In his lens-based installation Auroras (2007), Canadian filmmaker and artist Atom Egoyan re-presents the traumatic account of Aurora Mardiganian, a young woman who survived the Armenian genocide and whose story was published and then filmed in the United States under the titles Ravished Armenia and Auction of Souls (1919), in which she played herself. Egoyan’s installation plays on the fact that Mardiganian, after collapsing during the film’s promotional tour, was replaced by seven ‘look-alikes’. Encountered as a series of projections or monitors, Auroras shows seven women retelling Aurora’s harrowing story, which began as 15,000 Armenian women and children were ordered from their village. Their narrative culminates when Ottoman soldiers attack, raping a girl and killing her mother. Egoyan’s staging of Mardiganian’s testimony offers a startling reformulation of filmic witnessing. By multiplying the subjects who retell her traumatic story, and multiplying the screens on which they appear, Egoyan brings into question the filmic conventions by which victims are framed as sacred subjects and held at a safe remove from the viewer’s world. Bringing the black box of cinema into the white cube of the art gallery or public space, Egoyan denies audiences the anonymity of the theatre and places them on an equal footing with the screens. The reversal of power is intensified through the encounter with seven culturally diverse actors portraying Mardiganian; the viewer is literally outnumbered and surrounded. In the place of a single witness there is a chorus, a resistant ‘community of witnessing’.1 Scapegoating logic is reversed, positioning viewer as victim with the goal of solidifying a sympathetic identification with the narrator-witnesses and engendering a physical experience of ‘theatroclasm’ or ‘breaking the place of the viewer’.2 Bodily memory is thereby restored to filmic memory, a key thematic of Egoyan’s memorialisation of historical trauma.