CC BY
9
https://doi.org/10.29013/ESR-22-1.2-7-10
Orinov Ahmadjan, Dotsent of the department of "Theater decoration painting" of the National Institute of Fine Arts and Design named after Kamoliddin Bekhzad, Tashkent, Uzbekistan
E-mail: [email protected]
THE TENDENCES OF DEVELOPMENT OF ARTISTIC CINEMATOGRAPHY OF UZBEKISTAN
Abstract. The article states that the independence gained by the Republic of Uzbekistan brought new processes to art, in particular to our national cinema. In particular, the creators of our cinema have begun to carry out Noble and honorable works, such as preserving our rich cultural heritage and spiritual values to the cinemas, restoring the image of great thinkers who lived in the past, revealing the scale of socio-political and spiritual reforms in our country thanks to independence by means of cinema.
Objective: the creative work of art films of Uzbekistan and their creators, that is, performing artists.
Methods: observation, artistic analysis, conversation, comparison, generalization.
Results: it is important to note the importance of the expressiveness of color in modern Uzbek cinema and the ability to create a general mood in them. Each color used must have its own meaning and philosophy. Not only simple, but also complex and unique colors can be interesting for the viewer if used. It is the important task of us, the artists, to create films that objectively analyze today's reality, its basic principles, boldly introduce the image of the heroes of the new historical period into feature films, create films that can give the audience spiritual and aesthetic pleasure and, of course, full use of color.
Scientific novelty: in the Uzbek film criticism, the work of artists in modern films of Uzbekistan was studied for the first time
Practical significance: serves as a source for solving the problems of visual solutions of modern Uzbek films.
Keywords: screen art, style, genre, scenario, film artist, artistic-visual solution, spiritual-aesthetic effect.
Introduction Decree of the president of the Republic of Uz-
According to the decree of the first president bekistan "On improvement of Management in the of the Republic of Uzbekistan on March 9, 1992, field of cinematography", adopted on March 16, the restoration of the cinema industry as a sepa- 2004, The tasks set out in Sh. Mirziyoyev's decision rate network system, decree of April 29, 1996 and on "Measures for the further development of Nain accordance with the decision of the Cabinet of tional Cinematography" on August 7, 2017, show an Ministers of the Republic of Uzbekistan "On the increase in the number and breadth of opportunities establishment and activities of the Uzbekkino State in the field of cinema.
Joint-Stock Company" on July 12, 1996 "Uzbekki- While before the film artists of Uzbekistan there
no" National Agency has been perfectly developed is a responsible task in their works to popularize the
since the creation of the National Film system. ideas of national independence, to form a modern
worldview in broad social strata, in particular in the younger generation, this in turn necessitates new research on the subject and on artistic expression, completely different from the previous one.
The research in this regard first of all encourages the discovery of a screen language of social significance, a means of artistic expression corresponding to the existing reality, getting rid of the mold of ando-zas, which has been supported for a number of years, and carrying out creative research in unusual styles.
Cinematography is a type of artistic creation formed on the basis of technical means of cinematography, an important component of screen art, the shooting of a real being using real or artistic-documentary images, means of animation; also includes television, videocassettes, and video discs that serve to distribute movies to the public. The art of cinema emerged at the same time as cinematography. Cinematography, on the other hand, emerged in connection with the development of science and technology and gradually became the most necessary branch of modern economy, art and culture. The ideological and artistic influence of the art of cinema on the socio-political and cultural upbringing of the masses, the formation of people's consciousness, thoughts and views, aesthetic tastes and feelings, in general, the spiritual world.
After all, thanks to the independence of our country, as in all areas, there have been a number of effective changes in the art of cinema. The reorganization of the film industry as a separate network system by the Decree of March 9, 1992, the establishment of the state joint-stock company "Uzbekkino" in accordance with the Decree of April 29, 1996 was an important step in the development of national cinema. The Decree "On Improving the Management in the Field of Cinematography" of March 16, 2004 testifies to the growing attention and wide range of opportunities in the field of cinematography [5, 584].
The film studios that started the development of Uzbek cinema are the Bukhkino and Shark Yulduzi film factories established in 1924-1925. Russian film-
makers K. Gertel, M. Doronich, Ch. Sabinsky O. Fe-relix, 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 Shark Yulduzi film factory, founded the Uzbek national cinema. The first representatives of the Uzbek cinematography are N. Ganiev, R. Pirmuhamedov, K. Yormatov, E. Hamraev and others. They, in cooperation with Russian masters of the former Soviet Union, have been actively involved in raising the status of Uzbek cinema [2, 10].
In the historical moments when Uzbekistan gained independence, the opportunity to communicate with the audience and its era, the process of reforms taking place in important parts of the life of the nation, the ability to foresee the existing problems began to bring the art of cinema to the front line of social life. This, in turn, gave impetus to the research on the way to the creation of national works, the emergence of new creative experiences. By taking a creative approach to the traditions of screen art's tried-and-tested artistic solution, genre capabilities, along with promoting a new principle of form and contenting, it relied on tested aesthetic and artistic models, and further strengthened efforts to create works of film art in an interesting and touching genre, stylistic directions. The work of Nabi Ganiev, the founder of Uzbek cinema, people's artist Kamil Yormatov, who introduced the art of Uzbek artistic cinema to the world, will remain bright pages of the history of Uzbek cinema [5, 584].
In today's Uzbek cinema, certain searches to expand the possibilities of style and genre are further developing. It is a great responsibility for us, that is, for the development of the overall picture of Uzbek artistic cinema, the level of artistic skill, in general, at a mature level in all respects. In addition, it is also a sentence to create films that will still analyze today's reality, its basic principles, to boldly bring the image of the heroes of the new historical period to the artistic cinema, to give a spiritual and aesthetic effect to the audience [3; 4]. Today, the role of a film artist
in the development of Modern Art Cinema in our country can not be overemphasized.
Artistic cinema can not be imagined without an artist. Unlike the master ofpainting, the film artist focuses his skills on the realization of the idea, the idea of the film director and director. Ifthe master of painting with a loom chooses this or that theme personally for his future creative work, and also determines the composition and colors at his own discretion, the film artist works as a member of the creative group that creates the film, obeying the common goal and idea. His role in artistic cinema is very important and necessary. He is the first creator to animate the events and heroes of the upcoming film in sketches, as soon as the scenario is read. In his work in the cinema, the artist works primarily relying on the universal and artistic conception of the upcoming film. The process of studying the scenario the artist studies the genre of the film, how much and what characteristics of the footage to be shot indoors and in nature.
The changes taking place in our independent country, the growing complexity of techniques and technologies and the achievement of new achievements are gaining main content and essence. In this regard, it is the newest important network in the field of art, and the scale and weight of the tasks facing the direction of 3D (three-dimensional) animation is huge [6, 202]. In the art of modern animation, the Uzbek specialists and filmmakers turned to historical themes, appearances and deeds of our great ancestors, giving them a new incarnation according to the national ideology. The principle of educating the younger generation in the spirit ofnational ideas based on the instructive examples, taken from the history of our nation, has took on the new interpretation [7, 157].
Uzbek cinematographers 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 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.
Taking into account the unique impact of the human mind and thinking on the life of society, new films are being made due to the comprehensive measures taken during the years of independence to develop the national cinematography and create the necessary material and spiritual conditions., through which various topics related to our history and our lives today are covered. "But it is also fair to say that the image of a modern hero, which has a profound effect on the upbringing of young people, has not yet been created on our movie screens. In most of the films, the real picture of our filmmakers today is that they can't feel the depth of its acute problems, they are far removed from the lives of ordinary people" [1, 64].
The human world also has the potential to show its inner experiences to other people through colors. An example of this is the art of painting. Color is the heart ofa painting. Painting cannot be imagined without colors, only color distinguishes it from other types of fine art, and only color has the power to fully and colorfully express the nature that surrounds us, the objects that are located in it. The texture of a painting consists of the relations obtained from the interrelationship of colors, and the artist consolidates these color relations into a certain integrity. The harmony of colors in a work of art is called coloring [4, 15288].
The film artist must have knowledge of all the visual means of this art in order to establish his work. It is necessary to take into account the composition of the film, the stage of the footage, their connection with the installation, and in this work it is necessary to work out his professional skills, creative fantasy, knowledge, artistic taste. After identifying the task in the processes of getting acquainted with the scenario and talking with the director, the artist begins to work. Its first stage consists in creating sketches for the film. In these sketches, the artist's attitude to the events and Heroes of the film is expressed. Then for
the first time the characterization and proportion of the upcoming film will be noticeable.
The creator of the work tries to make the cartoon rich in interesting images to increase the weight of his creative sample. Because every character chosen for a cartoon, whether it is a person, an animal or an object, is important in that it attracts the attention of the viewer in some way and can affect his psyche in a certain way. Given the capabilities of the audience (since most films are aimed at a younger audience), the image created for the cartoon should be as simple, clear and concise as possible, as well as fully meet the requirements of animation [9, 1588].
Conclusion
Film artists do not work only for the screen. They often also participate in the spectacle with separate
sketches and polotnos as a master of mustache. In their non-Film Creations, the trends of Fine Art are noticeable. By introducing this experience into the cinema, the artist enriches the world of his images with new, distinctive qualities. In addition to the postman in the art cinema-artists and artists on clothes, the artist again works on make-up (makeup). Cinema grim is different from theater. If the grim in the theater is given darker, then in the cinema it is worth paying attention to the fact that it is much thinner-imperceptible.
In place of the conclusion, we can say that today's modern cinema is difficult to imagine without an artist. They create the visual world ofthe film. The film helps the artist to reveal through his art the peculiarities of the heroes of the film and the surrounding world.
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