Yembergenova Dinara1, Akhmedova Aizhan2 & Abikeeva Gulnara3
1Kazakh Leading Architectural and Civil Engineering Academy, Almaty, Republic of Kazakhstan, dinarae@bk.ru, ORCID: 0000-0002-9133-1993
2Kazakh Leading Architectural and Civil Engineering Academy, Almaty, Republic of Kazakhstan, aizhan.akhmedova@googlemail.com, ORCID: 0000-0003-3935-3957
3Turan University, Almaty, Republic of Kazakhstan, gabikeyev@googlemail.com; ORCID: 0000-0001-8493-1547
Volume 12, Number 2, April-June, 2020 I Full Text PDF
DOI: 10.21659/rupkatha.v12n2.19
Abstract
The article highlights the issue of social and cultural clashes of different segments of the population of Kazakhstan. Art is a way of communication; so Darezen Omirbaev expressed his opinion about the current situation in independent Kazakhstan in 1991 through the film “Kairat”. According to the plot, the main character, Kairat, leaves his village and moves to a big city – Alma-Ata. These are two fundamentally different spaces, both architecturally and socioculturally. As the director demonstrated, – the city did not accept a resident of another class, a different type of thinking. Kairat, as a representative of the Kazakh-speaking culture of Kazakhstan, ineptly tries to integrate into the Russian-speaking urban environment. The frames are filled with archetypal images that allow a more in-depth look at the conflict between the film and society. The article provides data that demonstrate how the situation with the film industry and language policy in Kazakhstan has changed.
Keywords: Film, Director, Kazakh Cinema, Language Policy, Social Conflict, Space, Kairat, Darezhen Omirbaev.