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Article publication date
2023-09-26
Article Page
63–75
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Arts & Humanities
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Abstract
People’s historical memory reconstruction is one the direct tasks of national cinema. It took more than thirty years as Kazakhstan gained independence for films to appear in our domestic cinema that seriously consider the establishment of Soviet power: how it happened, and what it brought good/bad to our people. Four themes that were key for the 1920s and 1930s – “emancipation of the woman of the East”, collectivization, industrialization and further Holodomor are considered in new Kazakh films of the last two years in postcolonial discourse. We will talk about the films Talak (2023) by Daniyar Salamat, Kash (2022) by Aisultan Seitov and Kanysh (2022) by Yerlan Nurmukhambetov, where, as through a prism, the difficult time that influenced the further formation of the Kazakh nation is highlighted, which influenced the further formation of the Kazakh nation. The article uses interdisciplinary methods, including art and comparative analysis. The significance of this work lies in the fact that in Kazakhstani cinema studies, comparisons between films of the Soviet era and the independence era on the aforementioned issues are relatively rare. The article addresses the necessity of a new approach to the ideological messages present in Soviet-era cinema that have not been overcome to this day. The novelty of the study lies in this approach, as well as in the selection of new Kazakhstani films for art analysis, either recently released, such as Kash or Kanys, or not released at all, like the film Talak.
Keywords
establishment of Soviet power
emancipation of the women of the East
collectivization
industrialization
historical trauma
cinema of Kazakhstan
References
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References
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Published:
2023-09-26
Journal number
3
Volume
11
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