LAUSR

future holds. Başcı adeptly demonstrates that cinema has the power to defy official narratives and disturb conventional accounts of identity and history while constructing a new public discourse through the depiction of the suppressed. Social Trauma and Telecinematic Memory reminds us of the refreshing notion that cinema has the power to rewrite history. Despite the all-pervading authority of official history that silences memories, “[c]hildren remember, and grow up to tell stories” (p. 196).