CC BY
43
https://doi.org/10.29013/ESR-21-3.4-8-12
Ortikov A.,
head of the department of "Theater decoration painting" of the National Institute of Art and Design named after Kamoliddin Behzod
Uzbekistan, Tashkent E-mail: asliddin@tbrk.uz
THE iMPORTANCE OF THE ARTiST'S WORK iN CiNEMA ART
Abstract. The article analyzes the painstaking work of the artist, creating the image of any film, which must be done at every stage before creating a future film. This process explores the importance of the artist's work in creating the visual image of the film.
Keywords: cinema, artist, composition, color, sketch, hero, frame, image, graphics, style.
The creators of our cinema art have embarked on such noble and honorable deeds as sealing our ancient history, rich cultural heritage and spiritual values into films, restoring the image of great scientists of the past, revealing the scale of socio-political and spiritual reforms in our country. Today in the Resolution of the President of the Republic of Uzbekistan Sh. Mirziyoyev dated August 7, 2017 "On measures to further develop the national cinematography" [1] and in particular to pay special attention to artists, the tasks set out in the Resolution "On measures to further increase the efficiency of the fine and applied arts" [2].
Uzbek filmmakers have a responsibility to glorify the ideas of national independence in their works, to form a modern worldview in the broad social strata, especially in the younger generation, which in turn requires new research on the subject and artistic expression. Research in this area first of all encourages the discovery of a socially significant screen language as a means of artistic expression in accordance with the existing reality, to get rid of the stereotypes that have been used for many years and to carry out creative research in unique styles.
Whether it is an art, documentary, or science-fiction film, its pictorial appearance cannot be imagined without the work of an artist. Unlike a painter, a film artist focuses his or her skills on realizing the idea of a screenwriter and director. If the artist on the
bench personally chooses a theme for his future canvas and chooses the composition and colors at will, the film artist works as a member of the creative team creating the film, subject to a common goal and idea. Its place in feature film is very important and necessary. He was the first creator to animate the events and protagonists of a future film in sketches right after the script was read. To do this, he must know all the features and requirements of the art of cinema.
From the time film began to take shape as an art, it was noticed that it was very close to the fine arts. In feature film, applied art plays an important role in creating a heroic environment, a film situation. When the film goes out of the pavilions, especially when the film is in color, the landscape frames are reminiscent of landscape painting. The means of expression belonging to all kinds of fine arts have played an important role in the formation of cinema. However, the film did not copy them. Cinema, for example, has learned to create the color, the pictorial style of the film, which passes through the work of graphics (in black and white cinema), the work of painting (in color cinema), in which architecture played a special role.
From painting and graphics to film, more precisely, the cameraman learned to work with light, to put the composition of the frame in an artistically expressive way. Portraiture, which is a genre of painting, influenced the development of means of expression
THE ¡IMPORTANCE OF THE ARTiST'S WORK iN CiNEMA ART
such as general plan, medium plan, large plan. The role of the portrait genre in the emergence of large-scale planning is significant. To understand this, it is enough to stop the frame in which the protagonist is projected in the foreground. Then his closeness to the portrait in his painting is clearly visible. He also used his painting experience to create a film frame and a stage set. The sculptural experience helps the film to plasticize the image of the protagonist.
The creative connection of cinema with the types and genres of fine arts depends on the level of development of each of them, the principle that prevails in them, the creative thinking of the director and his visual perception, the high skill of filmmakers and cinematographers [4, 9].
The scope of a film artist's work is extensive. For this reason, the lead artist will have a dedicated team to help him realize the main idea at his disposal in the process of making the film. This occurs after the team is familiar with the artist's script. The artist's work in cinema is based primarily on the general and artistic concept of the future film. The process of studying the script, the artist explores the genre of the film, the amount and nature of the scenes that will be shot indoors and in nature. For example, if the film is on a historical subject, it should study the materials of that period, down to the smallest detail - the clothes and accessories. During the director's conversation with the cameraman about the upcoming film, the artist becomes more specific about the task at hand.
A film artist must have knowledge of all the visual means of this art in order to put his work in order. He must take into account the composition of the film, the scene of the films, their connections in the montage, and in this work he must use his professional skills, creative imagination, knowledge, artistic taste. After defining the task in the process of getting acquainted with the script and talking to the director, the artist gets to work. Its first stage is to create sketches for the film. These sketches reflect the artist's attitude to the events and protagonists of the film. Then the balance of character and charac-
ter of the future film, the color will be seen for the first time. A sketch is a work of art based on a script, theme, composition, color, and style. The basics of film plastic solution are embedded in the sketches. Artists differ in the specificity of their creative features and performance techniques.
Although the artist's work is subject to the script, the director's idea, and the specifics of the film, his creative signature can be seen not only in the sketches, but also in the finished film. Sketches and films created with the participation of the artist are not to be confused [3, 19].
Film artists don't just work for the screen. They often also take part in exhibitions with separate sketches and canvases as a brush master. Their non-cinematic creations reflect the trends of the fine arts. By applying this experience to cinema, the artist enriches his image world with new, unique qualities.
Well-known artist V. Yeremyan, who has a special place in the Uzbek fine arts, is one of the artists who could imagine the whole film in sketches until the last film. At the level of bench painting on those sketches, each of the sketches of the works is considered as an independent work, only the content and essence formed the basis of the future film. For him, there was nothing trivial about the upcoming film. Every detail, first expressed in sketches, then in decorations or dresses, was distinguished by its expressiveness and reliability. No matter how many times he drew juozor and teahouses in a series of films, they didn't reciprocate. In all, it stems from dramaturgy, and each time finds its unique expression in interiors, creating new cinematic images in different architectural solutions. An example is the teahouse in the comedy "Nasriddin in Bukhara" by Russian director Ya. Protazanov, directed by V. Yeremyan.
In the teahouse, Nasriddin is selling antiques. The view of the teahouse in the poor neighborhood is also poorly described by the artist: the walls are dry, the couch is crumbling and unfit for use. But the most important thing on this plate is the stairs. It is placed in the center of the decor. Nasriddin's trade
is heating up on the same ladder. He takes the items donated by the poor to the stairs, shows them off, and calls the buyers.
Although the roles in this film, directed by Ya. Protazanov, were played mainly by Russian actors, the work is full of national spirit. At the same time, the fruit of the artist's work is great. V. Yere-myan understood the role and place of the artist in cinema. He was well aware that in order to reveal the idea and images of a film, the artist must achieve consistency and expressiveness in his work. For him, for example, it was very important that the created sketches, decorations, the actors used for their own creations. At the beginning of the film "Takhir and Zuhra" Bohir Babakhan carries his son Tahir, who was born on the same day as his daughter, to the khan's palace. Bohir market stalls are crowded. All our attention is focused on Bohir, his mood. "While not all of the shops decorated by the artist are detailed, it was a vital factor for the actor to enter the role with all his being and achieve the naturalness of the performance" [4, 31].
N. Ganiev's film "Takhir and Zuhra" is a vivid example of what is the work of not only the artist, but also the cameraman, director and actors, so we will focus on them again and again in this guide. However, as we talk about the artist in this section, we will continue this theme. For the first time in "Takhir and Zuhra" the pictorial title, which is an important feature of cinema, is used effectively. In the film, the events take place on the stairs several times. It represents not only the scene, but also a certain dramatic meaning in itself. The ladder, that is, this figurative image, serves as a step that deepens the events that take place in it.
As work on the film begins, the artist and cameraman, together with the director, select the locations to be taken in nature. The landscape, nature is neutral in the film, can simply serve as a background. But if they choose skillfully, the film can also acquire dramatic significance, fully reflecting the atmosphere of the events or the emotions of the protagonists.
The artist also works with props in each film. At the same time, the equipment and items surrounding the heroes must be chosen by him in such a way that they serve the justice of the environment. For example, artificial things, fruits, etc. cannot be used as in the cinema, theater. So everything in the film has to be original. The artist's work should focus on creating a living environment for the events and characters to come to life, revealing the overall idea of the film. But even more important is to create the perfect image of the heroes. In addition to decorations, nature, landscape, props and costumes for the heroes also play an important role. Creating costumes for heroes is a complex process. When working on them, it is necessary to take into account everything - the specific scene, the period, the identity of the actor who must wear the costume, the angles and plans that define the specific aspects of each film.
The film studios that started the development of Uzbek cinema are the Bukhkino and Sharq Yulduz film factories established in 1924-1925. Russian filmmakers K. Gertel, M. Doronich, Ch. Sabinsky, O. Ferelix, A. Dorn and others have greatly assisted in the creation of Uzbek feature cinema. Nabi Ganiev, who worked as an assistant to Russian filmmakers who created the first films of the Sharq Yulduzi film factory, founded the Uzbek national cinema. The first representatives of the Uzbek cinematography are N. Ganiev, R. Pirmuhamedov, K. Yormatov, E. Ham-raev and others. They, in cooperation with Russian masters of the former Soviet Union, have been actively involved in raising the status of Uzbek cinema.
In the historical moments of Uzbekistan's independence, the ability to communicate with its time and audience live, to see the process of reforms in key areas of the nation's life, to address the existing problems, began to bring cinema to the forefront of social life. This, in turn, led to research into the creation of national works, the emergence of new creative experiences. Taking a creative approach to the tried and tested traditions of screen art, the possibilities of the genre, as well as advancing new principles of forma-
THE iMPORTANCE OF THE ARTiST'S WORK iN CiNEMA ART
tion and content, relying on tested aesthetic and artistic models, intensified efforts to create works of cinematography in interesting and impressive genres and styles [5, 12]. The works of Nabi Ganiev, the founder of Uzbek cinema, and Komil Yormatov, the people's Artist, who introduced Uzbek art to the world, will remain the bright pages in the history of Uzbek cinema.
In today's Uzbek cinema, certain efforts to expand the possibilities of style and genre are developing. It is a great responsibility for us, the filmmakers, to ensure that the overall picture of Uzbek feature cinema, the level of artistic skill, in general, is developed at a mature level. In addition, the creation of films that objectively analyze today's reality, its basic principles, the bold introduction of the image of the heroes of the new historical period in feature films, the spiritual and aesthetic impact on the audience. Today, the role of the film artist in the development of modern feature film in our country is invaluable.
Clothes play an important role in a feature film. The dress helps to understand the image of the period, the character of the protagonist, as well as his tastes, interests, which nation he belongs to. Creating costumes for heroes is a complex process. When working on them, it is necessary to take into account everything - the specific scene, the period, the identity of the actor who must wear the costume, the angles and plans that determine the specifics of each scene in the film [6, 14].
In the early days of Uzbek cinema, film costumes had a strict social character. Depending on the protagonist's wealth, materials were chosen to sew the dress. As our cinema developed, costume artists emerged. Until then, V. Eremyan had to do all the work himself. Nevertheless, his work on costumes can be considered the highest example of the work of a costume designer. The costumes he created are based on the characters of the heroes. Karabatir's cunning mind and anger were revealed not only by Sh. Burhanov's great skill, but also by the clothes he wore. The black dress evokes the feeling of hiding and abstracting Karabakh's true intentions and plans from view.
Through his art, the filmmaker helps to reveal the unique aspects of the film's protagonists and environment. What kind of fabric the dress is made of, even the most insignificant details, play a big role in this. Dresses are first born in sketches or simple drawings. After agreement with the director, the fabric is selected and production begins in the studio's sewing workshop.
In addition to the staging artist and costume designer, she also works as a make-up artist. Movie makeup is different from theater. If the make-up is given thicker in the theater, the focus will be on making it more subtle in the cinema. The makeup, the dress helps the actor to enter the image. If the makeup is exaggerated, or vague, the appearance of the role on the screen will turn out to be fake. Applying make-up in cinema does not mean changing the image of the actor (except in fairy-tale films), but emphasizing the originality of the image, giving it separate lines to increase its impact. Make-up is also used in the film to cover some of the flaws in the actor's face and skin. If the make-up artist knows the essence of the image, the dramaturgy, he can find the most suitable make-up. So the choice of makeup is determined by the drama of the future film. Makeups are different. For example, make-up, which determines the age or nationality, requires a portrait resemblance, as well as make-up that combines comic and cartoon features.
The make-up artist determines the character of the make-up depending on the shooting conditions, plans, angles, lighting, ensuring that it is more or less complete. If there is a large plan (outside the screen) the makeup should be slightly noticeable, while in the general and middle plans it will be completely different. For a make-up artist, it is very important to observe not only the plans, but also the angles, how the lighting is set when shooting. Because makeup depends on that too.
In animated cinema, the work of the artist is unique. Its function is determined by the picture or puppet film. For a one-part cartoon that lasts a total of ten minutes on the screen, the artist will
have to draw nearly five thousand pictures of the characters in different movements and appearances. In these paintings, the artist must reveal not only the course of events, but also the characters. These pictures are then taken according to the plot at the desired rhythm and tempo, and shown to the audience.
In the puppet film, special puppets are made. This is the work of a separate group of artists. Others create an environment in which a group of artists moves the protagonist-puppet. Such intricate and painstaking work of artists is always appreciated by both young and old audiences. The computer capabilities that have come into cinema today have made the j ob
much easier. Now films are also made on the basis of computer graphics.
It's hard to imagine feature and animated films without artists. They create the visual world of the film. The cinematographer is also involved in the creation of the film so that the audience can see this world on the screen.
In conclusion, it should be noted to what extent can we assess the work of our artists in the art cinema of our country today? So, is the filmmaker doing the same thing among the creators of modern feature films? When an artist works in a film and completes the tasks mentioned above, the film is considered to have achieved its goal.
References:
1. Resolution of the President of the Republic of Uzbekistan No. 3176. "On measures to further develop the national cinematography". 07.08.2017.
2. Resolution of the President of the Republic of Uzbekistan No. 4688. "On measures to further increase the efficiency of the fine and applied arts". 21.04.2020.
3. Abulqosimova X. Basics of cinematography.- T .: "National Encyclopedia of Uzbekistan". State Scientific Publishing House, 2009.
4. Abulqosimova X. History and theory of cinema and radio.- Tashkent. 2008.
5. Abulqosimova X. Once again about Uzbek cinema // Gulistan. 1999.- No. 5.
6. Abulqosimova X. Cinema and fine arts // Art. 1999.- Issue 1.
