ОБРАЗ ГЕРОЯ - БУНТАРИ, АУТСАЙДЕРЫ В КАЗАХСТАНСКОЙ НОВОЙ ВОЛНЕ

Abstract

This article examines the changing process of ‘Kazakhstan New Wave’ films from the late 1980s to the 1990s. In this paper, in particular, the author tried to analyze the aesthetic and general characteristics of the changes in the image of the main character of Kazakhstan cinema. The article identifies the motives and ways of transforming the screen hero, reveals the relationship between the image of the hero and the artistic and aesthetic nature of the Kazakh feature film from the late 1980s to the late 1990s, analyzes the films of the “Kazakh new wave”, starting from the manifesto film of this direction - films of Rashid Nugmanov's 《The Needle》(1988), art-house films by Serik Aprymov, Darezhan Omirbaev and others. The heroes of the ‘Kazakh new wave’ are overwhelmingly not hero-fighters who defend their rights to a worthy life, they are limp creatures meekly floating along the course of life. Their condition psychologically accurately reflects the shock state of millions of people after the sudden collapse of the Soviet Union, the collapse of the economy, and the debunking of the usual Soviet ideology. The heroes of the ‘Kazakh new wave’ are outsiders, they are characterless heroes, included in the reality, meekly floating along the course of the river of time, previously losing the match with harsh reality and resigned to their plight. Obviously, in the future, Kazakhstan national cinema, developing within the strict framework of producer cinema, focusing on the mass audience, will nevertheless master the folklore traditions in cinema so as not to lose the image of an ethnic hero.