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Section 1. Art history and cultural studies
https://doi.org/10.29013/ESR-21-3.4-3-7
Mirzamuhamedova M., Candidate of Arts, Leading researcher of the Institute of Fine art Academy of Sciences of the Republic of Uzbekistan E-mail: leyli_mirzamukhamedova@yahoo.com
CINEMATOGRAPHY OF UZBEKISTAN IN THEYEARS OF INDEPENDENCE
Abstract. This article discusses the creative process in this area, the research of young artists in the creation of new films, the author's films in which the main character is a child-hero. From film directors T. Yunusov, Z. Musoqov, R. Muhammadjanov and U. Khamdamov's films created in the harmony of new themes, styles, forms and genres in accordance with the requirements of the time and the spirit of the time will be analyzed.
Keywords: art, plot, screenplay, metaphor, comedy, fiction, folklore.
Cinema the most popular and democratic form If we think about children's cinema in Uzbekistan, of art, is a sensitive and active art form that can the most important task was to pass on the works of quickly notice all the changes that take place in the folklore, the rich literary heritage of the nation to the life of society, in the minds of people, and express younger generation in the "language" of cinema in their attitude to them. In the 90 s of the last century, accordance with the spirit and requirements of the Uzbekistan entered a new stage in its historical, so- new age. A deeper approach to nationalism and re-cio-economic development, which was reflected in search into the creation of a national character has the search for a new theme, plot, new hero and their prompted filmmakers to turn to rural life, where an-new interpretation in the spirit of modern cinema. cient values have been preserved. One of the films
The new era, in terms of its theme, style, form "Children of Tangalik" (scriptwriter R. Muhamad-and principles, revived the traditions and ancient janov, director T. Yunusov, cameraman N. Gulamov, values in line with the national mentality, as well as artist S. Ziyo, composer M. Makhmudov). In the di-demanded a completely new national cinema with a rector's words, the film follows "the rhythm of life, new approach to artistic, aesthetic, cultural, spiritual its people, on a piece of our map like a coin". The folk and moral education of today's generation. It meant songs "Let it rain" and "Kim oladi-yo, shuginani-yo", turning from painting life to reality, completely aban- which have been passed down from generation to doning the old stereotypes, going deeper into hu- generation and absorbed into today's rural life, have man problems, pain, thoughts, feelings, psyche, and now become popular youth songs due to the film. most importantly, opening the way to the heart of The protagonists of the film "Children of Coin" are the viewer. 8-year-old Doston, who was left in the hands of his
grandmother in the village, and his older friends Nortoy and Zokir. In the film, each child's unique character unfolds as they encounter life's contradictions and face a variety of dramatic events. This happens on hot summer days when Zokir travels to the city with his friend Nortoy and Doston, who follows them in search of his mother ... In the solution of the film "Children of Tangalik" the quiet, peaceful, loving nature of the noisy city life and fast rhythm returns to the boundless nature.
The folk song sung at the end of it spreads far and wide, delighting everyone, inspiring the elderly and encouraging them to express their feelings in a plastic game. In the new era, the search for the mood and spirit of the times, the creation of modern films has led to the formation of new principles and renewal of traditions in Uzbek children's cinema. The young forces that entered the field in the 1990 s, at the threshold of creativity, are not afraid of anything and do not hesitate to make bold authorial films. The sharpest social thought, the most relevant topic, the most serious idea, the philosophical meaning are conveyed to the audience in a unique form and style, in an understandable screen language. This creative process, called the "new wave" in Uzbek cinema, was started in the 1990s by film director Zulfiqor Musakov.
Z. Musakov is the most active and versatile director, who made a great contribution to the development of the national cinema of independent Uzbekistan. Creating in a mix of different genres and art forms is one ofhis unique creative styles. Deep idea, serious thought, up to the big problems of the time are expressed on the screen with childish naturalness and sincerity, as well as a combination of elements of humor, laughter, comedy, fiction. Maybe that's why Abdullajon ..." (screenwriters Zulfiqor Musakov and Rixsivoy Muhamadjanov, director Z. Musakov, cameraman T. Mansurov, artist H. Khojikulov, composer M. Mahmudov, 1991), "Little doctor" (screenwriter and director Z. Musakov, cameraman A. Ismoilov, artist S. Ziyo, composer A. Nazarov, 1998) and "Oyijon" (scriptwriters and directors
Z. Musakov and B. Odilov, cameramen A. Ismoilov, A. Ganiev, artist I. Litvinenko, composer A. Erga-shev, 2001). If in the poetic films of the 60s of the XX century the environment was viewed from the child's point of view, in the cinematography of the years of independence the child is open-minded, ready to help, active, but "unforgivable sins" as in "Abdullajon ..." ruthless character. It's not hard to feel that in such films, laughter, deep meaning under humor, serious thought is hidden.
Through the film "Abdullajon ..." the genre of science fiction entered the Uzbek children's cinema. When there was no tradition in this field yet, the opportunities of the fairy tale genre, its peculiarities such as conditionally, metaphor, exaggeration were effectively used. This fantastic comedy is inextricably linked with real reality, the story takes place in rural life today. He was an ordinary boy with brown hair and white hair, who was no different from the people of the alien planet who flew to the Uzbek land, and seemed familiar to the audience. It also has a full range of human qualities, helping the villagers to ease their difficult lives, to make their dreams come true. As soon as you look at it, fantastic things start to happen in the village ... Like flying brooms in ancient fairy tales, flying mattocks make life easier for the villagers and bring them to the market in an instant. However, for the "unforgivable sin" the chairman of the collective farm will never fly. Although contact with aliens is forbidden in the village, an ordinary farmer Bozorboy aka adopted him and named him "Abdullajon", wearing a national skullcap. The fact that the fantastic comedy "Abdullaj on ..." raises serious issues in the life of the villagers with humor and laughter still attracts a large audience.
"... what can compare in durability with fantastic works? There is more human in the improbable and fabulous than in a real person ", wrote the famous French writer Paul Valerie [1]. Doctor of Arts, Professor Dj. In one of Teshabaev's interviews: "I remember, what a huge achievement caused by Zul-fikara Musakova's tape" Abdullajon . "in her time,
according to the new and boldly translated folklore material on the screen" [2] he said.
The film "Oyijon" was shot in collaboration with Japanese cinematographers, in which a five- or six-year-old girl named Nargiz, who is not satisfied with her mother's love, longs for her mother. This collaboration helped to define the structure of the film and to show the contrasting appearance, different architecture, historical monuments and geographical environment of the two countries, which are distant and different from each other. On the screen, one can see the skyscrapers of Japan, the traffic on the bridges, the autumn landscapes of Uzbekistan, more precisely, the quiet Samarkand, the world-famous historical monuments.
Despite the fact that Nargiz lives with her father and grandmother, she often visits the mother who died in the accident and the suffering of a childless woman in faraway Japan. shifts to human qualities such as acquisition. Here, in one of Japan's narrow streets lined with flowers, a florist Japanese woman, Teko, who is saddened by her inability to be a mother, says, "Your happiness is beyond three seas". His prediction came true and Teko will come to Uzbekistan as a tourist. Visiting the city of Samarkand, he sees the magnificent historical monuments on the famous Registan Square, observes the work of the artist who paints them on canvas. Nargiz, the daughter of an artist who brings food to her father every day, accidentally sees a Japanese woman, resembles her own mother, and even believes that she is her mother. Indeed, this woman looked like a photograph of a girl holding two drops of water. Even the fact that he has a spot behind his left ear surprises everyone. A Japanese woman is a guest in an Uzbek house and invites Nargiz to Japan ...
As good intentions, good dreams, and human qualities grow and develop from childhood, the imagination of a pure-hearted, sincere, imaginative, and pure-hearted Uzbek girl lays the foundation for the rapprochement of the peoples of the two countries and leads to philosophical conclusions.
With the opening of a wide path to creativity in the renewed Uzbekistan, new principles are emerging in children's cinema. One of them is the fact that mature filmmakers also create on authored film. In this regard, the author's film "The Old Man and the Grandson" (scriptwriter and director R. Mukhama-djanov, cameraman T. Mansurov, artist Z. Mira-khmedov, composer M. Mahmudov, 2008) by an experienced screenwriter Rixsivoy Mukhamedjanov, "cooked" in Uzbek cinema. Rixsivoy Mukhamad-janov began his career in the 1970 s writing scripts for the film director M. Abzalov's films "Duel under the plane tree" (1978), "Suyunchi" (1982). In films based on his screenplays, the image of children of different characters attracts attention. The great success of the films "Abdullajon ...", "Children in Heaven" (2002, 2003), created in collaboration with the film director Z. Musakov, introduced the name of Rixsivoy Muhammadjanov to a wide audience. Inspired by such success, the screenwriter sets out on an authorial film and manages to create a uniquely childlike image, remaining true to his creative tradition.
"The Old Man and the Grandson" is a modern-day film about the internal contradictions of life in one of the Uzbek villages. His protagonists are Obid, a straightforward, determined character who has gone through a complicated life path, and a seven-year-old grandson named Ganisher. The grandfather is survived by three grandchildren. The only son lives in the city with another, leaving his family - his wife and three children. The daughter-in-law, who worked as a saleswoman in the store, fell ill and died of anxiety. After that, the grandfather and grandson lean on each other, always walking together. One of the distinctive national features of the Uzbek family is that three generations live in one family. This is an important factor in the transmission of our national traditions, customs, spirituality from father to son, from son to grandson - from generation to generation and live forever. In the film, when this tradition is temporarily broken, the spiritual upbringing of the grandchildren is continued through the grandfather.
Although Ganisher is still a child, he is a small man with a formed character, a participant in all events and happenings in the family, a quarrelsome and stubborn child. He fights injustice on his own, he takes his own pain from those who are offended. Episodes involving children in the film are funny, enriched with humor.
The paradoxical thinking of children of this age, that is, their ability to instantly move from reality to the unreal world, the ability to live in two senses at the same time, was captured by the director Rixsi-voy Mukhamadjanov and shown naturally and convincingly. The idea of the film became even brighter as humorous, comic elements entered the life film through a child character. The fact that funny, sad, dramatic events happen at the same time is a testament to the authors desire to portray life on a larger scale. The grandfather is not an admonisher, his simple and meaningful words of wisdom are an educational example for the grandson, the national expressions imprinted in the child's mind will inevitably continue in the language of future generations.
"The old man and the grandson" - on the one hand, is adapted to the perception of young viewers: in it, sad, tragic events are not explicitly indicated, but by certain characters, customs, and on the other hand, in the example of a family philosophical thought does not leave even a large audience indifferent.
The research of the young creative forces of Uzbekistan, which is being renewed, to create a new film, reveals topics that have not yet been mastered. Instead of ideal, fluffy protagonists, beautiful scenery and mythological life on the screens, the real reality, the real life with all its contradictions, rises to the surface. In this regard, the author's film "Hot Bread" (scriptwriter and director Umid Khamdamov, 2018), which expl ores the recent past, is noteworthy. The psychological drama of the generation of this period is illustrated by the example of a family in which women are left to "turn the wheel" of life in rural life on the slopes. Zulfiya, a teenage girl who is now entering adult life and has been taken from her boarding
school to her grandmother, is confronted with cruel dreams and hopes. Zulfiya needs her mother's love. She wants to live with her mother, who is looking for a job in the city. But the girl, who is looking for love, also sees a mother who has forgotten to hug her child, who is busy coping with imaginary difficulties, and who is mentally degraded by the blows of marriage. His dreams, hopes and dreams will crumble in the face of reality. Why do they lie? Why did they say that her uncle had "swallowed a fish in the lake" or that the mother of the bride said "she is dead" and that her grandmother hid and locked the phone? The teenage girl wants to know the truth. Sometimes he begins to "fantasize" about his father, who left his family . Family life, hidden from the outside world, is slowly unfolding before the eyes of a teenage girl. When his uncle was alive, he found out that his grandmother was talking to him on the phone early in the morning. The contradictions between the inner world of the teenage girl and the outer life do not give her peace. The girl rebels... These tensions escalate, leading to a clash between the granddaughter and the grandmother, and the collapse of the hot bread-baking oven.
The will of her grandmother, who was hospitalized, reveals another secret (a bust of Lenin is also hidden next to the telephone, a sign that the film is set in the 1990 s). The will of her grandmother, who saw a lot, did not undermine human pride in accordance with the national mentality, hid the negative situation in the family from prying eyes, kept it a secret and swallowed it, has a deep philosophical meaning. His teachings on nationality, family continuity, the future of the younger generation, and his destiny were aimed at his wife and daughter.
The most patient, calm woman in the film, who is accustomed to the stones of destiny, raises her children, and turns the wheel of life without complaining, even though she is on the shoulders ofbringing home, is the mother-in-law of the teenage girl - her uncle's wife. Zulfiya's antipode can be described as a woman who is not in a hurry, who is absorbed in her calm demeanor, who adapts to the difficulties oflife, who is
resilient and soft-spoken. In a family where the male is not visible, he brings "life": he bakes bread in the oven, takes it to the teahouse, feeds the family. His words to Zulfiya, "You need to know everything in the family -how to cook, how to do laundry, how to bake bread in the oven," were not just told. The film ends with a teenage girl, Zulfiya, struggling to make dough. The more the dough is punched, the more ripe the dough is, and this frame is a metaphor for the cruel shocks of the world to heal a person. In the middle of a vast expanse of sun-dried grass, a crystal clear lake gives a poetic spirit to the film "Hot Bread". Clear water is a metaphor for purifying the human psyche, inner and outer world, and nourishing hope for the future.
When we look at the creative process in children's cinema in Uzbekistan today, it is noteworthy that the boundaries of themes and genres are expanding, new principles are being formed, and literary works are being addressed in author's films. Films of young filmmakers Sarvar Karimov and Nozim Ju-maev based on the short stories "Riding the Yellow Giant" and "Magic Hat" by the famous writer, adventure and detective master Khudoiberdi Tukhtaboev. Erkinov's "Talent", Gayrat Akhmedov's "Legend of Friendship", Akbar Bekturdiev's "Bear" can be seen in the style of such films.
During the years of independence, the screen turned from a "happy childhood" in the Soviet era to a reality. The cruel world does not spare even a small person, the fate of orphaned children due to an accident, the ignorance of adults, topics that were previously hidden from the eyes of a young audience, are now beginning to see the screen. Film director Rustam Sadiev's film "Don't Cry" is on this topic. The same theme will be continued in the film "Baby Cry". It is, of course, a positive thing that young artists are researching on the screen interpretation of real life, untouched by the problems of life, in accordance with the spirit of the times. But as for the generation of the XXI century, the question arises as to whether their aesthetic, cultural and spiritual upbringing lags behind the times, social development, dynamic changes, the speed of time.
Raising a well-rounded generation that meets the requirements of tomorrow in all respects is, first and foremost, the duty of parents, one of the means of education, including the effective use of the most impressive artistic opportunities is also a requirement of the time. The more attention is paid to the film industry dedicated to the younger generation, the more it will inevitably yield results in the future.
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