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6"Oriental Art and Culture" Scientific-Methodical Journal Volume 3 Issue 2 / June 2022 ISSN 2181-063X
ЁШ АВЛОД РЕЖИССЁРЛАРИНИНГ КИНО САНЪАТИДА ИЖОДИ ВА
МАХ,ОРАТ МАСАЛАЛАРИ
И;бол Мамасодикович Меликузиев iqbol.1981.nozxon@gmail.com Узбекистон давлат санъат ва маданият институти
Аннотация: Мазкур илмий маколада бугунги кун узбек бадиий киносида ижод килаётган ёшлар фильмларини тахлил килиш жараёнида уларнинг юту; ва муаммоларини урганилган, зарур таклиф-мулохазалар билдирилган. Шу билан бирга хозирда узбек киносида ижод килаётган ёш режиссёрлар фильмлари мисолида иктидорли актёрлар ва операторлар ижоди куриб чикилади. Давлат ва хусусий киностудияларда фаолият олиб бораётган ёш режиссёрлар томонидан яратилган бадиий ва хужжатли фильмлар профессионализм нуктаи назаридан тахлил этилади. Уларнинг узига хос ижод йули аникланади. Узбек бадиий киносида ёшлар ижодининг бугунги кундаги холатига назар ташлаш асносида, мавжуд муаммоларни бартараф этишга оид таклиф ва мулохазалар билдирилади.
Калит сузлар: санъат, кино, режиссура, бадиийлик, образлилик
CREATIVITY OF YOUNG DIRECTORS IN THE ART OF CINEMA,
QUESTIONS OF SKILL
Ikbal Mamasadikovich Melikuziev iqbol.1981.nozxon@gmail.com Uzbekistan State Institute of Arts and Culture
Abstract: In this scientific article, films created by young creative people currently working in the Uzbek art cinema were analyzed, their achievements and problems were studied, and the necessary suggestions and comments were made. At the same time, the work of leading actors and cameramen is considered on the example of films by young Directors currently working in the Uzbek cinema. The films of young Directors working at public and private film studios were analyzed from the point of view of professionalism. Their specific creative path is revealed. An overview of the current state of youth creativity in the Uzbek art cinema was made, suggestions and comments were made to eliminate existing problems.
Keywords: art, cinema, directing, artistry, imagery
INTRODUCTION
The difference between cinema and other art forms is explained by the fact that it is a mixed (synthesis) art. The director's contribution to the creation of a single work, combining many types of art, is great. The director transforms the actor into a movie protagonist with the help of filmmakers such as screenwriter, cameraman, composer, artist, make-up artist, sound operator, costume, lighting and editing masters.
Directing is as complex as it is an interesting profession. Anyone can envy directing, but it's much harder to get it. To be a director, a person must be well-formed. To do this, the director must have the ability to create acting, organization, observation, and most importantly, innovation. The director's main weapon is the actor, and his axis is the cameraman. Being able to aim a "loaded weapon" requires a great deal of skill on the part of the director.
METHODS
Descriptive, classification, historical-comparative, contextual and complex analytical methods were used in the study to cover the topic. He also uses the methodological tools of the humanities - art criticism, psychology, sociology, communication theory, cultural studies.
This scientific article uses modern methods of art criticism aimed at theoretical and historical-artistic understanding of the problems under consideration. The method of comparative analysis has been used to study the importance of the script in feature films at different stages of the development of screen art.
RESULTS AND DISCUSSION
A director who wants to make a new film starts by choosing a script. When choosing a screenplay for a production based on thematic, ideologically sound, artistic and aesthetic generalizations, the director must determine the audience: who, how old the audience wants to make a film. The main task of the director is to choose a script with a perfect artistic basis, to be able to assemble an ensemble of actors in accordance with the nature of the protagonists, to determine the criteria that determine the ideological and artistic value of the film.
The director chooses the script based on his ability. In doing so, he takes into account the genre, form of the film, as well as his own worldview. Some directors have the ability to create a unique film in the drama and some in the comedy genre. This criterion must be resolved before the film can be made.
An analysis of Abbasov's films shows that only "The neighborhood is buzzing" is in the comedy genre. His films "You are not an orphan", "Tashkent - the city of bread" were made in the drama genre. The young director, who studied in Moscow, Sh.Abbasov will be given the script of "The neighborhood is buzzing". The director skillfully screens this script. In the success of the film "The neighborhood is
buzzing". It should be noted that Abbasov was able to choose the right ensemble of actors.
A director is a film producer who is the person who directs all the creative and production forces in making a film. Some viewers realize who the director is when they see the first frame of the film. This is an objective assessment of the director's talent. In the art of cinema, this concept is called a director with his own style.
When will a director become a director with his own background? When he chooses a good play, he achieves his goal only if he can convey correctly how to approach the actor. To do this, the director must influence the actor in such a way that he becomes the protagonist in the film. Let his actions, his nature, his facial expressions, his silence, his looks, his clothes, even the environment in which he lives, be in harmony with each other, enriching one another. In short, the director must be able to "poison" the actor in order to portray him as a hero in the film, and, most importantly, to portray the film as an event that is happening in front of the viewer's eyes, not as a simple reality.
In the process of making a film, an actor becomes an actor only if he is able to play the role as quickly as a child, giving his whole being, according to the director's instructions. The main thing for the actor was to know the way, to live in the role, to improvise if necessary. Professor Shukhrat Abbasov, an artist, told the students: "An actor should always be able to imagine, see and strive for what the director has created."
Directors are divided into two categories according to their creative path. For example, Nabi Ganiev and Shukhrat Abbasov used the art of actors effectively to reveal the content and idea of the film, while Latif Fayziev and Komil Yormatov paid special attention to the clashes during the film.
L.Fayziev and K.Yormatov skillfully screened the scenarios, embodying the image of a brave hero who wins the clashes.
In Ravil Botirov's films, the inner psychological experiences are strong, and his protagonists fight with their hearts. An example of this is the film "Where is Heaven?"
The protagonists of Yolkin Toychiev are ordinary people around us, and in his films he promotes a philosophical idea through the heroes (for example, the image of Lobar in "Silence").
In the work of every director, along with successful films, there are also unsuccessful films. The form and philosophy of the film "Fate" created by Ayub Shahobiddinov proves that it does not correspond to the creative style of this director. The films of this artist that reveal the inner world of the protagonist are remarkable. A. Shahobiddinov's film "Grass" is a clear example of this.
"Portable tent" (st. the destiny of a man who has made a covenant, his mental anguish is revealed through touching plates.
Ubaydullo's view on modernity Rozikov's «Comrade Boykenjaev» is reminiscent of the film's protagonist. Boykenjaev is a victim of time, but Yo. Toychiev's Ubaydullo hero will not be a victim of the Soviet regime; on the contrary, he will overcome all difficulties.
Mishap's "How do you understand what collective farming is? In response to his question, Ubaydullo said, "That government of yours listened to my grandfather, persecuted my father, and declared me a child of the enemy of the people. I lost all my loved ones one by one. Only my son is left in my bed. So be lazy, how much? " he says. The policeman asks him for five pairs of sheep ...
Through this film, the people of that time were mixed with lies by the government, and vices such as bribery were reflected in the appearance of the policeman, his cunning face, and the tone of his speech. The director portrays this hero as X. Sadiev was chosen correctly and he clearly portrayed his hero in the film.
Director A. Despite the fact that Shahobiddinov has a lot of middle-aged actors, the film's protagonist Ubaydullo was nominated by Nozim Tulakhodjaev, which ensured the success of the film. N. Tulakhodjaev has played many unique roles in Uzbek cinema. The film depicts the fate of people who suffered from the oppression of the past century, and therefore despair, through the image of Ubaydullo. At first glance, Ubaydullo seems to be a man who in some ways does not fit into the grass. Indeed, an episode shown during the film (wearing a tailcoat from a box) proves that he is a man familiar with art.
In the embodiment of the actor as a hero before our eyes, first of all, N. The filmmakers have played a key role in Tulakhodjaev's acting skills, the fact that the costume masters have chosen the right clothes for him, and the thirst for the rebellion of the heart throughout the film. The cinematographic world of the cameraman Azizbek Arzikulov, which is important in conveying the inner conflict of the protagonists to the audience, has made a worthy contribution to the art of the film.
The art of cinema cannot be imagined without the cinematographic world of the operator. The cameraman plays an important role in portraying the film's protagonists on the screen, which the director wants to put on the basis of the playwright's script. He always works side by side with the director and the artist. The cinematographer uses general, medium, and large plans, different angles, and frames that are accelerated or slowed down according to the content and idea of the film.
Although the cameraman is subordinate to the director as part of the film crew, if he has a unique brilliant talent, the same is reflected in the film's plastic solution. Every operator has a tendency to this or that type of film, a certain style. For example, operator D. Fatkhullin (in Uzbek cinema he made films "Meeting", "Stork
came - summer is here", "Rope walkers", "Elegance", "The moon is gone, come back alive") Krasnyansky preferred a historical genre that required strict assertion. Operator H. In the films shot by Fayziev ("You are not an orphan", "Tashkent - the city of bread", "Love conflict", "Last days-2", "Women's kingdom") we see that in each frame he strives for harmony, clarity, trying to avoid effects. [1, 40.]
It should be noted that Arzikulov, together with the creative staff, found a wonderful nature (grass on the slopes of the mountains) that could reveal the atmosphere of the film. Since Ubaydullo is one with nature, we see him in the image of a happy man. But he has suffered from the community, so he doesn't want to add his son to the community. All these events were skillfully filmed under the direction of cameraman Aziz Arzikulov. The angles and plans he uses to reveal the content and idea of the film give the audience an aesthetic pleasure.
Operator is also a complex profession and the owner of this field must be a master of accounting. When we spoke to Arzikulov, he said that he had a hard time filming "portable tent". The reason for this was the lack of professional technical equipment at the institute. We would videotape at the institute. Working with film is not as easy as we thought.
The years of the film ("Grass") are not shown in ordinary subtitles, but in the pages of newspapers published at that time, and the "cotton affair" of the 80s is shown on television. It should be noted that the director wisely used the means of expression in cinema.
Rano Shodieva's punch to Ubaydullo's chest was symbolically depicted in the film, as if the filmmakers were asking for permission to enter Ubaydullo's heart.
The artistic analogies of the film are mostly shown on television. For example, a grasslander who has been neglected all winter is compared to a polar bear on television. In the film, the scene of the TV digging from the ground is remarkable. Director A. Shahobiddinov author Yo. Toychiev's ideas of freedom are revealed through the image of Ubaydullo's young daughter. The girl asked her father, "Will Liberty appear on TV?" When he said, "Will it be seen?" he answers hesitantly. Dissatisfied with the answer, the girl says to her father, "Why then does our TV always show the same thing?" Then the father says the TV is broken and needs to be fixed. At this point, the screenwriter Yo. It should be noted that Toychiev skillfully used the subconscious idea instead. The author compares the fact that television shows the same thing to a boring, rhythmic life in society. So he says it needs to be fixed. Director A. Shahobiddinov was able to enrich the author's idea in the film.
It should be noted that in the impressive performance of the film, the editing masters worked on each frame separately. The rhythmic passage of the films one after the other enhanced the art of the film.
At the prestigious international film festival "Kinoshock-2007" in Russia, the talented film actor N. The image of Ubaydulla created by Tulakhodjaev in the film "Grass" was awarded in the nomination "For Best Actor".
Professionals who show the work of the film's creative staff on screen are the actors, and the viewer's eye only sees it, through which it evaluates the work of the creative staff. That's why it's important for a director to be able to work directly with an actor. In turn, what kind of ensemble of actors the director chooses for the film will have an impact on the audience.
The success of a director is that he is able to convey his goal to the audience. If the audience doesn't like the film's protagonist and can't find similarities in him, it's a difficult issue for the film to survive. The talent of the creator is manifested in the fact that he reveals his purpose through the film and is able to enter the heart of the audience.
No actor can become an actor after graduating from an institute. First of all, an actor needs a thorough drama and good directing. The actor is introduced to the public by his roles. For example, Gulchehra Jamilova in the film "Last Days" created silver characters, Yodgor Sadiev in "Shaytanat" Asadbek, Abdurayim Abduvahobov in "Naughty child" . Their success can be overestimated in the director's work.
"Tahir and Zuhra", "Tashkent is a city of bread", "You are not an orphan", "There is a lot of talk in the neighborhood", "Beloved", "I am your charmed parson", "Our people are not bored, they see something again and again, they get something every time they see it". Films such as Iron Lady show that the art of cinema follows the "golden rule." These films are thematically relevant to all eras. Despite the fact that cinema is a new art form, the creators of this film have created endless screen works as a result of relentless effort and research.
In recent years, young people who have graduated from the department of film directing are returning to improve their skills in other countries. In particular, former students of the Uzbek State Institute of Arts S. Ismailova received additional education in Italy, Niyara Repnika in Germany, Ruslan Saliev in Russia. Yunusov, Yo. Tuychiev, A. It is worth noting that the Shahobiddinovs graduated from the Higher Directing, Screenwriting and Animated Film Directing departments in Moscow and are constantly working in their fields.
There are young people working in the film industry today. But sadly, since the year 2000, some young directors have started making professional films. The real goal of such "young artists" is to make a fortune through film.
Making money through filmmaking was pre-existing. In 1909, a man named Max founded the first cinema in Central Asia, which became his source of income. According to historical documents and advertising findings from that time, this person set up advertising in order to promote the public display of films. An
advertisement once published in Uzbek in Tashkent, and then found in Uratepa, was followed by a screening of a film based on the legend of Yusuf and Zulayho, followed by a summary [2, 14].
In his speech, President Mirziyoyev reiterated the importance of training, saying: "... In the current systemic changes, it is clear that most specialists are not ready for this, their knowledge, skills and abilities do not meet modern requirements ..." This issue is our future, our future ... "[3].
What is the most important problem for Uzbek cinema today? Is it a lack of young director staff or screenwriters? This question cannot be answered in isolation. As mentioned above, film synthesis is an art form. Without a script, a film cannot be created, and conversely, without a script, without a director, this work will never be sealed on tape. In addition, the cinematographer, artist, composer, sound director, make-up artist, costume designer and lighting master have made a significant contribution to the development of the film's visual-expressive, thematic and ideological maturity, as well as its impact. If a group of professional artists come together and start making a film together, this work will definitely find its audience.
The successful release of the film depends directly on the creative team. The most important task falls on the director. If he fully explains to the actor what aspects of the nature of the protagonist should be emphasized, the content of his actions, the actor will play the role to the rhythm. Similarly, the composer creates melodies that are in keeping with the nature of the protagonist, as well as reflecting his inner experiences. Costume masters choose and sew clothes according to what period the hero is, his origin, profession, age, nationality, race, religion, gender, and role in the film. The make-up artists embody the actor in the image of the protagonist in the film, taking into account the nature of the protagonists, what time or place they live in, their nationality and similar criteria. The cameraman captures the inner feelings, thoughts, dreams, aspirations, nature, landscape, body, etc. of the film's protagonist on a large, medium and general plan, from different angles. The sound directors choose the music depending on the compositional structure of the film; adjust the volume of the protagonists, the level of sound of the music.
Editing is important in determining the spectacle of a screenplay. Therefore, editing is the most delicate process in the art of cinema. Sometimes there are cases when there is good staff and they are not used effectively. The editor must choose the best of the dowels and be able to assemble the sequence of events on the basis of a composite construction.
The most basic task required of a filmmaker is to select a good script and screen it. To do this, filmmakers are often (even in the last century) forced to turn to a work of art. This can be called two-way support for them. First, the director chooses a favorite work for the people. He thus finds an easy way to the heart of the audience.
Second, because the director is already familiar with the content of the script, he will be able to form the work in his mind in its entirety.
The screen interpretation of a work of art raises the question of whether literature is more interested or the art of cinema. Literature and cinema will only benefit each other if they enrich and complement each other. After studying the style of writing of the work, the corresponding set of actors is collected, visual-audio means, style of performance are sought. From this it can be seen that literature is a key determinant of research in cinema. Cinema is a rich source of literature. The richness of a film is measured by the inextricable interdependence of heroes and fables.
Each nation has its own culture and customs. The root of the film drinks water from national culture. Uzbek feature films tell about the past, present and future. Therefore, the film should never be sealed with light-weight tape. As he communicates the spirituality of the people, a high responsibility is placed on the author and director, the cameraman and the actor. From the beginning of cinema to the present day, its original masters, their devotees, have tried and succeeded in elevating cinema to the level of art.
Today, the number of young people working in the field of cinema and the films they create is growing in number. The level of quality of films made by young filmmakers varies, and most filmmakers lack professionalism in their films. These problems are often seen in the visual world of film. In order to prevent this problem, we believe that it is necessary to enrich the technical base for students to improve their skills at the institute, to create opportunities for operators to work not only with video, but also with film.
The director has to use professional technical equipment to edit the film. It would be expedient if the students of the directing department were provided with professional editing equipment by the management of the institute.
The director uses musical embellishment to enhance the film's art. In this regard, we think it is necessary to create a special music library for students of the directing department.
It will be easier for students of the technically "armed" directing department to make films at a professional level. However, other artistic aspects should not be overlooked in this regard.
The most important problem facing Uzbekkino is that young people graduating from this specialty are not involved in national cinema. Currently, the majority of directors in Uzbek cinema are between 50 and 60 years old, but there are fewer young people than them. We believe that this field should be enriched with young professionals, educating them in the tradition of master directors.
The current stage of Uzbek feature cinema can be called a product of the transition period. That is why in some cases we face shortcomings. Happily, young directors are gradually entering the art of cinema. They continue to be explored despite the existing problems in this art form.
CONCLUSION
We believe that young directors need to be supported to work in professional cinema. Cinema is the face of the nation. The more he is created in the spirit of professionalism and nationalism, the more his audience will grow and he will be included in the list of lifelong films.
There are many problems in the art of cinema today that need to be solved. Being united in overcoming these problems will bring positive results. The audience wants to see a real work of art again and again. To do this, the film must be mature in all respects. The director's service is great. He should be able to be both an organizer and a propagandist and an audience.
We think it would be useful to exchange views with experts in the field during the editing process to avoid shortcomings in the film. In order to avoid a number of shortcomings in the films, it is advisable to work with art critics and film critics, exchange ideas, make changes and additions where necessary, and use the traditions of master directors until the work is referred to the judgment of the audience. That's when every expert in the field is considered to have contributed to the success of the film.
Today we live in the midst of commemorative plans and dreams of national independence. As we are on the verge of rebuilding the society in which we live, this renewal applies not only to economics or politics, but also to enlightenment, science, art, culture, in short, to all layers of thought.
Uzbek filmmakers have a great responsibility to preserve and develop the best achievements of our national cinema, to convey the artistic expression of the idea of national independence to the audience in an alternative form, combining national and universal values, and they have enough determination and skills.
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