CC BY
0THE IMPORTANCE OF LIGHTING IN THE FORMATION OF CINEMA AESTHETICS (ON THE EXAMPLE OF UZBEK
FEATURE FILMS)
Kadirov B.B.
Senior teacher, National Institute of Fine art and Design named after Kamoliddin Behzod
https://doi.org/10.5281/zenodo.14031004
Abstract. The given article discusses the features of the creation of an artistic image using lighting in the early Uzbek cinema, the role of light in the creation of a film art in the composition of the frame, its artistic characteristics and emotional character. The value of lighting in the formation of the image and theoretical foundations of the creation of images are analyzed.
Keywords: lighting, feature film, frame composition.
At present time in the rapidly evolving world, where particular attention and influencing thought is increasingly competitive, cinematography remains one of the main tools among visual arts. In the early stages of cinema, creators sought to establish a connection with the audience, make a positive impact, and create a cinematic language as a means of communication. Close-ups, angles, internal editing, panoramic shots, lighting, and color were essential elements in making cinematic images convincing and expressive.
It is important to suggest that among the expressive means, lighting stands as the genesis and foundation of cinema, allowing all material objects before the camera to be visualized on the screen. Its value and composition reveal not only the external but also the internal world of both living and inanimate objects in the cinematic environment. Furthermore, in certain periods, lighting became the foundation for the emergence of various cinematic movements and trends.
Within the period from the 1920s to 1940s, light, especially by using shadows and light, emphasized the conflicts in the episode's composition, but by the 1960s and 1980s these tasks were not assigned to light.
Besides that, the light began to have the ability to represent symbolic meaning. During this period, an attempt was made to reveal the inner semantic state of the episode's plot, rather than the outer openness, in the visual layer of the films shot with light.
What is more interesting, the light in a high-key expressed not only the positive and light, but also the negative environment, in films such as «The Seventh Bullet» in 1973, A.Khamraev and «Without fear», 1971, A.Khamraev .
However, a Low Key, which is a sign of negative space, has been observed as an opportunity to create a mood of lightness and calm, in films such as «White, white stork», «Triptych» rather than negative space.
Instead of a fake, artificial luxurious atmosphere, simple, life-like details surrounding the simple man began to appear on the screens. They began to look for answers to the questions of the inner world of the individual, his inner experiences, and not the appearance of the public.
Moreover, ambient natural light has become the standard for illumination in most films. Lighting sources found in real life, equipped according to a certain plan (lanterns of a house, streets and alleys), were taken as the basis.
Additionally, the environment in the different places covered by them made no difference depending on their specificity. The appearance of color on screens, all the technological processes associated with color film, the provision of sources of electricity in kind, the improvement in the quality of lighting devices made it possible to create a reality close to everyday life in the image.
Surprisingly, the 1960s marked the beginning of a special era for comedy as the leading genre in Uzbek feature films. You can watch entertaining, uplifting films "Mahallada duv-duv gap" (dir. Sh. Abbosov, 1960), "Sinchalak" (dir. L. Fayziev, 1961), "Yor-yor" (dir. A. Khamraev), 1964).
The films of this genre were dominated by brightness, light atmosphere, lighting technology was also suitable. The performers themselves and their surroundings began to be illuminated with a shimmering, sparkling light, despite the absence of the backward contour light familiar in the silent era. This process can be observed on black and white films. Even if there are negative characters in the aforementioned films, they are not presented in a completely different light.
It should be suggested that the film frame formats of the 1960s were a factor in allowing previously limited widths to be displayed more widely in frames. Large-format cinematography, which emerged as a competition for television in the West, became a new means of storytelling in the Soviet film industry. In the plot of the films, the main idea began to appear that transparency in the socio-political environment is the will and right of a person, his inner world, and the individual is an integral part of society.
The means of expressiveness of Italian «"Neo-realism" » and « French New Wave », aesthetic signs have penetrated into the world of cinema, including in our country, and have found significant reflection in the creativity of young artists.
Besides that, the creators have changed the standards of coverage of the topic, tasks and requirements for actors in a new way, using the possibilities of technology. In the process of continuous development of widescreen technology, cinematography has created a completely new approach to making films.
The lighting devices that were important for cameramen, their magnification, and types of high-speed films made it possible to shoot an episode not at a fixed time of day, but at a time when it was considered convenient to shoot. Wide-screen, large-format screenings challenge cameramen to master new technologies.
The doubling of the frame area affected the illuminating issues too. According to S. Eisenstein: "The % format is a sharp dynamic format, it is a format that helps the cameraman with the help of light to accelerate the internal state of the composition of the frame.
The most important difference from films shot on wide-format film up to that time is that films began to be shot under various forms of natural and artificial lighting, in a natural environment without any auxiliary means.
It is known to everyone, that shooting in an unorganized, real flow of available light led to a method of "tracking" in the overall look of films. This was caused by the appearance of "transfokator" with antireflection lenses that do not require a lot of light and create different scales by moving optical rings.
The width of the framework composition expressed calmness and order. Because of this, the task of creating intensity with the help of light became more complicated. The creation of internal dynamics and rhythm of all frames in this format was decided by the operator due to the
moving placement of objects in the frame. These changes, which began in the 1960s, continued into the next decade as technological advances made their appearance in film structure and storytelling.
Another technological innovation of the time, the observation of characters in different lighting in a real setting on a film frame, created a bridge between the viewer and the creators. The viewer began to see in the cinema people similar to him with everyday problems and worries, sometimes happy moments. Shooting in this style is primarily associated with the appearance of long-focus lenses with variable focal distance.
Internal frame shots were made, starting from one plan and stretching for several tens of meters in length. Along with the organization of the elements of the frame composition in these long shots, the question of their illumination (with a single light density of the film) also arose.
A good example is the episode in the film "Lalak Keldi Yoz Buldi", when Malika (Sairam Isoeva) asks her husband for permission to leave her life and gets angry.
The camera shows a close-up of her husband and follows her out of the room. The camera shifts to the mother, who is unable to intervene by standing in front of the closed door for a while. Although the episode was shot in one shot, the husband, woman, wall, door and floor on which the mother sat were illuminated by five different contrasts of light.
In 1948 N. 3 A. Asturuk's magazine "Screen", which was entitled «Chamber style in the birth of the new avant-garde» in the issue, there was given some ideas about the common vision of the future direction. French film critic François Truffaut, one of the founders of the «New Wave», developed this idea in the magazine «Cahiers du cinema»: «Cinema is at a new stage of self-expression, like visual arts and novels.
This is a situation where the creator can fully express his views, no matter how abstract they may be, as in a modern novel or essay. That's why I call this new era the camera style (Samera styly). The movie camera is as active as ever. He does not seal the story, but he himself describes (creates) the form of the story. We are no longer observers, but creators of events. Light, color, optics, movement - these are our means of expression," he says.
Proponents of this direction began to create films, abandoning the traditional methods of the film industry, a large creative team, expensive technical equipment and the services of small members of the film crew, especially illuminators.
In the 1960s, young people began to come to the cinema looking for new creative ways. Many film critics and critics describe the film style of the period as «poetic» or «pictorial».
Although the main idea and concepts of the film are the same, the difference is that the former is closer to the film's literature and dramatic structure, while the latter is closer to the visual arts.
V. Mikhalkovich, using the concept of «pictorial style» applied to cinema, very clearly identified the distinctiveness of this artistic phenomenon: the frame of «pictorial» style with all its details, details, full polishing turns out to be «life» meaningful, full of meaning. This is achieved very simply: details and refinement (in the episode) are placed «inside» human activity, maybe (at the same time) not visible at first glance as the artist's work in the picture. a certain image, which is usually planned in advance, but is not implemented in the activity, is not completed.
The researchers of that time all emphasize that in the "picturesque cinematography" the authors portray their characters and the environment in which the actors are located is of great importance.
Cinematographer Valentin Zheleznyakov, based on his own experience, emphasizes the importance of the space and environment around the hero, because through it, in an emotional state, the viewer adapts to the desired scene.
Reality demanded from the screen art a more active insight into the patterns of development of social processes, an intrusion into life, a direct dialogue with a contemporary, a worker, a hero of the 60s.
Besides that, film masters of both the older and younger generations strive to reflect contemporary themes in their films. Films appear in which moral problems are raised; the actions of the characters are evaluated from a moral standpoint. With the development of national cinema, various genres began to stand out in it. This stage is characterized by the convergence of cinematography with fiction. However, the creative searches of film masters are most often based not on adaptations of literary works, but on original, actually cinematic ideas.
By the beginning of the 1960s. such a genre of Uzbek feature films as comedy comes into its legal rights. The audience's thirst for entertainment is quenched by the films "The whole mahalla is talking about this" (dir. Sh. Abbasov, 1960), "Sinchalak> - (dir. L. Faiziev, 1961), "Where are you, my Zulfiya?" (dir. A. Khamraev, - 1964). In general, these were film reviews with the participation of popular film, theater and stage artists, and films that would have been condemned a little earlier for being "unprincipled".
A number of films with an emotional state have been shot in the Uzbek art cinematography. Filmed films were all made on black and white films, and stylistic flaws in the presentation of the goal are visible. Various situations and inner experiences occurring in real life are felt by members of the creative team in their co-authorship decision.
Undeniably, Sh. Abbasov's film "Mahallada duv - duv gap" reflects the scenes of everyday life in various districts of Tashkent, construction sites, factories, streets and lanes. The free movements of the actors in the shots the director builds into sometimes light improvisational mise-en-scenes. In films made before that time, the directors did not use such lightness, live performance of actors. The comedy film is set in a real neighborhood, in one of the unadorned original houses with thatched walls, fancy kitchens and water-filled courtyards, in natural sunlight. The natural arrangements in the location also show the reflection of life on the screen, and the viewer becomes a witness to a part of life going on around him, unpolished and unorganized. The light portrait of the film is typical for a comedy in the everyday genre. Brightness in images reveals the worldview of positive and negative characters.
Shukhrat Abbasov made the film "Prozreniye" (1965), which expresses the seriousness of Akbar Sodikov (H. Mullak) with disabilities and human strength and will in the face of life's trials. The film consists of a collection of stories that have a slightly different focus on a social theme. As an alternative to Akbar's performance, the film depicts another blind man involuntarily bowing before life's difficulties. At first, Akbar's son creates a dramatic situation, showing his disagreement with his father and its reasons, but at the end of the film, thanks to the director's discovery, the relationship between father and son is rebuilt.
While observing the visual and expressive components of the film, you can see the variety of plans, the movement of actors in the frame, symbols, the presentation of different periods in a single unit of time, editing, as in films created in this period. The importance of lighting in a film's narrative is very important. The film begins with a meeting with the parents of a young man who is released from prison during the extension period. The camera movement raises questions from
the viewer, as the episode shows a previously unseen mezzanine. The film will answer these questions. Events between father and son, two friends, husband and wife are linked into a single core. The assessment of the actions of positive and negative characters is left to the judgment of the audience.
The light in the top and bottom key colors shows the creators' intent in the visual solution. All stages of the process are pre-planned and carefully designed by the creative team. For example, to convey the relief of Kamal's release from the prison yard, the camera follows him and stays within the prison area using a steady handheld shot. In such a device, the shot refers to the view of the prisoners watching the process, and the fact that the verdict is already over. Sunlight streaming in from the control room window and light bouncing off the wall fill the room with an upbeat, positive vibe and indicate Kamal's mood. Kamal is symbolically enriched with a poetic scene where a horse and foal are grazing in front of a tree to show her mother's desire for her. Kamal's meeting with his father in the episode is also well planned, hinting at future events. Since the action takes place during the day, Kamal is in the sun, in the light the father is in the shade, in darkness. The lighting situation in the location of both characters also raises the first questions in the viewer. Although the solution to the composition seems simple, the father, who arrived
at the prison, said to Kamal's mother: "I'm sorry?" In his question, it seems like the work his father has done for Kamal in the past is being denounced. So, they used the following output to visualize the conversation. Trees in general and clous-up shots between Kamol and the camera, the sequential passage of light and shadow created tension. The camera point shows how far away from father and son and how negative the situation of their meeting is. The location of the cast creating suspense can also be seen in the final episodes of the long distance between Kamal and Guli at the end of the film.
Kamal's walk along the street, among the people, is filmed in a documentary style. Without artificial lighting, that is, the action takes place during the day, in real life, and the length of the frames is a means to introduce the viewer into the life of the characters. Positive and negative episodes are not in the upper positive and lower negative keys that we have seen before.
For example, the bright lighting in the dogfight sequence in a deserted area hints at violence. The dark state of Akbar inside the artel personifies inner peace.
Additionally, a similar image can be seen in the children's fight on a sunny day and the demonstration of a limping soldier in Kh. Fayziev's film "You are not an orphan", filmed two years ago. Many clue details can be added to a film to enhance its artistic content. Some replicas appear in the form of a direct subject, while others appear in generalized means of expressing content. Signals in the field of view of the subject are observed in frames with different illumination. While Kamal's release represents joy in the control room, the play of light on Akbar's face as he weaves gray in the artel represents dismay. The tension in the light falling on Akbar's room symbolizes anxiety, while Guli's gaze at the sun's rays shows hope for a brighter future.
The periodic changes in the film, the return from real time to the past is a sign of the history of the 60s. The World War II period reflects a contrasting environment with scenes of calm and adversity galore.
The explosion of Akrom's tank and his loss of sight due to his wound were shown in a negative film. In this case, the black-and-white film shows a bright day as night.
The cinematic image in the negative film is shown directly to the viewer so that they can more accurately see how he (Akrom) sees the environment. This decision shows how skillfully the cameramen M. Penson, T. Eftimovsky used the tools.
The film directed by A. Khamraev "White white stork" as if reflects the spirit of the era. The opening shots of the film begin with critical articles about old customs from the pages of a newspaper.
This is the simplest but most effective method chosen by the director to introduce the subject and its problems. After all, the press of that time was one of the main means of exchange of information between people.
«We did not invent anything in this incident, let the viewers draw their own conclusions about the situation», and the beginning of the story encourages each viewer to draw conclusions based on his own knowledge and worldview.
The camera immediately transfers the viewer into the daily life of the village of Changi as an observer of the events. The image of a normal 35mm film can be enlarged with special anomorphic lenses.
There are many changes in the components of frame composition. There was an opportunity to place more details and objects than usual, bringing the operator and the artist to the main idea. But because of this scale it becomes somewhat difficult to accelerate the internal dynamics and rhythm of the frame. In fact, this format was used for filming, territorially large, mass scenes.
The choice of this format by the creators was in order to show the problems of "Changi" village on a larger scale. Because the film is an observational style with more episodes, the lighting is mostly natural. It was not possible to direct any lighting equipment as it would be in the frame.
The flight of storks in the countryside was depicted in the rays of the gentle spring sun, in bright light, as a symbol of novelty, the penetration of progress in the houses located between the mountains.
The boiling of the samovar in the yard to the back light, the smoke coming from it means the tension in the house, bitter and contradictory relationship between the characters of the film actors.
Definitely, every detail in an anamorphic lens is placed in the frame where it matters. For example, the relationship between Malika and Qayyum can be seen against a brightly colored clear sky that has a freer, more modern, wider perspective than the villagers. As a sign of the breakdown of Maliki's marriage, the palak hanging on the walls of the house, the movements of her husband, tearing the suzans, are expressed in light and shadow.
Analyzing Mehriniso's conversation with her husband Shukur (H. Latipov), one can see that light is an emotionally influencing force. Mehriniso's depression and a restless dog howling outside created the gloomier mood in the silent, low-key lighting of the frame.
The frame is divided equally. On the left side of the frame, an elderly woman and her husband sit away from the camera. The justification for their separation is revealed at the end of the episode, when the old man leaves the room and the old woman is left alone, the atmosphere becomes heavier. Ambient stillness is created when light is used very sparingly throughout the frame. The clock hangs on the wall on the tenth side of the frame, and an empty plate is placed on the table next to the camera. Both details of the ten sides have additional content.
In most films, the clock in the frame represents the passage of time. Similarly, the clock on the wall explains that Mehriniso is coming to the end of her life and that the time of their marriage is coming to an end. The empty plate next to the camera indicates that her share in this life is coming to an end. All the above details have made it possible to create the following meaning so that the light in the frame is directed in the underlined state.
They are in balance with each other thanks to the light. The clock and the plate on the right are illuminated in proportion to the old woman's handkerchief. They complete the words of Mehriniso. When controlling the viewer's attention, the light portrait is also directed from right to left, and Mehriniso is illuminated most brightly compared to the others. All conclusions shown in the center of the frame (two straight lines connecting the parts) are connected by shelves on the wall.
The arrangement of objects in the frame can also be viewed as a reverse growth line, that is, the gaze and output are directed backwards. Because if you replace them, you can see that the progress line (that is, the growing line in the diagram) is always directed from left to right. The actors are placed according to the regression line. The old woman is at the last point of the location of the actors in the mise-in-scene.
Symbolic shots are shown in a real evening, silhouettes in low light that express peace and tranquility, creating a romantic mood, and contrasting dramatic situations are shown in high key sunlight shots (although the lighting is low).
A well-organized example of a large-format frame composition, there is a contrast of several sizes of characters in one frame with natural, sharp chiaroscuro, high-key lighting.
An example of this is the conflict between the jockeys who returned from the race and Kayyum.
The frame is full of close-ups of Kayyum and the riders around him. Yusuf, who was beaten by Kayyum, was also filled with participants in the quarrel. All faces in harsh shadow and light. If the episode had been filmed in a simple format, it would have been difficult to collectively show the tension between the members. The tension in the acting of the actors in the wide format is enhanced by the light.
The close-up, which was a powerful tool in silent films, is not found in films after the 60s with the improvement of technology and the emergence of various expressive means.
The plots did not set strong passionate tasks for the actors. Exceptionally, this film features a close-up of Maliki. The face of the actress was captured in an enlarged image with the help of editing.
The light illuminates half of her face, leaving only one tearful eye in the frame. The frame changes to a dream she is having, and her thoughts are depicted in bright high key light. Such a close-up of the actors was not used by the director in large-format shooting, and close-ups at that time were not relevant in those years. Indeed, in such a macro plan, the creators gave the viewer the opportunity to feel the inner experiences of Malika through her eyes.
In a large frame composition, it is somewhat difficult to fill the frame with objects that enrich the meaning of the frame. However, every plan in appearance is in motion. The smoke coming out of the chimneys, people going about their business in the yard, children running through the streets filled the first, second and third planes and spaces of each scene of the frame and created natural pictures of life.
In 1966, the film directed by Eler Eshmukhamedov "Tenderness" (Nafosat) was released on the screens of the Soviet Union. I was among the Uzbek students who studied at VGIK in those years. After the screening of the film, the entire hall was filled with applause and enthusiastic exclamations. The hall was also attended by professors and teachers of the Institute. Not only me, but also other students from Uzbekistan were proud that this picture was taken in my country. -recalls the cameraman Marat Saliev.
In "Tenderness" (Nafosat) and "Lovers" (Oshiqlar) great importance was attached to the image of the visual series. Therefore, in his works, the magnificent view of our geography is depicted in a pleasant form. - director A. Khamraev recalls.
In the center of the film, the departing childhood is represented by a little gloom and attractive, emotional, expressive editing shots. Life observations of the director such as children floating on the river " Anhor", a boy playing the violin, dancing on a barge Georgian as if tied to life thread. All were filmed in natural light without artificial light.
Similar-style films have been shot in two directions: fictional and documentary. While transient episodes reflect the documentary as a piece of life, the position of the characters is evidenced by the fact that their inner experiences are portrayed in an artistic way.
The film brings together four characters from Sanjar and Lena, Temura and Mamura. They talk, dance, travel and love with innocent pure feelings.
Smiles and joy, tears and sadness, humor and seriousness accompany them everywhere and always. The cinematographer D. Fathulin introduced the director's main idea to the atmosphere of sophistication and was able to demonstrate the use of artistic and plastic solutions: optics, maximum use of the inner film structure, camera movement, French shadeless bright light.
The film takes place mainly during the day, on city streets and alleys, near canals and lakes, mountains and cave tunnels. All episodes are shot in high-key under bright sunlight, even in night scenes so many light sources that in large scenes on the characters' faces no shadows are visible. The chance encounter of Lena and Sanjar on rainy nights is depicted in an alley decorated with festive lights. Even with lightning, the surroundings become brighter.
Among the films created during these years, the work of E. Ishmukhamedov deserves special attention in the history of Uzbek feature films, consonant with the times and bringing the subtle feelings of adolescence to the big screen.
By the end of the 1960s, Uzbek cinema had produced many historical and adventure films. At the beginning of the last century, the themes of radical changes in the political and social spheres of Turkestan began to be considered from a new angle. While most of the films made in the silent era were created for propaganda, the themes of these years were given a new emphasis in historical context, in terms of comparison.
Attempts to change the way of life in the country for more than a thousand years and affect people will be reverse-engineered with the help of new technologies.
For example, among them are "Inqilob Chavandozlari" 1967, "Qizilqum" 1968, "Favkulotda Kommissar" 1970, Shijoat 1971, "Ettinchi oq"1972. Although K. Fayziev worked in these films, A. Pann, D. Fatkhulin, cameramen with different qualifications, but the lighting solutions in the visual narrative of the plot were made in the same style.
The themes in those films of the creative team are women's issues: involving women and girls "ichkari" in public affairs and suitable work for them, encouraging them to be more active for their rights and freedoms, owning water and land in political processes, as well as resistance to
the establishment of a new government, spies of a foreign state. It can be seen that the operations are aimed at combating various organized internal and external military movements.
For example, if we analyze the lighting possibilities used in the film "Shijoat" by Ali Khamraev, first of all, it becomes clear that in order to create the atmosphere of the 20-30s of the last century, although the color film technology was of high quality by this time, the creators (Kh. Fayziev) used black and white. used film.
It is clear that the visual solution is chosen in order not to distract from what is happening in the topic, to demonstrate the documentation. Looking at each frame of the episode, the light and shadow, leading lines and silhouette scenes are reminiscent of pencil drawing and pastel in fine art. This is enhanced by the landscape of bare tree branches and dusty streets.
In many cases, the time of day was chosen in such a way that the light in a high key did not show the positive and joy of the process, but rather the tension of a hot day, adversity and suffering arising from lack. water. The creators chose a sharply contrasting lighting environment to show the complexity of the women's issue.
The general and close-ups of the cast were shot directly in bright sunlight without any additional equipment. The events taking place in the village streets and fields cause anxiety and interest of the viewer.
Because the film is black and white, night episodes in it demonstrate the aesthetics of the genre «noir». The conversations of Kadyr (R.Sagdullayev) and Uslubali (B.Beyshinaliev) about the new recruitment, Father Ibrahim, Gulsar (T.Shakirov) and father (K.Latipov), who accuses Kadyr of executing Kumri, are in an obscure light, which is difficult to follow. All but the actors' faces are in deep shadow, and in some cases their faces are half filled with shadow. Such light decisions indicate that the events depicted in the film are realistic and symbolic of the complexity of the light situation and refer to the time when these events occurred.
By the 1970s, a situation had developed in the life of society, which was called "stagnation". The official ideology gradually moved from slowness and development to complete stagnation. These changes in the life of the country were clearly reflected in the self-awareness of a person and worldview.
There was growing boredom of the official ideology in its spiritual, ethical, spiritual "image", distrust of the statements about the "successes of communism" of advanced socialism. All these processes are reflected in the change in the spiritual climate, the internal structure of many films, the sense of self of the characters in them. These principles are clearly manifested in a number of talented creations.
These include "Uchrashuv va hijron" by E. Ishmukhamedov (1973), "Seni kutamiz yigit" by R. Botyrov (1973), "Bu ajoyib yigit" (1972), E. Khachaturov and other talented directors.
In 1975, director Ali Khamraev made the film «Hhcoh Kyrnnap opragaH GopagH". Writer and playwright Anatoly Makarov in the description of the film gives the following thoughts.
The visual expression of each frame fits well into the genre of images, because before us in the Eastern shaped and elegant parable, using the abstract concepts of ancient philosophy and the tone of biblical generalization. The blood aesthetics of winter hunting, the plasticity of fierce running, the tireless courage of the Han warriors incarnated on the screen with no less inspiration than the flowering of mountain almonds or the purity and tenderness of the first love.
This aesthetic has its benefits. The world created on the screen is truly beautiful in the blossoming earth, in the snowfall, in the wedding ceremony and in the agony of forgotten love, in
the harmony of the tree trunks of the night garden. The fate of young heroic wanderers and seekers of truth is, in fact, uncertain even for such a genre as myth.
Two friends' reflections on the joys of youth are incredibly interesting, but they also undermine the dramatic nature of the eternal conflict between freedom and slavery that underlies this masterful film. Nevertheless, it is necessary to recognize that the best images of the film bring aesthetic perfection to the level of true spiritual creativity.
In the film «Inson Kushlar ortidan boradi» (1975) you can see all the structural components that create visual expression. The finds of the elegant visual style of the cinematographer Y. Klimenko resemble the eastern look of the films by S. Paradzhanov «Shadow of the forgotten ancestors».
Although the film seems to be about the bitter fate of two orphan friends, Farrukh (J. Faiziev) and Habib (A. Saidov), it is really about the endless struggle of wisdom and justice with pervasive evil and hypocrisy. In search of a solution to this struggle, Farrukh (J. Faiziev) appealed to Darwish (Hikmat Latipov) and said that he would need additional military exercises in the future.
The film was shot on a camera with an anamorphic lens, which was technologically accepted at the time. Close-ups are rarely used in the film. Mostly used medium and general plans. The scene can be seen in a blossoming apricot grove, a snow-covered maple grove, the wedding yard of the Amudarya and many other means of expression and general shots leading to the purpose of the film.
Definitely, by judging by the overall exposure of the film, the sun as a means of lighting is purposefully not introduced into the frame, except for the first manifestations of love between Khabib and Gulcha. It can be seen that this kind of illumination is done in order to show its function through a poetic image.
The intensity of lighting, the contradictory conflict of light and shadow can only be seen when the mother gives birth to Farrukh, at the oil mill, while reading in a gloomy room, and when his father passes away, and when he is sick and faints from the heat.
This state of light represents the physical and mental difficulties of the characters. The rest of the scenes are depicted in the film in the same light as the viewer sees it in real life. Accepts landscapes as they are.
The image of evil and darkness is observed in the hunting of hunters on sunless, snowy winter days and in strong winds. Elegant and impeccable conditions can be understood by the flowering gardens and abundant fruits.
The grinding of flax in the oil mill at the village mill depicts the grief-stricken father Farrukh (Bakhtiyor Ikhtiyorov).
The episode begins with a turbulent flow of the river, it shows that, although almost fifteen years have passed since the death of Farrukh's mother, he still cannot be separated from his memories.
The frequent appearance of the mother in the imagination of Farrukh and the father, in his dreams, and in general a visual representation of the complex internal experiences of a person, was not used by directors until that time.
The episode uses artificial lighting, but it is light enough to match the overall mood. Even if there is no drastic difference in chiaroscuro, the soft light in the image is focused to a very small
extent. The imaginary experiences of the character are achieved by shooting frames with 2, 3 layers of exposure. Such a special image shows that the films have reached a certain level of quality.
The selected film by A. Khamraev «Triptych» is a work fully demonstrating the functions of visual means, especially light, to create an atmosphere and represent the symbol.
According to film critic and director Sergei Solovyov: "I watched. I was surprised... After watching, I discovered a talented cameraman Yuri Klemenko and director Ali Khamraev. I witnessed how the cameraman shot the film in a magical, divine way.
I had a strange feeling while watching the film. I could not imagine how a group of inexperienced students could create a magnificent example of filmmaking under such conditions, during a training session in a small circle in a limited information environment.
«Triptych» has its aesthetic value. It requires a serious, respectful, comprehensive and enlightened attitude to the world. All these features this film could demonstrate in a vivid form, in a harmony of tenderness and beauty, tension and strength. Although Yu. Klimenko is a representative of Ukrainian cinema, the role of Yu. Klimenko is a special exception, and he portrayed her very well.
While observing the effects of lighting on the drama of the film, you can see that most episodes of the film are based on low key and lack of color. Creating a frame on a clear plan, without lighting devices, it seems that it is shot directly in the natural state, but this naturalness is created by artificial intervention (lighting devices). The darkness in the frame was achieved due to a professional approach to lighting.
For example, Khalima's difficult mood can be determined by the dim lighting in the room. Not only interiors, even daytime exteriors are characterized by the absence of pronounced color and light. The spaces dedicated to the sewing workshop, classrooms, district office, corridor and rooms of the city center office, Ghulam ota's house and many other objects are built in low light to express the social and economic difficulties of the post-war period.
The high key lighting expected in the film is only seen in shots of the teacher's letter to Sanobar. This is a sign and symbol of hope for the future. Symbols in gestures were also expressed by artists through various means. When showing a film in the post-war period, the mindset, worldview of a teacher comparing two students Murad and Utkir and asking students to express their opinions on their own, not to rush to judge a person's appearance by showing students with short hair. Using an example, he explains to his students that he equates doing something against one's will to the level of a crime and insists that man is the most perfect among the creations of the creator, as if talking about the period of "thaw", (thawing in cinema's history)
The teacher's inner world is reflected in the classroom decoration and beautiful paintings on the walls. This beauty in the room is a detail against the background of the surrounding darkness. It is no coincidence that the last episodes of the film end with a return to the beauty of this scene.
The creators were able to show a long human destiny in one frame. For example, the promises of Khadija's husband, Ghulam, can be seen on the footage of her standing alone in the ruined yard. It depicts a woman's full trust in her husband, the loss of her son as a result of the war and the loss of hope for the future in a restrained light. The situation gets worse on the footage of Aunt Hadiji walking through the grass yard, leaving the dark room and standing at the threshold. The place from which it originates is a symbolic threshold leading from the mortal world to the eternal world. The absence of glass in the window, the stopped clock, summing up the past life,
kitchen utensils indicating the absence of business in the household, a bundle of onions hanging in a dark room - a sign of unresolved and abandoned problems Khadija Bibi.
The camera switches from the general view of Hadiji Bibi to the medium view to show who the listed characters belong to. The above details are not shown in the close-up plans, so as not to separate them from Khadija. To show them, the objects are behind her.
The overall exposition of the episode portrays all of the listed subjects in the same tonal light. In low light, which enhances melancholy and sad mood. This is similar to Khadija's inner monologue. It's dark inside, and although the action takes place during the day, the overall picture is shot with flat and melancholy lighting.
Examples of episodes depicting the situation in special coverage can be observed in the conversation between Kalima and the chairman, facing each other in the collective farm office in search of work, and in the episode where, at a great distance, in a conversation between Khalima and her husband, a letter from the teacher (Shavkat Abdusalomov) written to Khalima, a letter written by Sanobar to the teacher, and in Khalima's conversation with her mother, where there are signs in the circle of actors and the actors themselves, their faces are not illuminated in the frame.
In these sequences, nothing is visible except the slow movement of the camera in a dimly lit room. A similar mise-en-scène can often be seen in films from the 70s and 80s. These results not only contributed to the creative experience of improving the quality indicators of equipment and technologies, especially coated, variable focal lengths (transfactor) lenses, but also served as the basis for the embodiment of creators' ideas on the screen in various types of high-sensitivity films.
Regarding the lighting in the film, the chief artist of the film, Shavkat Abdusalomov, appreciated the work of cameraman Yu. Klimenko: - When we watched the film "Triptych," it was as if lightning struck my head. For the first time in my life, I saw a cameraman who created an image exactly the same as what I saw in a real situation. This is not toadying to him on my part for his work. This is a skillfully created combination of a real image with artificial means. To do this, I positioned the objects in the frame the way he wanted to show what he was thinking on the screen. "There is a special art to placing a lamp in a frame and lighting it," he insisted.
"I'm putting on the light. Y. Klimenko" suggested Shavkat Abdusalomov and other employees not to interfere with his work on the set, saying that he was lighting the stage. He, Yuri, focused all his mental states and psychological experiences on a certain atmosphere of works of fine art and illuminated its environment from the inside.
Y. Klimenko said - "I am creating a film. Shavkat, can you distinguish Shishkin's forest from Levitan, Clover from the forest of Dutch artists, or the Barbizon Forest from each other? - he showed us that the forest, which seemed the same to us, is different with different approaches to his lighting methods.
The film features close-ups with a unique lighting technique. As a researcher, we can say with confidence that there is a lighting solution that is not found not only in Uzbek cinema, but even in the experience of world cinema. The scene shows how the light, aimed at a close-up view of Halima (Dilorom Kambarova) walking through the garden in the evenly falling snow, slowly begins to shine on Halima's face, and a smile appears on her face. Under such lighting, the density of the chosen film should have caused a technical failure. But this decision was a visual expression of a positive change in the hero's inner psyche, an uplift in his mood.
"This film is not about an Uzbek woman who is struggling with some difficulties, the film is about Dilorom Kambarova. In all the processes shown there lies a man of perseverance. Previously, the cinema of our time was not tied to geniuses and stars. These films were about people. Whatever the nation, its fate was connected with the bright and strong aspects of its life. Ali focuses on the person, mastering technique and capturing images in motion. But in modern cinema this approach is disappearing," says director Sergei Solovyov.
The above information indicates how high the artistic value of the film is. According to Georgy Rehberg, cameraman of the film "Mirror". The "process of creating a frame" apparently determines the artist's life position, the artist's life position is determined by the time in which he lives, the country in which he lives, the culture of which he has, the communication that he has, those individual characteristics of the psyche and physics that he has.
By summarizing it can be suggested that the artistic characteristics of creating an image through lighting in the visual layer of early feature films, its role in forming the atmosphere of the frame, artistic features, the work of creators, the artistic quality and level of the films, the genre's distinctive appearance, emotional character, and the aesthetic function of lighting indicate the necessity for research on various topics.
In Uzbek film studies, extensive research is being conducted on the use of light and lighting in films, and efforts are being made to bridge the gap between practitioners and theorists in the application of lighting.
REFERENCES
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Asia. An organic continuation of the outer courtyard. In the Middle Ages, according to the rules of Sharia, it was considered a place where women and girls of puberty lived. It has a bedroom, kitchen, pantry, etc. located. The men lived in the outer courtyard. Between the inner and outer courtyards there is a door through which outsiders are strictly forbidden to enter. The division of the house inside and outside was typical from the harem in the khan's palaces to the courtyards of the poor. Farmers, cultivators, artisans, at least would block off the courtyard side of the building intended for their profession with something to separate it from the inside. https://qomus.info/encyclopedia/cat-i/ichkari-uz/f20]
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