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Kazakh Cinema and the Nation: a Critical Analysis Kamza, Assel (2021) Kazakh cinema and the nation: a critical analysis. PhD thesis. https://theses.gla.ac.uk/82200/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] KAZAKH CINEMA AND THE NATION: A CRITICAL ANALYSIS ASSEL KAMZA (MA) A thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy University of Glasgow School of Culture and Creative Arts Centre for Cultural Policy Research January 2021 © Assel Kamza 2 Abstract Nation building is the process in question. This process is, as a rule, complicated in diverse countries, such as Kazakhstan. As a post-Soviet nation, it is still not sure how to define itself in the country and in the outside world. The crisis of the Kazakh identity is compromised by the manifold ethnic groups and cultures, juxtaposed by the clashes of Kazakh and Russian languages and different identities. In this regard, the role of cinema in the need for cultural certainty and the systematisation of national identity cannot be underestimated. Film is one way of offering knowledge of the nation to itself. Through cinema it is possible to imagine the history of the nation and construct modernity and to rebuild the nation. The current study investigates Kazakh cinema in transition. This thesis, for the first-time, provides an assessment of Kazakh cinema production after the adoption of the new Cinema Law (2019) and the Eurasia International Film Festival (EurIFF) within a nation-building context. Also, little work using a theoretical framework has been done on the relationship between Kazakh film and nation building within the wider discussion of nationalism. This thesis adds to this small body of work by addressing Kazakh cinema’s role in nation building. Through the analysis of Kazakh films framed through Anthony Smith’s ethno- symbolism concept, this thesis will look at how Kazakhstan is trying to define itself through cinema, how Kazakh films aid the country to reconstruct itself. In order to critically analyse the current Kazakh cinema landscape, this thesis has adopted a qualitative approach, utilising semi-structured interviews with 30 participants residing in the Kazakhstani cities of Almaty and Nur-Sultan. After carrying out my research in relation to the literature on nationalism and film studies, the analysis of the data establishes four primary themes. Firstly, I investigate Kazakh film policy, focusing on the way the Cinema Law may reshape the film industry in the country. Secondly, I consider the significance of the Eurasia International Film Festival (EurIFF) as well as the unusual challenges that this state-run festival had to face in order to organise itself effectively. The third theme explores the curation and programming of the festival, examining the festival’s approach to its audience and palette of films. Finally, in the fourth theme I demonstrate the influence of the film industry on both Kazakh cinema and the EurIFF with respect to image building. Today, not many countries have successful cases of nation building through films. Kazakhstan is no exception. I conclude that Kazakh cinema and film policy is situated in between the discords of the old system (Kazakhfilm) and the new (the State Centre for Support of National Cinema). This thesis shows that the impact of Kazakh cinema on nation building is limited. Ultimately, I argue that if Kazakhstan had a stronger business-oriented approach to film policy, both domestic and international markets would be more reachable. As a result, cinematic nation building in Kazakhstan would be more successful. 3 Table of Contents Abstract ......................................................................................... 2 List of Tables ................................................................................... 6 List of Figures .................................................................................. 7 Dedication ...................................................................................... 9 Acknowledgements ......................................................................... 10 Author’s Declaration ........................................................................ 11 List of Abbreviations ........................................................................ 12 1 Introduction ............................................................................ 14 1.1 Why does cinematic nation building matter? ................................ 15 1.2 Political institutionalisation and cultural policy in Kazakhstan ........... 18 1.3 New film policy in Kazakhstan .................................................. 26 1.4 Research aims and objectives .................................................. 26 1.5 Limitations ......................................................................... 28 1.6 Structure of the thesis ........................................................... 28 2 Reimagining Kazakh nationalism .................................................... 31 Introduction .................................................................................. 31 2.1 Nation, cinema, and nation building .......................................... 31 2.2 Kazakhstan’s nation-building history .......................................... 38 2.2.1 Kazakhstan under colonialism ............................................. 39 2.2.2 The collapse of the USSR ................................................... 43 2.2.3 Independence ................................................................. 44 2.3 Kazakh identity .................................................................... 45 2.3.1 Kazakhstan, Kazakstan or Qazaqstan? .................................... 48 2.4 Language ........................................................................... 49 2.5 Tribalism............................................................................ 50 2.6 Cinema .............................................................................. 52 2.6.1 Different approaches to the development of Kazakh cinema........ 54 2.6.2 Thematic approach .......................................................... 60 2.6.3 Borat’s help ................................................................... 67 Conclusion .................................................................................... 70 3 Methodology ............................................................................ 72 Introduction .................................................................................. 72 3.1 Qualitative methodology ........................................................ 72 3.2 Project history and the timeline ............................................... 73 3.3 A case study approach ........................................................... 76 3.4 The data collection ............................................................... 78 3.4.1 Challenges ..................................................................... 79 4 3.4.2 Interviews ..................................................................... 81 3.4.3 Observation and the research diary ...................................... 85 3.5 Transcribing and translating data .............................................. 87 3.6 Data analysis ....................................................................... 88 3.7 Ethics ................................................................................ 89 Conclusion .................................................................................... 90 4 Kazakh cinema in transition ......................................................... 91 4.1 Debates around the Cinema Law 2019 ........................................ 91 4.2 The State Centre for Support of National Cinema: Kazakh Cinema ...... 94 4.2.1 Statistical data and the new electronic ticket system ................ 97 4.2.2 A new funding model compared to the old one ........................ 99 4.2.3 The Expert Council: how crucial is the selection stage? ............. 105 4.3 Issues in the distribution system .............................................. 114 Conclusion ................................................................................... 120 5 An examination of the EurIFF ...................................................... 123 Introduction ................................................................................. 123 5.1 The history of the festival movement in Kazakhstan ...................... 123 5.1.1 The 15th Eurasia International Film Festival ........................... 125 5.2 The festival’s reputation and how it is perceived ......................... 127 5.3 Challenges ......................................................................... 132 5.3.1 Announcing the dates ...................................................... 132 5.3.2 Funding ....................................................................... 135 5.3.3 Festival staff ................................................................. 140 5.3.4
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