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КИНО КАК ВЕДУЩАЯ КРЕАТИВНАЯ ИНДУСТРИЯ КАЗАХСТАНА (Russian)
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- Author(s): Абикеева, Гульнара
- Source:
Central Asian Journal of Art Studies; Mar2022, Vol. 7 Issue 1, p54-66, 13p- Subject Terms:
- Source:
- Additional Information
- Alternate Title: CINEMA AS THE LEADING CREATIVE INDUSTRY OF KAZAKHSTAN. (English)
КИНО ҚАЗАҚСТАННЫҢ ЖЕТЕКШІ КРЕАТИВТІ ИНДУСТРИЯСЫ РЕТІНДЕ (Kirghiz) - Subject Terms:
- Abstract: Kazakh cinema began to take shape as a cultural industry from the moment when film distribution was revived in 2005 and films began to be made not only for festivals, but also primarily for the audience. These are films such as Racketeer (2007), Cocktail for a Star (2010) and The Tale of the Pink Hare (2010). However, cinema truly becomes a business now when a class of producers arises who are ready to invest their money in order to earn even more. For the most part, these producers - Bayan Alaguzova, Nurlan Koyanbaev, Askar Uzabayev, Askar Bisembin, Nurtas Adamabay, Kuralai Anarbekova and others - came to the cinema from show business and over the past decade, from 2010 to the present, have formed an important class of Kazakhstan's creative economy - the film business. In the 2000s, the share of Kazakh cinema in the box office was only around 1 to 3%, whereas in 2019, before the start of the pandemic, the box office of domestic films amounted to 30% of the box office of all films. This fundamentally affected the place of our cinema in the box office and encouraged film distribution chains to also move into film production, as was the case in South Korea in the 1990s and early 2000s. The purpose of this article is to show how the process of formation of the film business in Kazakhstan took place. Methods of analyzing statistical data, namely box office receipts, as well as the method of film studies and comparative analysis were used to describe how the entire system of film production and distribution in Kazakhstan was built, the interaction and competition between private and state film studios, and the formation of a new class of producers. The novelty of this work lies in the fact that few people consider Kazakhstani cinema as a creative industry, since we do not have official figures for the box office of films, and it is difficult to determine the role of cinema in this fourth sector of the economy. [ABSTRACT FROM AUTHOR]
- Abstract: Казахстанский кинематограф начал формироваться как культурная индустрия с того момента, когда был возрожден кинопрокат в 2005 году и начали сниматься фильмы не только для фестивалей, а прежде всего для зрителей. Это такие фильмы, как «Рэкетир» (2007), «Коктейль для звезды» и «Сказ о розовом зайце» (2010). Но по-настоящему кино становится бизнесом в тот момент, когда возникает класс продюсеров, которые готовы вкладывать свои деньги, чтобы заработать еще большие. В своем большинстве эти продюсеры - Баян Алагузова, Нурлан Коянбаев, Аскар Узабаев, Аскар Бисембин, Нуртас Адамабай, Куралай Анарбекова и другие - пришли в кино из шоу-бизнеса и за последнее десятилетие, начиная с 2010 года по сегодняшний день, сформировали важный класс креативной экономики Казахстана - кинобизнес. Если в 2000-е годы доля казахстанского кино в прокате составляла всего от 1 до 3%, то на 2019 год, до начала пандемии, бокс-офис отечественных фильмов составил 30% от проката всех картин, что принципиально повлияло на место нашего кино в прокате и сподвигло сети кинопроката также заняться производством фильмов, как это происходило, скажем, в Южной Корее в 1990-х - начале 2000-х годов. Цель данной статьи - показать, как происходил процесс становления кинобизнеса в Казахстане. Были использованы методы анализа статистических данных, а именно кассовых сборов, а также метод киноведческого и сравнительного анализов в описании того, как строилась вся система кинопроизводства и проката в Казахстане, взаимодействие и конкуренция частных и государственной киностудии, формирование нового класса продюсеров. Новизна этой работы заключается в том, что мало кто рассматривает казахстанский кинематограф как креативную индустрию, поскольку у нас отсутствуют официальные цифры по кассовым сборам кинофильмов и сложно определить роль кино в этом четвертом секторе экономики. [ABSTRACT FROM AUTHOR]
- Abstract: Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
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