CC BY
0THE PROCESS OF TRANSFORMATION OF GENRES IN FEATURE CINEMA (WITHIN THE PERIOD 1991-2024)
Niyazova Kh.Kh.
PhD, Doctor of Philosophy on Art History Sciences, Institute of Art History of the Academy of Sciences of the Republic of Uzbekistan "Cinema and Television" Department, Senior
Researcher https://doi.org/10.5281/zenodo.14030926
Abstract. The given article presents the main genres of films shot in the cinematography of Uzbekistan in the period from 1991 to 2024, where a particular attention is given to the genres with the particpation of directors.
Keywords: genre, mixed genre, drama, psychological drama, action drama, comedy, tragedy, melodrama, crime.
It is important to suggest that theme and genre are important factors that determine the uniqueness of a film. In general, the issue of choosing a theme, genre and form in cinematography was formed under the influence of literature. The author can adapt the script to different genres, for example, drama, comedy, tragedy or mixed genres.
Definitely, after Uzbekistan gained independence in 1991, significant changes occurred in the domestic cinema in terms of creating films based on new ideas and ideology. The search for national and cultural identity and the embodiment of new heroes in feature films of various genres became especially relevant. The artistic and creative process of 1991-2000 went through a unique stage of improvement in reflecting new principles, thematic and genre studies and form diversity that emerged in subsequent years. Despite the fact that fewer films were shot in the first decade of independence than in other years, the creators' research revealed trends typical of this period. In particular, the image of a contemporary adapting to a new era began to be embodied in Uzbek cinema. During this period, comedy film production increased sharply. "There are no clear genre boundaries in feature films. Genres are usually used in combination or separately. Each genre, in turn, is divided into subgenres. As a result, one film can be created in one or several genres" [4; 17-18]. In certain periods, there was a tendency to create films of certain genres in the cinema of Uzbekistan. This, of course, depended on the atmosphere of that time, the desires of the filmmakers working in those years, and the demands of the audience. In general, "...the change of dramatic types and genres occurred in accordance with the demands of social life, the educational and aesthetic needs of people, and the demands of the time. For this reason, at a certain time, one genre came forward, and another genre was pushed into second place. This is proof that the legitimacy of artistic creativity, the dramatic genre, is a historical category" [1; 159].
Besides that, the director himself determines the genre and style that he chooses for the film. His worldview and artistic thinking are reflected in the genre. The genre determines the choice of expressive means necessary for the director to implement his idea. The choice of genre is one of the crucial moments of the work of both the screenwriter and the director. V. Ya. Propp, a famous scientist who studied the morphology and genres of fairy tales, said: "The genre of a work is not a superficial feature, but a quality that determines the entire artistic texture of the work" [3. ; 12-13]. It is known that "comedy shows vices, defects, mistakes, errors in people's activities, their character flaws - stupidity, stubbornness, rudeness, laziness, bureaucracy, bribery in public
life, will be revealed and exposed on the basis of "laughter" [1; 179]. In a purely comedic genre, it is difficult to create a complex character. Through the characters of the comedy films "Abdulladzhon" (a fantasy comedy), "Yaratganga Shukur", "Bomba" such features of Uzbek people as childhood, hospitality, and innocence were conveyed to the screen. Such creative search of the director created a tendency of creating popular films on the big screen by embodying popular characters on a modern theme. Although the events in his films are in some ways not the same as in real life, the environment in which the characters live is inextricably linked with the modern process. It is known to everyone that film critic Khanjara Abulkasimova writes on this matter: "The cinema of 1991-1996 has little connection with the real events of those years. Speaking about those years, two films come to mind - "Dedicated to Abdulladzhan or Steven Spielberg" and "Before Dawn".
These two works are distinguished by the seriousness of thought, the ideological content of the plot, and cinematic qualities" [2; 5-6]. "The 90s went down in the history of Uzbek people as a period of difficult trials, noble aspirations and crazy dreams" [5; 110]. In 1991-2000 years artistic processes in cinematography were undergoing an important stage of improvement for further research. The boundaries of subject, genre and methodological research expanded. The image of contemporaries differed according to these criteria. In the 1990s, Isamat Ergashev and Zulfikor Musakov were among the most sought-after directors in creating the image of different contemporaries. They mainly shot comedy and drama films. Through the image of contemporaries, a number of social and everyday problems were brought to the screen. The plot and characters invented in feature films were reflected.
It is not a secret that Uzbek cinematography of 2001-2010 was distinguished, first of all, by its fruitfulness in comparison with previous periods. A new approach was observed in the work of directors who had a certain understanding of the idea and ideology of national independence, realizing that modern problems should be brought to the screen through images. Thanks to the use of historical-retrospective, lyrical-subjective methods of cinematographic narration in modern films, it became possible to interpret the image of the hero in the context of social and psychological problems. The number of films shot in the melodrama genre increased. During this period, Yusuf Rozikov, Zulfikor Musakov, Jakhangir Kasymov, Arif Yoldoshev, Yolkin Toychiev, Mansur Abdukholikov performed in the dramatic genre; Rustam Sadiyev - in the melodrama genre; Murad Radjabov and Abduvakhid Ganiev created the image of many contemporaries in the comedy genre. One of the most important aspects was the increase in the number of young, talented personnel in the industry.
The number of commercial films increased. The emergence of heroes of life and psychologically complex contemporaries, the expansion of the scale of events in terms of location, the solution of not only social and everyday but also global problems, the continuation of cooperation with writers in the field of film scripts, sharp plots, pure genres. At the same time, the creation of many films of mixed genres, the emergence of new approaches to the issue of plot and form, an increase in public episodes in the picture world, the reflection of battle scenes, the emergence of a tendency to create multi-part films were among the innovations of that period.
However, it should be admitted that from 2011 to 2016 - Zulfikor Musakov, created a number of films in the genres of drama, comedy; Yolkin Toychiev - in psychological drama; Khilal Nasimov and Ayub Shakhobiddinov - in drama; Rustam Saadiev - in war, crime, action drama, comedy, in particular, depicting contemporaries with different characteristics. It is
important to note that there is a tendency to create films based on real events and images of contemporaries ("Brave at Heart", "Deceived Woman", "Gumrokhlar", "Traitor"). Although the films of 2011-2016 are diverse in subject matter and genre, it can be seen that they are mostly made in the old form. This requires serious research. In order to prevent the creation of films in the old form, it became necessary to form a new view on the issue of a new form, to study world experience in this regard. As a result of the reforms of the head of state Shavkat Mirziyoyev, aimed at bringing the cinematography industry to a higher level, since 2017 the image of new contemporaries has appeared on the screen.
Although fewer films were shot compared to the previous period, the demand for their ideological and artistic side has increased. In the era of globalization, films have been created that reveal the character of people who are participants in social relations. In such films, attention was paid to understanding and feeling a person. In general, the point of view that "Man comes first" has appeared on the screen. The feature cinema of Uzbekistan is rich in themes; films of the historical genre have been created.
By this time, there is the use of artistic interpretation of the image in the documentary film, as well as the enrichment of the feature film with chronicle shots, the addition of factual information and photographs about the plot and the hero at the end of the film. There is a tendency to create series that include content, film based on real events.
As a result of thematic and genre research, the image of new heroes appeared. Although the topics are old, a new approach and new conclusions were given to them. However, the fact that films are not always created in a new form shows the need for further research. In 2017-2023, Zulfikor Musakov and Dilmurod Masaidov fruitfully created new contemporaries. Films were shot in independent, mixed and new genres.
However, almost no research has been conducted so far on the creation of a modern character in the comedy genre. However, the creation of films in the historical genre has begun. The fact that children's films were not used to create the image of contemporaries shows that a number of studies in this area are still needed. In feature films, the image of contemporaries is interpreted not as ideal heroes, but as an ordinary person, not free from shortcomings, connected with real life, possessing high human qualities, therefore, a new typology of heroes has been created in domestic cinema.
By summerising it should be suggetsed that the current cinema of Uzbekistan is characterized by a tendency to move from the general to the particular, where on the screen the attention is paid not to general, but to specific and topical issues of life, which is gratifying that filmmakers for being able to embody the true nature and relevance of problems, sometimes ignored by everyone, through the images of different contemporaries and that the films are diverse in genre.
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3. Abulkasimova H. Fundamentals of cinematography. State Art Institute of Uzbekistan. - T.: "National Encyclopedia of Uzbekistan", 2009, P. 100 .
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