{"id":633,"date":"2026-01-18T16:17:03","date_gmt":"2026-01-18T15:17:03","guid":{"rendered":"https:\/\/segkirakossian.com\/?page_id=633"},"modified":"2026-01-18T16:17:04","modified_gmt":"2026-01-18T15:17:04","slug":"about-me","status":"publish","type":"page","link":"https:\/\/segkirakossian.com\/fr\/about-me\/","title":{"rendered":"About"},"content":{"rendered":"\n

I am Seg Kirakossian, a filmmaker, researcher, trainer and visual artist exploring the intersection of media, technology and storytelling. I work across documentary cinema, experimental aesthetics, media literacy and creative problem-solving through artistic methods. <\/h3>\n\n\n\n
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Filmmaker<\/h3>\n\n\n\n
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As a filmmaker, I specialize in documentary portraits<\/strong> and corporate films, focusing on personal stories<\/strong> rather than historical narratives or archival-based storytelling. My central themes revolve around the miracle of exploring the spirit and essence of people and objects<\/strong>.<\/p>\n\n\n\n

I primarily work in an observational style<\/strong>, yet I remain open to intervening when necessary. I don’t shape reality but rather try to capture unrepeatable moments – those that cannot be reconstructed with the same honesty and spontaneity<\/strong>.<\/p>\n<\/div>\n<\/div>\n\n\n\n

For me, filmmaking is a form of communication<\/strong> – a way to engage with people beyond words, using images, emotions, and presence. I aim to create films that make the audience think and feel more than what is explicitly shown<\/strong>, fostering an honest and meaningful dialogue between the film and the viewer.<\/p>\n\n\n\n

My films have been screened at various film festivals and thematic international events<\/strong>. I have also served as a jury member in film festivals<\/strong> and as a selection committee expert for film funds<\/strong>, including Eurimages<\/strong> as an external expert.<\/p>\n\n\n\n

Filmography<\/p>\n\n\n\n

PURIFICATION <\/a>(2025-26, 75′)<\/p>\n\n\n\n

JOKER. VAHAGN HAYRAPETYAN<\/a> (2019, 26′)<\/p>\n\n\n\n

NAREGATSI, YEREVAN, JOHN MALKOVICH<\/a> (2018, 18′)<\/p>\n\n\n\n

THE TEACHER<\/a> (2017, 24′)<\/p>\n\n\n\n

24\/04 WORLD ORCHESTRA<\/a> (2017, 18′)<\/p>\n\n\n\n

CRANE, WHERE DO YOU COME FROM? <\/a>(2016, 25′)<\/p>\n\n\n\n

ARTIST IN A SCIENCE<\/a> (2016, 27′)<\/p>\n\n\n\n

DO YOU NEED ME? <\/a>(2014, 36′)<\/p>\n\n\n\n

WANDERING IN THE ZAHRAD’S WORLD<\/a> (2013, 6′)<\/p>\n\n\n\n

HOME IS WHERE YOUR HEART IS (Short, 2008, 16′)<\/p>\n\n\n\n

THE WAY (2007, 8′)<\/p>\n\n\n\n

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Researcher<\/strong><\/h3>\n\n\n\n
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My research in documentary cinema is driven by fundamental questions: What defines documentary cinema? How does its aesthetic criteria differ from fiction film? And how should documentary filmmaking evolve in the age of deepfakes and interactive technologies?<\/strong> Additionally, I explore ways to make aesthetic judgment in academic settings more measurable<\/strong>.<\/p>\n\n\n\n

Beyond my PhD research<\/strong>, I have published five papers on documentary cinema<\/strong> in peer-reviewed journals<\/strong> and have presented at four academic conferences<\/strong>, including the 30th Visible Evidence Conference<\/a> in Australia (2024)<\/strong>.<\/p>\n<\/div>\n\n\n\n

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My work delves into key concepts such as:<\/p>\n\n\n\n