Social motives in “New Wave” of Kyrgyz cinema

Abstract

At the first stage of history of Kyrgyz cinematography (1937-1949), the creative path of the first filmmakers are explained by the beginning of the newsreel in the republic. In the second period (1950-1960) the first cadres of Kyrgyz national cinema began to take shape. At this stage, it would be appropriate to mention the relations of Kyrgyz producers with Kazakh actors. At last, third stage of Kyrgyz cinematography (1961-1979) passed into history by name “Kyrgyz Miracle”. The fourth period covering the years 1980-1990 is remembered for its stagnation characteristics. This period is characterized by the dissolution of the Soviet Union, attenuation of the material and technical base, as well as creative crisis. Critics consider that the fifth stage of Kyrgyz cinema which started in 1991 and continues until today is full of contradictory moments. In general, it should be noted that the year 2012 is considered the peak of “New Wave”. “Princess Nazik” feature film reveals the innovations brought by “New Wave” to Kyrgyz cinema in the context of the cinematic language, system of signs and subject-problem relations.