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Contemporary Uzbek Documentary Films: Past, Present and Future Nazarova Gavhar Rinat Qizi

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Contemporary Uzbek Documentary Films: Past, Present and Future Nazarova Gavhar Rinat Qizi NOVATEUR PUBLICATIONS JournalNX- A Multidisciplinary Peer Reviewed Journal ISSN No: 2581 - 4230 VOLUME 6, ISSUE 11, Nov. -2020 CONTEMPORARY UZBEK DOCUMENTARY FILMS: PAST, PRESENT AND FUTURE NAZAROVA GAVHAR RINAT QIZI. Uzbekistan State Institute of Arts and Culture, 1st Year Doctoral Student. Tel: +998901220028, E-mail: [email protected] ABSTRACT: local cultural environment of such types of The article examines the historical European art as symphonic music, ballet and and film studies analysis of the processes of opera, fiction films have become a truly massive the origin and transformation of the cinema form of national performing arts. In addition to of Uzbekistan, the systematization of factual purely cinematic reasons, the special position of materials that allowed determining the national feature films in viewers' preferences is cultural, historical and aesthetic partly due to historical and cultural reasons. In prerequisites for the emergence and the urban culture of Uzbekistan, stationary development of national cinema, as well as forms of entertainment, theatrical identifying the stylistic features of films. performances in the form of performances KEYWORDS: film studies analysis, masharabozov, maddokh public reciters with imaginative power, age-old development, acting rhetoric were very common in large national cinema, European art. cities: Samarkand, Tashkent, Kokand, Bukhara. The historical experience of communication INTRODUCTION: with stationary forms of attraction The Uzbek people fell in love with cinema performances has greatly facilitated the process from the time when the evening screen first lit of perception by the local urban population of up and a magical vision appeared on the non-traditional forms of entertainment culture. stretched canvas. It was in Tashkent, in 1897, In contrast to the nomadic traditions of the literally two years after the famous show of the steppe peoples with their cultural equestrian Lumiere brothers in Paris. Uzbekistan is the games and various types of martial arts, such as birthplace of cinema in Central Asia. It was here, ulak, the race of horses and camels, kurash and in Bukhara and Tashkent, in the mid-1920s the others, theatrical genres of performances were first feature films were created. They laid the formed in the urban environment, which by foundations not only for the national nature were closer to European types of art - cinematography of Uzbekistan, but became a theater, cinema, etc. Thus, the local urban kind of example that gave impetus to the population, having experience in the folk formation of national cinematographies of the aesthetics of theatrical performance, was quite entire region. The special magnetism of feature tolerant and interested in cinematography that films is generally recognized. Due to the specific had penetrated its cultural environment. Taking generic qualities - special expression, into account the impact on the huge audience, metaphorical narrative and imaginative power - cinema can be considered as an important over almost a century of development, cinema aesthetic and socio-cultural factor in the has become a favorite art form of the Uzbek formation of the spiritual atmosphere of the people, subtly reflecting their mentality and Uzbek society of the last century. This spiritual aspirations. Unlike those introduced at observation reinforces the urgency of our the beginning of the twentieth century into the 329 | P a g e NOVATEUR PUBLICATIONS JournalNX- A Multidisciplinary Peer Reviewed Journal ISSN No: 2581 - 4230 VOLUME 6, ISSUE 11, Nov. -2020 attempt to investigate the ways of development commercial success. Therefore, most of the of the national feature cinematography. commercial films are aimed at the interests and At the very beginning of the XX century. preferences of the mass audience, due to which, Together with the entire civilized world, the in Uzbekistan, unlike other Central Asian states, Turkestan Territory experienced the a segment of the audience for a feature film has consequences of an industrial revolution, been preserved. Understanding the new tasks technical progress, industrial development, and facing the young independent state in the field the processes of urbanization associated with of modernizing public consciousness makes the them and proceeding simultaneously. One of the task of a comprehensive study of the state of important consequences of technological modern feature films very urgent. Since it not modernization was the penetration of cinema only does not lose its traditional sympathy and into the Turkestan region. This art form, along love on the part of the audience, but every year with painting and theater, has become one of the plays an increasing role in the formation of the earliest forms of European culture that spiritual culture of the nation. It is important to penetrated the everyday life of the local emphasize that today young people are the main population. According to researchers, the first audience for the national feature films of film show in Turkestan took place already in Uzbekistan. Despite certain problems with the 1897, as noted above, after only two years have level of professionalism caused by the influx of a passed since the Lumiere brothers large number of participants in the process into demonstrated their films in Paris. In the first commercial or, so-called spectator, feature decade of the twentieth century, the offices of films, and the emergence of private studios, the the city administrations of Tashkent and social status of modern feature films in Samarkand received numerous requests for Uzbekistan remains very high. The search for permission to equip cinematography from national identity in feature films of Uzbekistan representatives of both the European and local is acquiring a conscious and purposeful populations. character. The country's leadership's One of the important factors in the understanding of the role of feature films in successful development of the film market is the shaping the spiritual atmosphere of society was presence of a mature audience that ensures the reflected in a number of government decrees attendance and payback of film productions, and measures aimed at developing film and acts as the primary stimulus for the production. During the period of independence, development of national cinema. In the late the state began to allocate significant funds for 1990s - early 2000s in Uzbekistan, the viewer's the creation of films in Uzbekistan. Even experts interest in film repertoire has sharply increased. from neighboring states drew attention to this It is necessary to take into account the fact that process as an important prerequisite for the thanks to state investment, significantly more future successful development of feature films films are being shot than before, we can talk in Uzbekistan. Thus, speaking about the about a real boom in domestic film production. prospects for the development of Uzbek cinema, However, the number of films taken by itself the Kazakh film critic G. Abikeyeva emphasized does not mean anything. The transition to ¥®©≥ ¥•Æ§•Æ£πã ò5∫•´©≥¥°Æ ©Æ ¥®• ¶µ¥µ≤• ≠°π ¨°π market relations gave rise to the formation of claim to the leadership in the cinema of the commercial, private feature cinematography, Central Asian region. The Uzbek president was for which the viewer is the main factor of the first of the leaders of the region's countries 330 | P a g e NOVATEUR PUBLICATIONS JournalNX- A Multidisciplinary Peer Reviewed Journal ISSN No: 2581 - 4230 VOLUME 6, ISSUE 11, Nov. -2020 to realize that national cinema is a powerful background of complete spectator indifference ideological weapon, and in order to pursue his to the production of domestic cinematographies own policy, it is more profitable to invest in his in other republics of Central Asia. This own cinema than to buy Western or Indian, circumstance has been repeatedly drawn which does not have a positive effect on attention of domestic filmmakers, critics and ©§•Ø¨Ø ósä specialists of the Central Asian republics, 1990s - a difficult transition period not foreign experts [2]. However, in this segment of only for the country's economy, but also for the feature films, there is a danger of its formation of a new philosophy of feature films transformation into consumer goods and kitsch in terms of the search for national and cultural products for the sake of the audience's interest identity. Confusion in search of a solid aesthetic and for the purpose of commercial return. and ideological platform, lack of professional Recently, claims from film critics, filmmakers experience and erudition was felt quite clearly. and viewers themselves against the creators of So, evaluating the cinema of Uzbekistan in the this kind of films, nicknamed "khon-takhta", mid-1990s. as a period of creative crisis, G. have been increasing. No discussion, round !©´•π•∂° ≤Ø¥•ã ò!¶¥•≤ ¥®• ≤•≥≥µ≤• ض ¥®• table or creative meeting is complete without Soviet ideology was removed, the national criticism of new commercial film products. consciousness returned to traditional values Nevertheless, the audience's interest in them and worldview. On the one hand, as a stage, this does not subside, although it is difficult to process is inevitable, on the other hand, it is accuse the viewer of illegibility. Not all films obvious that the chronotope of Uzbek cinema from private studios are popular. The stream of has gone backwards. Here, an active films includes both commercially successful and archaization of consciousness and a rollback failed films. Domestic distribution has become into traditional forms are clearly taking place ... truly national, more than 60% of films shown in The situation could be considered tragic if it cinemas were shot by Uzbek directors, mainly in were not for the appearance of Yusup Razykov's private studios. If on average 30-50 films are Orator, followed by a change in the general released per year, then until today only 10 of §•∂•¨Ø∞≠•Æ¥ ≥¥≤°¥•ßπ ض 5∫•´ £©Æ•≠° ósä them were financed by the state through the Another feature of this period was that Uzbek Cinema company. As a rule, "no return".
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