pp. 93–106.DOI: 10.47940/cajas.v6i2.396. apocalyptic andpost-apocalyptic genres”. CentralAsianJournalofArtStudies, vol.6,no.2,2021 cinematography. the themeisreflected narrowly withelementsofdegraded ecology. Kazakh filmswithelementsof the apocalypticgenre; however, incomparison withglobalcinema, Therefore, thistopicneedstobedeepenedfrom thepointofviewcinema.Inarticleweconsider and localman-madenatural disasters, allofwhichbelongstotheelementsapocalypsegenre. on thethemeofendworldincludedestruction the planet'secologyandworldwide cinematographers have extensiveexperienceinfilmproduction inthisgenre. Classiccinemaplots these issueshavenotbecomeimportanttopicsofKazakhcinema. cinema aswellthemodernperiodsofdevelopment. Republic ofKazakhstan,America,theUSSR,andEuropean andAsian countries,includingearly global situation.Thisresearch isbasedonthematerialsofnationalcinematographic artofthe experiencing asevere environmental crisis,andtheissuesoftheirsolutionare embeddedinthe modern worldisthereality ofglobalenvironmental problems. , likeothercountries,is of themostcommonscenariosinsuchmovies.Theseriousthreat toallofhumanityandthe – whichcausethecollapseofanentire ecosystem,thehumanrace, orahugepartofit–are one cinema isdirectly related toenvironmental difficulties,andenvironmental andman-madedisasters disasters, and in thiscasetheword “Ecology”isinterpreted broadly. Apocalypticandpost-apocalyptic topics thattakeplacewithintheframework oflocalenvironmental problems andman-made apocalyptics inKazakhcinema.Thisarticleisextremely relevant totheconsideration ofapocalyptic Abstract. Thebasisofthisarticleistheconsideration ofthetopicapocalypticsandpost- DOI 10.47940/cajas.v6i2.396 UDC 791(2-175)Ә14 CSCSTI 18.67.01 ART STUDIES Cite: Abdikassymov, Bauyrzhanand AidaMashurova. “Kazakh ecocinemathrough theprismof Keywords: apocalypse,post-apocalypse, ecocinema,famine,art,ecology, element,disaster, In Kazakhfilmstudies,theapocalypseorendofworld remains anunexplored topic. In worldcinema,theapocalypticgenre isclassifiedintogroups andsubgenres. Also,world Many regions ofCentral Asia, especially Kazakhstan,remain environmentally unstable,buttodate, The methodologicalbasisofthearticleconsiststheoretical, visual,filmand comparative analysis. APOCALYPTIC OF APOCALYPTIC THE PRISM CINEMA THROUGH KAZAKH ECO Aida Mashurova 1 Bauyrzhan Abdikassymov GENRES AND POST-

(, Kazakhstan) T. K.ZhurgenovKazakhNationalAcademyofArts 1 1

,

93 Central Asian Journal of Art Studies Volume 6. Issue 2. 2021 94 Central Asian Journal of Art Studies Volume 6. Issue 2. 2021 T C. Andersonʼs ʼecocinemaʼ may betracedbacktoRoger of Eco-cinema.“Thefirstusetheterm withthetheme is closelyintertwined is apocalyptic andpost-apocalyptic which knows noboundaries, oneofthese genres The genreofcinemathe21stcentury because wecan sufferbadconsequences. to changetheway oflifeforthebetterside, and naturalproblems,signalingaperson the worldʼsenvironmental,man-made which leads humanitytodeath andoblivion. in theformofclassicscriptsolutions, ofart, are vividlyreflectedinthehistory as apocalypse, theabovephenomena And inthesubjectunderconsideration, social, economic,political problems. natural andenvironmentaldisasters, to worldandlocal wars,anthropogenic, to globalproblemslikepandemics, as aneschatological phenomenon. in recentyears, ifwespeak oftheapocalypse of theworldhasgained great momentum The actualizationofthethemeend apocalypse in therealm ofallkindsart. to richrepresentations thatdepictthe minded religiousinterpretations different forms,rangingfromnegatively- the centuries, theapocalypse hastaken (Oxford Reference). Throughout Preserving Nature Preserving cinematic texts” (Chu1). or theenvironmentwith of ecology the possibilityofconnecting thestudy with thephysical world,butitsuggests modern peopleʼsgrowing detachment more ofasarcastic criticismtowards in 1966).Andersonʼsproposal was BioScience, 25(7),1975,firstpublished as away ofpreserving nature(Anderson, that resemble naturalenvironments, them intheatres withsimulated conditions all livingorganisms intheworldandshow Introduction Today, Eco-cinemavividlyreflects At thisstage,humanitywasvulnerable from theancientGreekas“Revelation” he wordApocalypse istranslated Ecocinema: A Plan for for Plan A Ecocinema: whenheproposes tofilm the world. inthehearts ofpeoplearound and worry these eventshavecaused fear, anxiety, on thestateofnature,andcourse,all that hashadadetrimentaleffect technical andtechnological progress by twoworldwars,nuclear andothertests, from theashes oftheApocalypse isdecided fateoftherise Nevertheless, thefurther end bythebeginningof20thcentury. of Western European religionsfindsitsdead of theApocalypse andthetheology and fiction,adeepanalysisofthetheme was ademarcation offactsfromfantasy with thedevelopmentofsciencethere and surrealistic images, but,overtime, the Apocalypse waslayered withfantastic in the20th–21stcenturies” (3). ideas became especially popular Petev NikolaiIvanovich:“Apocalyptic As notedbycandidate ofphilosophy theater,arts, literatureandcinema. of thepopulartopics: inmusic,visual in masscultureandappear asone the mostexpressive andpowerfulimages “revelations” ofapocalypticism areamong chronological andsystematicmethods. with apocalyptic elementswereused and collectionofworlddomestic and comparativeanalysis.Inthesearch in research: theoretical, visual, The authorsusedthefollowingmethods Methods of cinematicmaterial can be viewed for thoughtin theaudience.Therelevance apocalyptic subjectsawakenfood Pictures withapocalyptic andpost- of painting,music,theater andliterature. in the21stcentury, cinemaisasynthesis on theconsciousness ofsociety and educational effectofcinema is relevant,giventhepsychological The cinematicimageinthisissue Results For almosttwothousandyears ofthe19th–21stcenturiesIn theart made bytheFrench directorAbelGans, (1916), thesamesenseoffilmwas striking examples isthefilm are theinvasionofaliens,onemost science fiction,wherethemainideas the apocalypse stories evolvedinto but already withthesound.Infifties, in otherfilmsofthatperiod: destruction oftheplanetarealsoraised large-scale worldwarandthepossible ofalreadyand thepossiblestart hethird of thedangernuclear weapons, and theUnitedStates. Thetopic relations betweentheUSSR of thefilmillustrates thedeteriorating Love the Bomb the Love the Earth Stood Still Stood Earth the World the of End monde, du Fin World) La the of End (The Undergang Verdens plot isthefilmdirectedbyAugustBlom a globalcatastrophe withanapocalyptic experimental andfantasticfilmabout ofcinema,thefirst In thehistory Discussion on earth” (153). existence turnagainst man,threaten life ignoring itslaws,rightstosovereign ambitions haveled.Theassaultonnature, consequences towhichhumanityʼs ecological crisisdemonstrates thenegative in thiscase, “Theever-deepening Nadezhda Berkovaarejustasopportune The wordsofseniorlecturerandProfessor the planetisinecological decline. can beconsidered critically vulnerable, unresolved tothisday. environmental problems,whichremain in thisniche,second–these areacute and Hollywoodfilmmakershaveaprimacy this means thatboxofficefigures arehigh, apocalyptic are massiveinfilmculture, with elementsofapocalyptic andpost- from severalperspectives, first–films or: How I Learned to Stop Worrying and and Worrying Stop to Learned I How or: Beach Devil the The On and Flesh The Currently, thesituationofecosystem (1959), (1964), (1951),most Dr. Strangelove Strangelove Dr. Fail Safe Fail (1959), The World, World, The The Day Day The (1964), (1931),

Worlds (1983), believe thatitwas For manydecades, millionsofAmericans with apopulationof270,000”(Selden6). a secondatomicbombonNagasaki, on August9,theUnitedStates dropped included 43,000troops…Threedays later, whose populationofapproximately350,000 the firstatomicbomboverHiroshima, of August,theEnolaGay dropped homeless: “. At8:15A.M.on6th Even morepeopleweremaimedandleft believed thatthereareatleast 200thousand. of deaths isunknown:onaverage,it most ofthese cities, andtheexactnumber and Nagasaki. Theexplosionsdestroyed on theJapanese cities ofHiroshima (1984), of the work of Herbert Wellsof theworkHerbert Haskin, whomadeafilmadaptation – the Americans droppedtwoatomicbombs in thehumanrace. shots ofWorld War IIIandacrisis experimental filmthatconsistedofslide as of apocalyptic and sciencefictionappear decade thatthefirstfilmswithelements at HiroshimaandNagasaki. Itisinthis especially thenuclear explosion todifferentsubgenres,also givebirth influenced post-warJapanese cinema sacrifices. TheSecond World War greatly do notagreethattheworldneededsuch and Japanese. However, thesurvivors and thussavedthelives ofbothAmericans and isasymbol offear and horror a mutationcreated bynuclear fallout, Markerʼs exterminate humans.TherewasalsoChris sci-fi worldwherealiensontheirtripods to excellentspecialeffectsandaperfect popularity andfounditsaudiencethanks formulaic initsscriptatthetime,won footsteps. Haskinʼsfilm,whichwas The Last Man on Earth on Man Last The The Fat Man Fat The The Little Boy Little The Gojira On August6and9,1945, (1953),alsofollowedinthese Dead manʼs letters manʼs Dead After Day The byIshiroHonda,“Godzilla is La Jetée La whowereabletostopthewar and (1962),asomewhat The Little Boy Little The The Fat Man Fat The (1983), (1964), (1986).Byron War of the the of War Threads Testament and –

95 Central Asian Journal of Art Studies Volume 6. Issue 2. 2021 96 Central Asian Journal of Art Studies Volume 6. Issue 2. 2021 “In fact, Sych says that: (1990). Dmitry inhisarticle the films: apocalyptic. To thefirstonewe can refer into twogenres: apocalyptic andpost- to thetemporalprinciple, stories are divided Territorial andWorldview. According to theprinciples andblocks.Temporal, so muchthattheyareclassifiedaccording expanded thehorizonsofapocalyptic films abouttheendofworldandhas given theworldofcinemamanywonderful prophecy. Kingu Kongu, Kingu To thesecond: more globallythanjust films appeared, thethemebegan tounfold disaster” (Sych). Afterthefirstapocalyptic of smallaccidentsthatadduptoonebig indifference, aswellasuccession negligence andakindofstagnant of thelateSovietUnion'sbureaucratic The pictureperfectlyconveystheatmosphere on thetechnogenicaspectoftragedy. of concentratingnotonlyandsomuch enormous creatures as terrorizing cities andversusbetween was floodedwithfilmsaboutmonsters made disasters,forexamplethefilm to thelistofSovietfilmsdealing withman- The Chernobyldisasterof1986alsoadded escape theferaldogsinbackground. with anapocalyptic worldwherepeople upofanentiresea,the drying Aralsk, the cornerstoneofproblembecomes Dogs Stalker After and uncontrollablepower”(Tanaka 140). because ofhis monstrousappearance The Day the Earth Stood Still Stood Earth the Day The religious overtones, suchasTarkovskyʼs world withdeeperphilosophical and semantic loadreflectedaslightlydifferent of filmsreleased andintermsofthe intermsofthenumber counterparts to itsAmerican, European andAsian The beginning of the 21st century has The beginningofthe21stcentury The SovietUnioncinemawasinferior (1989) by Dmitry Svetozarov (1989)byDmitry where Gojira (1979). It is also important tonote (1979).Itisalsoimportant Decay Melancholia theJapanese filmmarket etc. started the tradition the started The Book of Eli of Book The (2011), Mothra, Radon, Radon, Mothra, New Testament New (2008),etc. 2012 (2009), (2009), (2009),

Decay

the filmby V. Karin the film An exampleforthelocal characteris the apocalyptic plotcan belocal orglobal. (2009), etc.Intheterritorialprinciple, Kazakhstan to famine(orinKazakhlanguage worksdevoted One ofthefirstdocumentary and Kazakhstan”(Engerman194). Valley, Caucasus thenorth region, of theSovietUnion:Ukraine,Volga it devastatedtheprincipalbreadbaskets Leaving asmanyeightmillion dead, of 1932–1933hadcalamitous results. ofmankind.“TheSovietfamine history to thisday hasnoequivalentsinthe ofthepeople,andthistragedy of hugepart of sovietpeople,whichledtothedeath responsible fortheman-madegenocide remembersthatBolshevikswere everyone ofSovietUnion, 117). Inthehistory the sizeofcontinentalEurope”(Cameron approximately Kazakhstan, aterritory and environmentalchanges in Soviet provoked profoundsocial,demographic, policies ofradical statetransformation, which wassparkedbyJoseph Stalinʼs perished inthecrisis.Thecatastrophe, of therepublicʼspopulationattime, people, approximatelyaquarter of Kazakhstan.Morethan1.5million famine ravagedthenewSovietrepublic “From 1930to1933,adevastating it wasafamineofbiblical proportions: documented factsofcannibalism, and catastrophic thattherewere in theKazakhlandwassoterrifying and from1930–1933,thelackoffood apocalyptic is thelackoffoodandclothing in itspath. a gianttsunamiwashes away everything raise thethemeof young directorslikeZhandos Espenbetov by Yerkin Rakishev Mikhail Karostin, of wheat of Jut Mad Max: Fury Road Fury Max: Mad One oftheelementspost- (2018).SerikAbikenov Lo imposible Lo (2017), in the documentary film (2017),inthe documentary (1928),andafeature filmby Jut Jut Famine Life and lifestyle of of lifestyle and Life (2012),where (1931).Nowadays (2015), in the short film intheshort (2018). A handful handful A The Road The Jut ) is

(2014) byOles Sanin, (1991), BolatSharip (2017) byGeorgeMendeluk, [A small life] small [A Slambek Tauekel Bolat Kalymbetov by Agnieszka Holland, Tursynov of 1932-1933 like the horrorsof theUkrainianHolodomor In addition,manydocumentaries reflect Ukrainian Here isthelistoffeature filmsdevotedto them totheothers”(Melnyczuk174). who killedherchildrenonebyandfed were recorded:Therewasmadwoman group. Quotationssuchastheonebelow evolved fromthestories oftherefugee unknown andtragichistorical material upon thelifehistories beingrecorded, some Although theresearchers werefocused of cannibalism raisedduringtheinterviews. refugees anddiscoveredtheissue University, focuseduponUkrainian conducted intheearly 1950ʼsbyHarvard (Melnyczuk 123).“A research project from dekulakization,reached 14.5million” the estimated deaths, includingthose by famine.AccordingtoConquest, to represent thenumbersofdeath President Yushchenko, usedthese figures in 1933.Thepastpresident of Ukraine, He saidthatthegreatest deaths occurred 1,000 perhourand25,000day. were dyingatarateof17perminute, of thefamineinMarch1933,Ukrainians states ina1935study, atthepeak and Vardy forexample.Vasyl Hryshko Maksudov, Ellman,Tauger andVardy and Wheatcroft, Conquest, Mace, between historianssuchasDavies In fact,thisisonearea ofcontroversy of deaths from famineduring1932–1933. definite calculation ofthenumber to Ukrainianpeople:“Thereisstillno or “Holodomor”genocideisalsowashard by DamirManabayev Jut Golod-33 [Famine-33] Golod-33 israisedinfeature filmsdirected Zhat Zhat Holodomor Holodomor (2008)byAleksandrJovn, (2015).Thefamine Zheruyik Talan Talan The Soviet Story Story Soviet The Zaman Y Zaman Angel of Death of Angel is:Mr. Jones (2019) Malenʼke zhittia zhittia Malenʼke Bitter Harvest Bitter byOles Yanchuk, (2018),Yermek (2011), The Guide The (1991), (2008)

by EdvinsSnore, by SergeiBukovski, Banet, Clyman story Clyman of 1933] of Ukrainskaia nochʼ 33 [The Ukrainian night night Ukrainian [The 33 nochʼ Ukrainskaia oublié génocide le in the1990s. Various phenomena, environmental issues began togettopicality 3.35 milliondeaths in1962”(Bianco 61). of thefamine:921,000deaths in1958and distributed betweenthefirst andlast years campaignopportunist raged.Therest were months oftheyear, whentheanti-rightist- of these deaths occurredduring the lastfour in 1959.We can assume thatmost in asingleyear, namely, 4.8million than halfoftheremainingdeaths occurred of thetotalnumberdeaths. Again, more thantotwo-third, to three-fourths worst years, thatis,73.9percent,closer of nearly 25.5millionduringthetwo in 1961,namely, 8.5million, for atotal died in1960andmorethanhalfoftherest According toLi,almosthalf(17million) unreliable estimates atourdisposal. mentioned herisintherangeofless of roughly34.6milliondead fromhunger terrible andlingering:“Thetotalnumber in 1932–1933thefaminewasmuchmore 1959–1961 withtheSovietfamine If wecompareChinese famine during full years (1960and1961)”(Bianco60). continued notoverafewmonthsbutfortwo the fallof1959onward.Highdeath rates to July1959,andthengalloped from with unequalsuccess fromNovember1958 It began inthefallof1958,wasfought lasted fouryears, from1958to1962. this catastrophe. “InChinathefamine “Three bitteryears” isusedtodescribe pain. Itisnotfornothingthatthephrase even thementionofthosetimes causes of informationpublic,andformanypeople, of theChinese tomakethiskind history. Thisisduetothereluctance well-known episodes inChinaʼsmodern In theKazakhfilmindustry, The famineremainsoneoftheleast Hunger for truth: The Rhea Rhea The truth: for Hunger (1998)byVladimirGiorgienko. (2018)byAndrewTkach, The living The (2014)byBenedicte Holodomor, Holodomor, (2008)

97 Central Asian Journal of Art Studies Volume 6. Issue 2. 2021 98 Central Asian Journal of Art Studies Volume 6. Issue 2. 2021 K. Beisekeyev K. and S. Shafir (1988), G.Yemelyanov, S.Makhmutov G. Novozhilov A. Mamashuly E. Dilmukhamedova A. Mansuryan A. Mansuryan K. Nurmagambetov K. V. Roerich Sea – a film about the return of Hope, of return the about film a – Sea N. Raisov released aboutthe films, asevidencedbythenumberoffilms elements surpasses thenumberoffeature that thenumberoffilmswithapocalyptic of Kazakhstan,itcan benoted films When studyingdocumentary to theenvironmentalconditioningeneral. of thegenreandcall formoreattention and otherfactorsdeepenthemeaning substances emittedbymissiles, allthese the eight-pointearthquake, radioactive the disappearance ofthesea, the explosionofatomicbomb, of theapocalypse, suchphenomenaas: genres bytheexampleofelements and deepeningofthemeaning ofthese film documentary calls forgreat attention of apocalypse andaretopical. Kazakh withthetheme are closelyintertwined of Kazakhstan,theenvironmentalproblems documentaries. Inthenon-fictionfilms of cinematography, including at thisstagearethemaintopics in thelifeofsociety, historical facts disturbances andchanges takingplace Ecological Condition of Almaty: mountains of moves Man Condition Ecological Solutions Catastrophe: The the Tomorrow Sea to Go We fate my – Aral Sea Dead the of Chronicle Turan Joktau, of Tears Salty Barsa-Kelmes of Cry First the of Echo Clouds the in Abyss Sky the from Step Joktau after 20 years 20 after Joktau Nevada-Semipalatinsk Requiem for the Aral Sea Aral the for Requiem Karaaul (2011), K. Suvorova (2011),K. (1991),V. Grudniskaya The Last Ship Last The The Aral Sea Aral The Test The Old Man and the the and Man Old The (1978),V. Belyalov (1989),T. Beisenov (2016),E.Bekkhozhin (1989),O. Rymzhanov Semipalatinsk test site: test Semipalatinsk (2019); (1988),S.Azimov (1989),S.Shafir Polygon, (2002), On the island island the On (1966), (2011), (1963), Aral Sea: Aral (2020);

A.Kulakov (1989), (2018), Automatic Automatic (1990)

Requiem for the Aral Sea Aral the for Requiem service of mudslide notification mudslide of service the of turningintoaglobalone,asitwaswith a local disasterisfraughtwiththepossibility to thethemeofapocalypse, because relation ofnaturalandman-madedisasters In these films,one can noticeadirect ancestors, forthealready dead sea” (207). Azimovforthelandofhis of theartist the lamentofpeopleand of thefilmintotitle. Yes, thisis Azimov hadthecouragetoputconcept films andfilmmakers:“DirectorSergei Bauyrzhan Nogerbektalksaboutthese Kazakh.Thisishow heartache forevery of theAralSea, whichhasbecome lake, showedkeenlytheuniversaltragedy of theland.These chronicles ofthedying of unreasonable humanmanagement a majorecological disasterasaresult about theproblemsofAralSea, documentaries (266). SergeiAzimovandMakhmutovʼs filmmakersinlate1980s” documentary repressions werefirstraisedbyKazakhstan national intelligencewhosufferedbloody and Semipalatinskpolygon,tragedyof of inhabitantstheAralSea region the issues ofecology, socialunsettlement ofPerestroikain Kazakhcinemaart period peopleʼs eyes: “Inapurelythematicaspect that documentaries of1980ʼsopened a famousKazakhfilmcriticnotes of the Dead Sea Dead the of then And Zhamankum City and smog and City Protection Animal created bythehands ofpoliticians. cities, villages, asthiswasanapocalyptic it isapost-apocalyptic ofmanystates, devastated, lostandforgotten, inthiscase of theformerSovietrepublics were in adeplorablestate.The citizens to developthefilmindustry, whichwas looking fornewideas andsolutionsinorder the domestic feature was filmindustry With thecollapseofSovietUnion, Chernobyl nuclear power plant power nuclear Chernobyl (1991).BauyrzhanNogerbek, (1987),V. Puzyrnikov (1984),Yu. Litvyakov Joktau, Chronicle Chronicle Joktau, and (1968),V. Tatenko Joktau after 20 years, years, 20 after Joktau (1988–1990), (1967),

in 1986. in1986.

(2002), BolatKalymbetov (1993), AmanzholAituarov (2008), AdilkhanYerzhanov Satybaldy Narymbetov Bektybaev Almas Yedige Bolysbayev for thefirsttime inafeature film.Itisnot nuclear tests inKazakhstan israised the themeofSemipalatinsk test siteand As GulnaraAbikeevawrites: “Indeed, phenomena inKazakhstanʼs filmindustry. which became one ofthemostsignificant Bakhtiyor Khudoinazarov (1990), Rustam Abdrashev Narymbetovʼs Narymbetovʼs of thehero. OneshouldalsonoteSatybaldy of thepeoplethroughawakening became akindofsymboltheawakening this istheresult ofnuclear tests. This film ofcourse impotent, women–infertile, promises whichledtomenbecoming of facts,peopleweremisinformedbyfalse in thoseyears. Andbecause ofconcealment facts thatwerewithheldfromsociety In reality, BauyrzhanNogerbekcites those influence thepublicconsciousness” (239). into therangeofthosefilmsthat,inasense, aul, thedyingAral,nuclear test site, fits intotheseries offilmsaboutKazakh Kalymbetovʼs film:“…easily andorganically According toBauyrzhanNogerbek,Bolat of hopelessness anddesolation” (275). clay houses, dilapidatedfences are a sign Aynalayyn asfollows,“Scorchedsteppe, critic, describes BolatKalymbetovʼs Gulnar Abikeeva,afamousKazakhfilm To the Last Sea Last the To Bopem Sea the for Nugmanov identified insuchdirectorsas: Rashid of apocalypse andpost-apocalyptic were domestic feature filmswithelements in theshotsofsomemovies. Analyzing resembles ofpost-apocalyptic thescenery in thatperioddrank,begged, which beings. People wholivedinthevillages see thedegradationofsociety, ofhuman In thefilmsof early nineties, we can (2015),ZhannaShuraeva (2013),ZhannaIsabaeva Needle Leylaʼs Prayers Leylaʼs (2017)andmanyothers. Sea Wolf Sea (1988), Sea, Come! Sea, Prayers of Leyla of Prayers Waiting Waiting Ainalayin (2012), Wild East Wild Gift to Stalin to Gift Realtor Touch (2002), (1989), (1989),

(2011), (2011),

Rymzhanov whosefilm dedicated filmmaker Oraz to documentary by chancethattheopeningcreditsare plots can berealized. and whereavarietyofethical andevent playground whereanythingispossible, world assuch–anindependentvirtual of fiction;arenewedattitudetothefictional new ways ofperceivingtimeinawork and aesthetics). These films vividlydisplay of elementsoldandoncebelovedgenres (this isachievedthroughtheappropriation of oldvalues andnarrativestereotypes with asharpdemandfortherehabilitation the signsofmaturepostmodernism interesting phenomenonthatcombines forms. Apocalyptic filmsareavery these changes intofamiliarandpleasing the valuechanges ofthenewera,putting and, mostimportantly, theyexpress reinforcing theirpositiveattitudes; scenarios withoutunderminingbutrather allow therealization oftaboobutdesirable of values inherentintheviewer;they spell outandresolve thecurrentconflicts of recentdecades. Theysimultaneously fulfill themosturgentviewerdemands formulas comes fromthefactthatthey of thesoul.Theappeal ofapocalyptic experience aprofoundinnerapocalypse or loneliness, inaway these characters and these experiences growintodepression associated withdifferentcircumstances, the innerexperienceofcharacters with otheroutcomes ofplotssuchas: occurs intheliteralsense,therearefilms the destruction ofthelocal orglobalscale and besides therealistic apocalypse where some references tosacredscriptures, deep themeastheapocalypse, thereare elements anddetailsofsuchavast to stopnuclear testing inKazakhstan”(209). had agreat resonance insocietyanddidmuch to theconclusion thatthethemes Analyzing alltheabovefilmsone can come Conclusion In local filmsthereareonlysome The Test Site Test The (1991) (1991)

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Central Asian Journal of Art Studies Volume 6. Issue 2. 2021 as away ofpsychological “discharge”. for the“oldworld”andsimultaneously to the“beginningoftime”andnostalgia as anattemptandadesire toescape to American andEuropean perception to“rewrite”itispeculiar as anopportunity andatthesametime as “theendofhistory” in itsviewers.Thesubjectoftheapocalypse no longerinspires thesamekind offear made theapocalypse aculturaleventthat in someways turneditintoaclichéand that massreplication ofthetopichas and ethical functions,excitingthoseideas. of ideas ofcurrentsociety, fulfillingaesthetic in ourcinematographywillmatchtheworld apocalyptic image,which,despite itsnovelty including thecreation ofadeep,meaningful of apocalyptic andpost-apocalyptic, the productionoffeature films,thegenre to solvecomplexissues concerning development inKazakhstan,itisnecessary At thepresent stageofscreenart in local cinema hastherighttolife. elements ofthisgenre,buttheapocalypse evolve it,andthatiswhywehaveonly do notallowtopenetrateintothissubject, scale. National lifeandcultureinmanyways ofthelocal this issueonlyfromtheecology to theeschatological theme,approaching directors oftheabovefilmsdidnotresort films oflocal production. But, many are reflectedinthefictionandnon-fiction of apocalypse andpost-apocalypse At thesametime,wecan conclude

to solvethisquestion… “Melancholia”, itisuptoeach ofus in apocalypse likeinTrier's film end survive?!, orwilleverything 65 millionyears ago,orwillsomeone become extinctlikethedinosaursdid a post-apocalyptic timeawaitsus,willwe there beanapocalypse?!, andwhetherornot the consequences oftheapocalypse. Will and creating abrightfuturewithout prudent inexploitingtheenvironment before thenaturalworldandbemore The humanracemustreflectonitsactions ecological consequences tomorrow. a negative effectonnature,resulting innew cataclysms. wedotoday Everything willhave of manymomentsinnaturalandman-made in aninstant,althoughmanisguilty cultureofpeople destroy thecentury-old for thegoodofcivilizations,naturecan nature andintegratenewtechnologies As muchasmandoes notwanttocurb apocalyptic filmswithdifferentscenarios. to repeat thefateofinventedheroes ofpost- consequences andhumanitywillreally have situation intheworldmay lead tomoresad man isdisorientedandfrightenedthatthis situation intheworld2021,modern and judgments.Consideringthepresent the mainproblemsoftime. ideological,entertaining, andreflects of functions:therapeutic,simulative, In general,apocalyptic performsaset Modern art affects people's minds affectspeople'sminds Modern art

KAZAKH ECO CINEMA THROUGH THE PRISM OF APOCALYPTIC AND POST-APOCALYPTIC GENRES revision ofthe text, preparation ofthearticleforpublication. A. Mashurova –critical andtheoretical analysis,workwithdataandliterature, conceptualization offindings. of literature anddata,compilationoffilmography; revision ofthetext, B. T. Abdikassymov–research, implementeddrafting ofthework,collecting Contribution ofauthors части текста,подготовкастатьидляпубликации. и литературой,редакциятекста,подготовкадоработкаисследовательской А. Машурова–критическийитеоретическийанализ,работас источниками концептуализация результатов. данных ипоисклитературы,составлениефильмографии,редакция текста, Б. Т.Абдыкасымов–проведениеисследования,компоновкаработы, сбор Вклад авторов дайындау. көздерімен жұмысжасау,мәтіндіредакциялау,мақаламәтінін жариялауға А. Машурова–сынижәнетеориялықталдау,әдебиеттер дерек нәтижелерді тұжырымдау. дерек көздерінжинақтау,фильмографияқұрастыру,мәтіндіредакциялау, Б. Т.Әбдіқасымов–зерттеужүргізу,жұмыстықұрастыру,әдебиеттерді және Авторлардың үлесі 101 Central Asian Journal of Art Studies Volume 6. Issue 2. 2021 102

Central Asian Journal of Art Studies Volume 6. Issue 2. 2021 KAZAKH ECO CINEMA THROUGH THE PRISM OF APOCALYPTIC AND POST-APOCALYPTIC GENRES acrefore/9780190228613.013.121. Research Paper–Universityof Oxford,2017.ResearchGate, DOI:10.1093/ Christman, SophieandElizabeth Kaplan.“TheClimateofEcocinema.” pp. 117–132.Ewjus.DOI:10.21226/T2T59X. Directions.” Cameron, Sarah. “The KazakhFamine of1930-33:Current Research andNew j.ctt21h4vb7 (accessedMay20,2021). Kazakhstan.” CornellUniversity Press, 2018.JSTOR,www.jstor.org/stable/10.7591/ Cameron, Sarah “The Hungry Steppe:Famine, Violence, andtheMakingofSoviet ScienceDirect, DOI:10.1016/j.gloplacha.2017.03.002. and climatechange.”GlobalPlanetaryChange,vol.156,2017,pp.140–146. Bulfin, Ailise.“Popular culture andthe‘newhumancondition’:Catastrophe narratives DOI: 10.4324/9781315797151 Brereton, Pat “Environmental EthicsandFilm (1sted.)”.Routledge,2015, pp. 51–74.Ejwus.DOI:10.21226/T22P4C Actors, andVictims.” East/West:JournalofUkrainianStudies,vol.3,no.2,2016, Bianco, Lucien. “ComparingtheSovietandChineseFamines: TheirPerpetrators, kazahstane-1925-1930 (InRussian) Cyberleninka: cyberleninka.ru/article/n/chelovek-i-priroda-v-neigrovom-kino-o- Zhivopis'. Kino.Muzyka[Theater.Fineart.Cinema.Music],no.2,2018,pp.153– [“Human andnature innon-fictionfilmsaboutKazakhstan(1925-1930)”].Teatr. Berkova, Nadezhda.“Chelovekipriroda vneigrovom kinooKazahstane(1925-1930)” pp. 469–499.SAGE,DOI:10.1177/0142064X09104961. Macrostructure.” Bandy, Alan,S.“TheLayers oftheApocalypse:AnIntegrative Approach toRevelation’s Voprosy istorii[Historicalissues],vol.7,1989,pp.53–71.(InRussian) Abylkhozhin, Zhuldyzbeketal.“Kazakhstanskaiatragediia” [“Kazakhstantragedy”]. Almaty: OFCCAK,2006.(InRussian) and otherrepublicsofCentralAsiahowthisprocessisreflectedinthecinema]. Azii ikakjetotprocessotrazhaetsjavkinematografe[Nation-buildinginKazakhstan Abikeyeva, Gulnara. Naciostroitel'stvovKazahstaneidrugihrespublikahCentral'noj (1990–2001)]. Almaty, 2001.(InRussian) Abikeyeva, Gulnara O.KinoCentral'nojAzii(1990–2001)[CinemaofCentralAsia Steppe: LettersofAnxietyandPain].Almaty:Qazaquniversiteti, 1991.(InRussian) Abdiraiymov, S.GolodvKazakhskoistepi:Pismatrevogiiboli[Famine intheKazakh oi/authority.20110803095418920. Accessed01.04.2021. “Apocalypse.” References vol. 3, no. 2, 2016, East/West: JournalofUkrainian Studies,vol.3,no.2,2016, Oxford Reference,https://www.oxfordreference.com/view/10.1093/ Journal fortheStudyofNewTestament, vol.31,no.4,2009,

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KAZAKH ECO CINEMA THROUGH THE PRISM OF APOCALYPTIC AND POST-APOCALYPTIC GENRES (In Russian) Nogerbek, Baurzhan.KinoKazahstana[CinemaofKazakhstan]. Almaty:NPC,1998. folklore traditionsinKazakhfiction cinema].Almaty:RUAN,2008.(InRussian) Nogerbek, Baurzhan.Ekranno-fol'klornyetradiciivkazahskom igrovomkino[Screen- Narine, Anil.Eco-Trauma Cinema(1sted.).Routledge,2014. researchonline.nd.edu.au/theses/52/ Dame, Australia. DoctorofArts(DA)thesis,researchonline.nd.edu.au/theses/52. war immigrantsinWesternAustraliawhoexperiencedit.2010.University ofNotre the StalinistHolodomorinSovietUkraine,1932-33,asitwas rememberedbypost- Melnyczuk, MorganL.‘Rememberthepeasantry’:Astudyofgenocide,famine,and DOI: 10.1177/0959683618761549. catastrophes?” Lee, HarryF. “Internalwars inhistory:Triggered bynatural disasters orsocio-ecological pp. 183–195.SAGE,DOI:10.1177/004057369204900205. Keller, Catherine.“WhyApocalypse,Now?”TheologyToday, vol.49,no.2,1992, by PietariKääpäandTommy Gustafsson.2013. Transnational Ecocinema.FilmCulture inanEraofEcologicalTransformation. Edited Joyce, Stephen.Transmedia StorytellingandtheApocalypse. Palgrave Macmillan,2018. vol. 156,2017,pp.112–114.DOI:10.1016/j.gloplacha.2017.08.013. Humanities andSocialSciencePerceptions ofThreat.” GlobalandPlanetaryChange, Holm, Polm andCharlesTravis. “TheNew Human ConditionandClimateChange: SAGE, DOI:10.1177/0263775818756079. Environment andPlanningD:SocietySpace,vol.38,no.1,2018,pp.91–110. Gergan, Mabel.“EarthbeyondRepair:RaceandApocalypseinCollectiveImagination.” filmy-pro-chernobyl-tolkovoe-kino. Accessed02.05.2021.(InRussian) Explanatory cinema].Afishabigmir,26April2021,afisha.bigmir.net/kino/4879667- Sych, Dmirty. “Filmy pro Chernobyl–Tolkovoe kino.”[Films aboutChernobyl– DOI: 10.1177/1369148116687534. International Relations,vol.19,no.2,2017,pp.225–244.SAGE, and theProduction oftheEthicalSubject.”TheBritishJournalPoliticsand Fagan, Madeleine.“Who’sAfraid oftheEcologicalApocalypse?ClimateChange the RomanceofRussianDevelopment.Harvard University Press, 2009. Engerman, David.ModernizationfromtheOtherShore:AmericanIntellectualsand (1st ed.).Routledge,2012.DOI:10.4324/9780203106051. Cubitt, Sean,SalmaMonaniandStephenRust.EcocinemaTheoryPractice pp. 11–14.Tandfonline. DOI:10.1080/17508061.2016.1142728 Chu, KiuWai.“Ecocinema”JournalofChineseCinemas,vol.10.no.1,2016, vol. 28, no. 7, 2018, pp. 1071–1081. SAGE, The Holocene,vol.28,no.7,2018,pp.1071–1081.SAGE,

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Central Asian Journal of Art Studies Volume 6. Issue 2. 2021 KAZAKH ECO CINEMA THROUGH THE PRISM OF APOCALYPTIC AND POST-APOCALYPTIC GENRES кино өнерітұрғысынан тереңінензерделеу керек.Әлемдіккинорежиссурамен салыстырғанда сюжеттеріне жатады. және табиғиапаттарсындыақырзаман элементтері–кинематографтың классикалық топтарға жіктейді.Жер-әлем экологиясыныңбұзылуы,бүкіләлемдік, жергілікті,техногендік біріне айналаалмады. болып тұр.Алайда,бүгінгітаңдабұлмәселелерқазаққоғамында маңыздытақырыптарының жатады. азия кинематографтарының,материалдарыныңтұсындажүргізілді. Қазақстан РеспубликасыныңҰлттықкинематографиялықөнерінің, американың,еуропаныңжәне бастан кешуде жәнеоларды шешумәселелеріәлемдікпроблемалардыңқатарында.Мақала Қазақстан басқаәлемелдерісекілдіауырэкологиялықдағдарыстарды, техногендікапаттарды адамзатқа төніптұрғанқауып,бұлқоршағанортаныңэкологиялық проблемаларыныңтуындауы. оның үлкенбөлігініңжойылуынаәкелетінкинодағыкеңтаралған сценарийлердіңбірі.Бүкіл апаттармен тікелейбайланысты,өйткеніаталмышапаттар бүкілэкожүйенің,адамзаттыңнемесе қарастырады. Апокалиптикажәнепостапокалиптикатақырыптары экологиялықжәнетехногендік өнері аясында,қазіргізаманныңөзектімәселелерініңбіріэкологияжәнетехногенікаппаттарды және постапокалиптикатақырыбыболыптабылады.Ұсынылыпотырғанмақалаотандықкино Аңдатпа. Бұлмақаланыңбастықозғайтынөзектімәселесіқазақкиноөнеріндегіапокалиптика НЕГIЗIНДЕ ҚАЗАҚСТАНДЫҚ ЭКОКИНОАПОКАЛИПТИКА ЖӘНЕПОСТАПОКАЛИПТИКА ЖАНРЛАРЫ Қазақстан)(Алматы, Т. Қазақұлттықөнер Жүргеноватындағы академиясы Қ. Бауыржан Әбдіқасымов, Аида Машурова Отандық кинотануғылымында апокалипсисзерттелмегентақырыптардың бірі.Солсебепті Кино әлеміндеөзіндіктәжірибелері барірімемлекеттерақырзаман тақырыбынкөптеген Орталық АзияныңкөптегенөңірлерісоныңішіндеҚазақстан –экологиялықтұрғыдантұрақсыз Мақаланың негізгіәдістерінетеориялықталдау, салыстырмалытүрдезерттеу, тарихишолу of BritishColumbia,PhDthesis. Tanaka, Motoko.ApocalypticisminpostwarJapanesefiction.2011.TheUniversity DOI: 10.1080/14672715.1991.10413158. of ConcernedAsianScholars,vol.23,no.1,2016,pp.3–12.Tandfonline. Selden, Mark.“TheUnitedStates,Japan,andtheatomicbomb.”Bulletin Vladimirovsk StateUniversity, PhDthesis.(InRussian) [Apocalypse asanEthicalProblem:andPhilosophicalAnalysis.].2016. Petev, Nikolay. Apokalipsiskakjeticheskajaproblema:jetiko-filosofskijanaliz reviews, essays,interviews.Almaty:RUAN,2007.(InRussian) Nogerbek, Baurzhan.Naekrane'Kazahfilm'[''onthescreen].Articles,

KAZAKH ECO CINEMA THROUGH THE PRISM OF APOCALYPTIC AND POST-APOCALYPTIC GENRES 2021, с.93–106. DOI:10.47940/cajas.v6i2.396. призму жанровапокалиптики ипостапокалиптики». элемент, катастрофа,кинематограф. с мировымикинорежиссерами темаотражаетсятолькосостороны деградированнойэкологии. Рассмотрены казахскиефильмы сэлементамижанраапокалиптики, нопосравнению из неизученныхтем.Поэтомуданнуютемунужноуглублять с точки зрениякиноискусства. апокалипсиса. мировые илокальныетехногенныеприродныекатастрофы – относятся кэлементам жанра Классические сюжетыкинематографанатемуконцасвета: разрушение экологиипланеты, направлении, ноинаданныймоментклассифицируетжанр по группам исубжанрам. кинематографа. нестабильными, нонасегодняшнийденьэтивопросыне стали важной темойдляказахского фильмического исравнительно-сопоставительногоанализа. современного периодовразвития. американского исоветскогокинематографа,странЕвропыАзии раннего, атакже на материалахнациональногокинематографическогоискусства РеспубликиКазахстан, и вопросыегорешениянаходятсявэтомрядувсемирнойпроблемы. Исследованиепроведено среды. Казахстантакже,какидругиестраны,переживаеттяжелый экологическийкризис, и современногомира–этореальностьглобальных экологическихпроблемокружающей сценарных решенийвмировомкино.Серьезнейшаяугрозадля всего человечества человеческой расыилиееогромнойчасти.Этоодноизраспространённых классических и техногеннымикатастрофами,которыестановятсяпричинойкраха целойэкосистемы, проблем. Апокалиптикаипостапокалиптиканепосредственносвязаны сэкологическими апокалиптической тематикипроисходитврамкахлокальныхэкологических итехногенных Представленная статьякрайнеактуальна,еслипринятьвовнимание, чторассмотрение фильмов сэлементамижанровапокалиптикиипостапокалиптики вказахскомкинематографе. Аннотация. Основойданнойстатьиявляетсярассмотрениеигровыхидокументальных ПОСТАПОКАЛИПТИКИ КАЗАХСКОЕ ЭКОКИНОСКВОЗЬПРИЗМУЖАНРОВАПОКАЛИПТИКИ И Казахстан)(Алматы, Казахская национальнаяакадемияискусств имениТ. Жургенова К. МашуроваБауыржан Абдыкасымов, Аида 2021, 93–106б.DOI:10.47940/cajas.v6i2.396. апокалиптика жәнепостапокалиптикажанрлары».CentralAsianJournalofArtStudies,т. 6,№2, кинематограф. ғана көрсетеді. біздің отандықфильмдерапокалипсистақырыбын–құлдыраған экологиялықапаттарымен Для цитирования:Абдыкасымов,БауыржаниАида Машурова.«Казахскоеэкокиносквозь Ключевые слова:апокалипсис,постапокалипсис, экокино,голодомор,искусство,экология, В отечественномкиноведенииапокалипсис,иликонецсвета, остается одной Мировой кинематографимеетнетолькобольшойопыткинопроизводства вэтом Многие регионыЦентральнойАзии,особенноКазахстан, остаются экологически Методологическая основастатьисостоитизтеоретико-киноведческого, визуального, Дәйексөз үшін:Әбдіқасымов,БауыржанжәнеАидаМашурова.«Қазақстандықэкокино Тірек сөздер:апокалипсис,постапокалипсис,экокино,аштық,өнер,экология,элемент, апат,

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Авторлар туралы мәлімет: Сведения об авторах: Authors’ bio:

Бауыржан Төлендіұлы Бауыржан Толендиевич Bauyrzhan T. Abdikassymov – Әбдіқасымов – Т. Қ. Жүргенов Абдыкасымов – магистрант 1st Year Masters Student атындағы Қазақ ұлттық өнер 1-го курса кафедры истории in Film Studies, Department академиясының кино тарихы мен и теории кино Казахской of Cinema History and Theory, теориясы кафедрасының национальной академии искусств T. K. Zhurgenov Kazakh National 1 курс магистранты имени Т. К. Жургенова Academy of Arts (Алматы, Қазақстан) (Алматы, Казахстан) (Almaty, Kazakhstan)

ORCID ID: 0000-0002-8263-0887 email: [email protected]

Аида Абдрахманқызы Аида Абдрахмановна Aida A. Mashurova – PhD, Машурова – PhD, Машурова – PhD, старший Senior Lecturer, Department Т. Қ. Жүргенов атындағы Қазақ преподаватель кафедры истории of Cinema History and Theory, ұлттық өнер академиясының и теории кино Казахской T. K. Zhurgenov Kazakh кино тарихы мен теориясы национальной академии искусств National Academy of Arts кафедрасының аға оқытушысы имени Т. К. Жургенова (Almaty, Kazakhstan) (Алматы, Қазақстан) (Алматы, Казахстан)

ORCID ID: 0000-0002-2854-4531 email: [email protected]