The first research of the art of cinematography in Uzbekistan
Keywords:
cinematography, art, history, ObjectAbstract
In this article, the operator, creating with the help of a camera and lens, delivers to the viewer the idea of a screenwriter, artist, director and the physiological-mental state of the actor. If in a theatrical performance the live communication of the actors on the stage gives the viewer the effect of participation, then in a feature film this task is assigned to the images of the operator. As the sensitive lens of the kinocamera involuntarily copies the experience of the heroes into the soul of the viewer, a state of joint anguish arises from their grief, rejoicing in their joy. In this way, in contrast to the actors on the theater stage, the idea of the early research of the cinematographic art of the appearance of the participation effect by connecting the characters to their experiences as their own gaze is reflected in the feature film.
References
Ikbal Melikuziev. (2020). CINEMATOGRAPHER’S ABILITY IN THE CREATION OF GRAPHIC IMAGE IN UZBEK HISTORICAL FILMS. International Journal of Advanced Science and Technology, 29(05), 1554 - 1567. Retrieved from http://sersc.org/journals/index.php/IJAST/article/view/10078
Ikboljon, M., & Tirkashaliyevich, K. S. (2019). Creative researches of young cameramen on the creation of graphic image in modern uzbek feature films. International Journal of Engineering and Advanced Technology, 9(1), 5230-5236. doi:10.35940/ijeat. A2948.109119
Abul-Kasimova X. Кино и художественная култура Узбекистана. – T.: “Fan”,-1991.
Abulqosimova X. Kino san’ati asoslar i/ X. Abulqosimova; mas’ul muharrir
H. Ikromov; O‘zbekiston Davlat san’at instituti. – T.: “O‘zbekiston milliy ensiklopediyasi” Davlat ilmiy nashriyoti, 2009. – 100 b.
Akbarov H. Adabiyot va kino. – T.: G‘. G‘ulom nomidagi adabiyot va san’at nashriyoti, –1984 y.
Akbarov H. Sehrli yog‘du. Yillar va filmlar, yetuklik bo‘sag‘asida, ekran va ikki muammo. – T.: Adabiyot va san’at nashriyoti, 1977. – 176 b.
Aliev M. Xalq sevgan san’at. – T.: Adabiyot va san’at nashriyoti, 1973. 134 b.
Aliev M. Kino asoslari: O‘zbekiston Respublikasi Madaniyat vazirligi madaniy-ma’rifiy ixtisosdan bilim olayotgan talabalar uchun o‘quv qo‘ll. – 2-qayta ishlangan va to‘ldirilgan nashr. – T.: O‘qituvchi, 1993. – 160 b.
Aliev M. Zamon bilan hamnafas. (O‘zbek kinosi misolida) – T.: “O‘zbekiston” 1983.
Возможности кинооператора в создании графического образа в узбекских исторических фильмах Меликузиев,Международный журнал передовых наук и технологий 29 (5), 1554–1567.
КИНОИСКУССТВО УЗБЕКИСТАНА: ВЧЕРА И СЕГОДНЯ И.М. Меликузиев
ЖУРНАЛ ЮРИДИЧЕСКИХ, ФИНАНСОВЫХ И ПРИКЛАДНЫХ НАУК Инновационная академия/
Расулов С.Экран санъатида тасвирий ечим ва унинг асослари. – Тошкент: ЎзМЭ, 2008. – 110 б.
Мирсоатова М. Малик Қаюмов ижоди ва кинопублицистикада маҳорат масалалари. Филология фанлари номзоди илмий даражасини олиш учун ёзилган дисс. автореферати.–Тошкент:2000.– 12 б.Советский экран, 1925. № 5. - С. 12.
Расулов С. Экран санъатида тасвирий ечим ва унинг асослари. – Тошкент: ЎзМЭ, 2008. – 111 б.
Бутовский Я. Операторское искусство в период застоя. Э-журнал “Сеанс” 2010, 24 ноября.
Downloads
Published
Issue
Section
License
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
User Rights
Under the Creative Commons Attribution-NonCommercial 4.0 International (CC-BY-NC), the author (s) and users are free to share (copy, distribute and transmit the contribution).
Rights of Authors
Authors retain the following rights:
1. Copyright and other proprietary rights relating to the article, such as patent rights,
2. the right to use the substance of the article in future works, including lectures and books,
3. the right to reproduce the article for own purposes, provided the copies are not offered for sale,
4. the right to self-archive the article.
