections of the Fijian veterans.

Racialized urban America and Holocaust film : negotiating the limits of representation

Sidney Lumet’s influential film The Pawnbroker (1964) is one of the earliest films to consider the encounter between Holocaust narratives and low-income, urban American racial minorities. As much concerned with contemporary ‘race relations’ in the United States as it is with the Nazis’ persecution of Europe’s Jews, the film intertwines the story of Holocaust survivor Sol Nazerman with the social tensions of 1960s America, represented in his relationship with the young Puerto Rican shop assistant Jesus Oritz. The film stylistically juxtaposes raw footage of concentration camp existence with dismal images of New York slum life. Against these backdrops, the protagonist’s climactic ‘silent scream’ emblematically merges the repressed trauma of the survivor with the filmmaker’s interest in race relations, a theme that has undergone various transformations in a number of films since. One film that contemporizes this encounter is Richard LaGravenese’s Freedom Writers (2007). As opposed to the tragic outcome of the pawnbroker’s induction into urban America, here the Holocaust is a redemptive tool that permits inner-city Black and Latino youth to contextualize their own suffering. After reading The Diary of Anne Frank, this group of ‘at-risk’ sophomores to inspired to collaborate on an ultimately successful effort to bring Miep Geis, the woman who sheltered Anne Frank, to speak at their high school. Foregrounded by the 1992 Los Angeles riots, gentiles teacher Erin Gruwell and savior Miep Geis transform the Holocaust from an amplified parallel of American slums into an event that permits the children of American postcoloniality to triumph in spite of their socio-economic circumstances. Underlining the tension between the Jewish specificity and unprecedented nature of the Holocaust, and the need to generate Holocaust narratives that intersect with intrinsically racialized American narratives, such films have significant implications for how collective memories of suffering are constructed and contested.