Methodology of visual techniques in the cinematographic art of Kazakhstan in 1930-2020

Authors

DOI:

https://doi.org/10.15847/obsOBS18320242489

Abstract

Cinematography in the Republic of Kazakhstan has a century-old history that began in the 1930s and continues today. During this period, a large number of films were created reflecting the culture, history, social and political aspects of the country’s life. Therefore, the relevance of the study lies in the knowledge and preservation of valuable aspects of the cinematic legacy, the examination of cinematography and highlighting practical aspects of visual techniques in cinematography. The purpose of the study is to identify a clear difference between cinematic codes in the visual representation of films created in different periods of the development of Kazakh cinema. The following research methods were used in the study: analytical research, systematisation, comparison and generalisation. As a result of the study, it was possible to examine the periodization of the development of Kazakh cinema, which helped to understand its evolution and development at different stages. This study examines the picture of the world reflected in the films “Amangeldy” (1938), “Racketeer” (2007), and the film “Paralympian” (2023). Based on this, an analysis of their visual techniques was conducted, which allowed identifying their unique features and contribution to the cultural legacy. The study analyses current trends in the methodology of visual techniques, especially in the use of digital technologies, which opens up new opportunities for cinematographers. The importance of maintaining a balance between new trends, cultural values, and traditions of the Republic of Kazakhstan is emphasised. The study on the methodology of visual techniques in the cinematographic art of Kazakhstan can be used by modern cinematographers and students interested in this field.

Author Biography

Snezhana Baimukhanova, Temirbek Zhurgenov Kazakh National Academy of Arts

Department of Sound Engineering and Camera Art, Temirbek Zhurgenov Kazakh National Academy of Arts, Republic of Kazakhstan

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Published

2024-09-28

How to Cite

Baimukhanova, S., Belov, V., Abdyzhadylkyzy, Z., Abdyldayeva, C., & Baitanayev, A. (2024). Methodology of visual techniques in the cinematographic art of Kazakhstan in 1930-2020. Observatorio (OBS*), 18(3). https://doi.org/10.15847/obsOBS18320242489

Issue

Vol. 18 No. 3 (2024)

Section

Articles

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Copyright (c) 2024 Snezhana Baimukhanova, Vladimir Belov, Zhidegul Abdyzhadylkyzy, Cholpon Abdyldayeva, Alibek Baitanayev Observatorio (OBS*) has an academic journal profile. As such, it is dedicated to the open exchange of its contents, and freely available to individuals and institutions without charge or formal permission. Copies of this journal or articles in this journal may be distributed for research or educational purposes free of charge and without permission. Authors will not be charged for publication or submission to this journal. Authors who publish in Observatorio (OBS*) will release their contributions under the Creative Commons Attribution-NonCommercial-2.0 generic. This licence allows anyone to copy and distribute the article for non-commercial purposes provided that appropriate attribution is given - being the author the copyright holder. This journal utilizes the LOCKSS system to create a distributed archiving system among participating libraries and permits those libraries to create permanent archives of the journal for purposes of preservation and restoration. The publisher perpetually authorizes participants in the LOCKSS system to archive and restore our publication through the LOCKSS System for the benefit of all LOCKSS System participants. Specifically participating libraries may: • Collect and preserve currently accessible materials; • Use material consistent with original license terms; • Provide copies to other LOCKSS appliances for purposes of audit and repair. Fair use of a copyrighted work, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include: 1. the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes; 2. the nature of the copyrighted work; 3. the amount and substantiality of the portion used in relation to the copyrighted work as a whole; & 4. the effect of the use upon the potential market for or value of the copyrighted work. The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors. In accord with these provisions, the OBS journal believes in the vigorous assertion and defense of Fair Use by scholars engaged in academic research, teaching and non-commercial publishing. Thus, we view the inclusion of “quotations” from existing print, visual, audio and audio-visual texts to be appropriate examples of Fair Use, as are reproductions of visual images for the purpose of scholarly analysis. We encourage authors to obtain appropriate permissions to use materials originally produced by others, but do not require such permissions as long as the usage of such materials falls within the boundaries of Fair Use.