SCREENING OF THE TRANSFORMATION OF NATIONAL CONSCIOUSNESS BY KAZAKH FILMMAKERS

SCREENING OF THE TRANSFORMATION OF NATIONAL CONSCIOUSNESS BY KAZAKH FILMMAKERS

Murat Didar

Master in Social Science, Selçuk University,

Turkiye, Konya

It is not a lie that in the Soviet period, Kazakh art was forced to serve as an ideology. The works of art, which met the requirements of the time, were obliged to be absorbed only by the class approach and by the Communist filter. At a time when politics had to work, Kazakh filmmakers could not leave a narrow circle. However, to consider the field of art history formed in the Soviet period from the point of view of independence, it is impossible to abuse the art that we have created for 70 years. Kazakh filmmakers were able to fight the heat of ideology, freeze in the cold, to reveal the image of our national personalities through the big screen. After all, thanks to the skill of the Kazakh masters, many works created by the ideology of the Soviet period have survived and become timeless, even if you put them in today's format.

Тhe collapse of the Soviet Union, which was considered the greatest geo-political disaster of the XX century, caused by the crises of society, also had an impact on the art of cinema. In the second half of the 1980s, a group of young directors who received special cinematic professional education from Moscow brought a new breakthrough to Kazakh cinema. C. Solovyov's workshop trained Rashid Nugmanov ("Needle"), Serik Aprymov ("Kiyan" – "Konechnaya ostanovka"), Abay Karpykov ("The fish in love "), Ardak Amirkulov ("The collapse of Otrar"), Dastan Omirbayev ("Kairat"), Amir Karakulov ("The divorcee"), Talgat Temenov ("Wolf among people"), Amanzhol Aituarov ("Kaushu "–" Touch"), which today have their own unique signature, freedom of thought and realistic views in the films of filmmakers who have conquered the professional heights of directing, have radically changed the artistic approaches and style of storytelling established in the National Cinema. Having gained creative and author's freedom, professional directors aimed to reveal the bitter realities and pressing problems of that time. This direction, which emerged during the transition periods, tried to portray the picture of the "stagnation" and "crisis" of the country at that time and illustrated the problems that were taking place in the country through the characters of the event and the period, although not openly.

In the films of the Soviet era, where a certain idea was laid down and the plot of the story in order, the main emphasis was placed on the disclosure of the theme and character of the character, the game of the actor and precisely found dialogues, in the films of young directors who turned to the style of Western cinema, the dominance was given to the figurative solution and its form, montage and rhythm. For the directors of "New Wave", who abandoned the game of a professional actor and plunged the viewer into the inner world of the hero through elements of surrealism and symbolism, it was important not only what was said in the film, but also how it was said (Form, style). PhD of philosophical Sciences, cultural critic Georgy Gachev said that ın life and art, there are always archaists and innovators. And there are both and other necessary things to do. The innovator is going to be no better. This is extraordinary. It reaches this point through another circle-the creation of its own, new time. It's natural. He achieves this through communion with another circle – the art of his own, new time. It makes sure that it becomes understandable to people of its own generation from other countries, speaks with them in a common language. And thus differs from its predecessors in its national home, it becomes interesting there".

Film critic Abikeeva G. O.: "Kazakh new wave" was born in Almaty, so all its representatives went to the school of Soviet cinema – VGIK, Moscow. But at the end of the era of “Perestroika”, everything was clear that the change in Soviet cinema should bring something else. Thus, the "Black" of the 80s showed the dark sides of Soviet activity, criticized the existing reality, but the aesthetics of this film later became Soviet. In the films "Kazakh new wave" there was a sense of a new life", candidate of art history, professor, film critic Bauyrzhan Nugerbek wrote about this period in his work "cinema of Kazakhstan": "on the sidelines of the cinematic society, the leader is looking for sensational interests in young Kazakh cinema. Films from Kazakhstan have appeared in an international festival orbit and have become sure to portray their image in foreign film frames. The director of the European Film Festival was specially visited in Almaty to cancel the competition for the production of films that were not yet available, and a very large part of the premiere session of Kazakh films was held out of the country. Every new work of Kazakhfilma was marked by prestigious awards at European and Asian Film Festivals," he wrote.

The works of the artists, which aroused the interest of the whole world, were warmly received by the Kazakh audience. The Kazakh audience, brought up by Soviet ideology, could not immediately accept the bitter truth. “They do not despise their country. Kazakh life will be transformed into western crime, regardless of whether it comes or not. Prostitute girls... young people who are disappointed in life... drug addicts... bribes...” in his article" the current state of Kazakh cinema", writer Akim Tarazi expressed dissatisfaction with the films and screenings of New Wave directors. However, the opinion of film researchers and film critics was different. Professor of Art history B. R. Nugerbek in his work "On the screen of Kazakhfilm "wrote:" cinema of young people was born as an act of protest against Bolshevik ideology, thanks, the time of Perestroika and the absence of censorship provided a new generation of directors with a happy opportunity of self-realization.

At the same time, all the sensational films of the "new wave" were shot by Kazakh cinematographers on the concrete material of modern life of Kazakhstanis, they reflect the realities of the 90s, the way of life, customs, ethnopsychology of people - in other words, this is the national cinema, which accurately and in detail recorded the view of young directors on the surrounding reality. And if much on the screen discourages us, outrages us, leads to despair, then this is not the fault of the camera: young filmmakers are trying to capture "life as it is", without embellishment and ideological dogmas".

Looking at the films of the directors of the" new wave " period, we can see that the influence of directing world cinema on their shooting style and stylistic features is great. The aesthetics of the Kazakh "New Wave" Films, which became a new breakthrough not only in the Kazakh, but also in the world cinema, were far from the aesthetics of the films of shaken Aimanov, Mazhit Begalin, Abdulla Karsakbayev, Sultan Kozhikov, Sharip Beisenbayev and other directors who formed our national directing. Russian film critic Andrey Plakhov in his article "French language" says that the directors of the New Wave are cospolitical and not as ethno-folklore as before, but modern, universal, which is why Aisarieva Gaukhar in her scientific work "Kazakh new wave" studied this generation of directors was not "exhausted" by the experience of taking national cinema in the 60s-70s, as it was in other Asian films of the CIS, such as H. Narliev, B. Shamshiyev. The space of creative activity was still open. But with other sides, it was clear that it was pointless to discuss the stages. Teachers of this generation of directors were not shaken Aimanov or Abdullah Karsakpayev, who were not present in the living, as the directors of World Cinema, Chi films, watching and discussing, they were engaged in their ideal orientations".

Rashid Nugmanov's film" The Needle "(1988) is one of the first film creators of the Kazakh" new wave", which became a phenomenon in the world of cinematography. From the first scenes of the film, the viewer finds himself in the middle of treachery and evil, walking between the gray houses, where a man is trapped in a gloomy, gloomy city, holding his breath. The only person in this cold world who gives him warmth is Dinah. By saving the life of Dina, who is addicted to drugs, Moro cleanses the polluted world and saves humanity. But he couldn't. No chance of escape is given... The scene in the last episode of the film is similar to the very first scene of the film. The camera is in the same motionless, observant character. In the first scene of this work, the image of Moro, who seems to be a distant point, increases as he approaches,the viewer is sure that he can stand up to the world alone, and in the last scene of the film, the image of the bleeding inevitable hero, who turns into an invisible point, throws a completely different (pessimistic) thought. Any work of art is a reflection of its time. Unfortunately, this is not a fairy-tale world, it is a real real picture of life. This is a manifestation of a transition period in which stagnation occurs.

Serik Aprymov's film" Kiyan "(1989) is the next film that formed the concept of" new wave " and recognized that it is an individual film stream with its own stylistic features, which was not previously available in Kazakh cinema. This film by Serik Aprymov, which mercilessly depicted the true face of a village left behind by civilization, was a film production that shocked the Soviet cinema world with its bitter realities of life. Serik Aprymov is looking for a way out of the impasse, realistically describing the rural life, the way of life, the negative conditions that have become entrenched in it, and the meaningless life of residents who are under severe stress as a result of changes in society. Despite the fact that the film was severely criticized in the intelligentsia and in the press, and even met with protests, it was really a reflection of the director, who sympathized with his people, who did not dare to turn a blind eye to the difficult changes taking place inside the country. The actions of the villagers in the film (such as drinking, fighting, etc.) and their appearance create darkness and despair. Through the characters, who have fallen to the last stage of spiritual collapse and degeneration, the director reflects the face of the deadlock state of his contemporaries. The will, realizing that it is impossible to change the current situation, has no choice but to leave this place forever. The image of freedom in that moment, when he stood at the bus stop and looked at his native land for the last time, will remain in the viewer's memory as a preacher of error and despair.

Film critic Bauyrzhan Nogerbek believes that this was the first honest, uncompromising, without an inferiority complex, cruel and sad picture about ourselves, the Kazakhs, about our life. An event has happened. The world of cinema has paid attention to us, we have declared ourselves. The picture caused an explosion of indignation of some of the residents of the village of "Aksuat", "patriots" and people's deputies, who are still in deep hypnosis of ideologized values. They decided that the film offends the national dignity of the Kazakhs. Serik Aprymov's debut work is undoubtedly a masterpiece of modern cinema. There is no humiliation of the people in the film, but there is a crushing attack on the inferiority complex, an attack on our dullness.

The author of the film Serik Aprymov says about his work: "I left the village when I was still a child. I returned there only after the army, and I saw everything that I have the warmest memories of with different eyes. I have not met many of those guys who remained ten years old in my memory. One shot himself, another got drunk, and the third went to jail... In those years, it was considered that the village was a place where our national traditions were preserved, and that it was a source of inspiration for the creative intelligentsia. But what I saw there was more like degradation: behind the apparent well-being there was a crisis".

The theme raised in the film" Kiyan "finds its continuation in the director's film" Aksuat " (1997). In this film, which is close to the authenticity inherent in the aesthetics of neorealistic cinema, the scenery is a real "Aksuat" village, and the villagers are taken as the characters of the film. Despite the fact that seven years have passed between the two works, the situation in the village shown on the screen has not changed. The same village, the people of the same village, the same unchanged way of life. Among the residents of Aksuat village, where madness and madness have become the norm, only Aman, whose natural purity has been preserved, has become the norm. Kanat, the younger brother of Aman, who brought a pregnant bride from the city, is a hero of the new era. There is nothing sacred to a wing that lives on the same day. Drinking and entertainment are more important for Kanat, who wants to enjoy life as much as possible, than for his wife and future child. He does not want to shake his head, thinking about the future of his family. Refuses to take responsibility for their loved ones. The image of a wing that takes its unborn child and its mother as a burden on the neck and does not hesitate to run away in order to get rid of them is like a severe diagnosis made by the author of the film to the people of the new era. There is no way out of the impasse for Aman, who is an involuntary witness of the transition period, who is suffering from a serious illness. Film critic Bauyrzhan Nugerbek told about this picture of the author of the film: "Aksuat" is the most tragic picture of S. Aprymova.  The Director Projects his screen hero in the modern, post-Soviet reality of independent Kazakhstan. He is a film director, not a former observer, who follows the idiotic life of the modern court: he is included in this process of undermining the national mentality. There is no choice. Indifference, idiocy have become the norm of social relations. Aprymovsky believed that the hero - character will not change its character, it will not be able to get out of the game, it will not be able to cope with harsh reality".

Thanks to the films of the great Kazakh filmmakers Shaken Aimanov, Mazhit Begalin, Abdulla Karsakbayev and others, the image of the village formed in the viewer's memory has undergone a transformation. Instead of abundance and abundance, there was poverty and despair. The cruel reflection of the bitter reality of life in Serik Aprymov's films was a serious blow to the people. Film critic Bauyrzhan Nugerbek writes about this: "In the once bright, peaceful cinematic village, we saw squalor, poverty, drunken young people; managers who do not know how to organize work, but play the role of a boss; a woman with many children who killed a newborn child; quiet old men, uncomplainingly looking at the drunken son's debauchery. It was not an aul, or rather an anti-aul, a new cinematic reality, first marked on the map by Serik Aprymov". The village is an allegorical representation of the state. Through the small environment, Aprymov reflected the state of the whole state.

During the transition period, the directors of "new wave" brought Kazakh cinema to the world level. "Most of the films of the directors of" new wave " began to participate in prestigious International Film forums and festivals of the world level. Days of Kazakh cinema were held in Tokyo, San Francisco, Turin, Istanbul, Paris, Budapest, Karlovy Vary, Moscow and a number of other cities.

The world recognized our cinema. He not only watched, but also highly appreciated and began to recognize the peculiarities of Kazakh cinema. Such countries as Belgium, France, Austria, and the United Kingdom, which have a very strong film industry, have now turned to Kazakh cinema in terms of investment. In 2001, A special program on Kazakh cinema was held for the "three continents festival", organized in Nantes (France)," film critic Nauryzbekova Gulzhan wrote in the textbook "History of Kazakh cinema".

The approaches used by the directors of "New Wave", who put forward different artistic positions in the reflection of real life and the reflection of their thoughts on the screen, were also unique. Having abandoned the game of professional actors and special film films, they portrayed the reality of life without exaggeration. A new character appeared on the screen of "New Wave". About the hero of the transition period candidate of art history Smailova Inna: "The most striking of all the processes presented in the Kazakh cinema of the late 80s - early 90s of the last century was the emergence of a new cinema in terms of content and aesthetics, which became associated with the main pioneers in the reformation of cinema, the Solovyov group of directors, which received the term Kazakh "new wave".

It was their films that began to serve as an example in the work for other authors. These cinematographers, who turned to the Western cinematic experience, designated form and image as the main units of cinematography" professor of art history Bauyrzhan Nogerbek said: "The central character is present and absent at the same time. He does not stand out, the hero is dissolved in the atmosphere of screen narration. But at the same time, it acts as a barely perceptible author's commentary on events, as an invisible, impartial view-the attitude of the director from the outside, like an indifferent assessment-the comprehension of what is happening to the film actor through the eyes of a casual passerby-onlooker. The author's position of the director is artfully hidden behind the "truthfulness" and "real" integrity of life on the screen".

The free approach of the directors of "new wave" in promoting their artistic idea was in stark contrast to the nature of the films that previously dominated the ideological goal of Kazakh cinema. In a world that is about to collapse and collapse, the directors of "new wave" refrain from saying what is right and what is wrong. Directors, who inevitably try to portray the environment in which they live through long plans without any changes, play the role of an observer from the outside. Along with the first years of its formation as a sovereign country, the "new wave" of Kazakh cinema, which defined its appearance, has also become important as an example of the bold steps taken by the authors to freedom of thought.