TheCinema of Central Asia includes the cinema of the five formerSoviet Socialist Republics (Kazakhstan,Kyrgyzstan,Tajikistan,Turkmenistan andUzbekistan) andAfghanistan.[1][2][3] Central Asian cinema can further be divided into three historical periods,Soviet Central Asian film (1919–1987), a New Wave of Central Asian film (1988–1992), and the modern period of film of the independent Central Asian countries (1992–present).
Afghanistan's domesticfilm industry emerged in 1965 upon the creation of the government-funded Afghan Film studios in Kabul, eventuating in production companies such as Nazir Film and Ariana Film. As Kuhn& Westwell note these companies primarily:
"Employed Russian-trained filmmakers such as Khaleq A’lil, Rafiq Yahyaee, and Wali Latifi. Under Soviet occupation (1979–89) film production was [swiftly] centralized and [targeted] towards production of propaganda, including Farar/Escape (1984) and Sabur-e sarbaz/Saboor, the Soldier (1985), both directed by renowned Afghan director ‘Engineer’ Latif Ahmadi."
Decades ofconflict, the installation of the Taliban and economic instability have resulted in, between 1951 and 2004 less than fortyAfghan films being created.[4]
The cinema of Kazakhstan was recognized as a hub of Soviet documentaries and "Eastern style" romantics.Almaty, Kazakhstan is the starting place of the Kazakh "New Wave" of perestroika-era cinema (seeRashid Nugmanov). The independent film in Kazakhstan now is characterized by historical epics, such as Sergei Dvortsevoy's "Tulip".
Early Kyrgyz film can be characterized by Russian-language Soviet films, such as "The First Teacher" byAndrei Konchalovsky. Later Kyrgyz films, such asBeshkempir were filmed in theKyrgyz language and dealt with themes of urban and rural differences in Kyrygyzstan.
Tajik cinema in the Soviet era was marked by propaganda and an emphasis on secularism. Since Tajikistan's independence, Tajik cinema has grown into its own. Because of theTajik Civil War from 1992 to 1997, virtually all of Tajik cinema before the new millennium was made abroad. Drawing from cinematic traditions in the East, West, and South (particularly fromIranian cinema), Tajik directors have been able to create influential films about the social and historical conditions of their land. Some major films include Bakhtyar Khudojnazarov's [Kosh ba kosh].The cinema of Tajikistan is held back by a lack of government funding.
Turkmen cinema has historically been highly regulated by the state government and has been reflective of the political trends. Cinema in Turkmenistan was completely abolished by PresidentSaparmurat Niyazov in the year 2000. Several important films were created in the 1990s including Little Angel, Make Me Happy by director Sapar Usmanov. The ban on cinema has now been lifted.
Uzbek film has a long list of films produced in the Soviet era and the modern era. The history of Uzbek cinema can be divided into two periods: the cinema of theSoviet Uzbekistan (1924–1991) and the cinema of the independentUzbekistan (1991-present). Films of the Soviet period were shot either inRussian orUzbek. Most critically acclaimed films of the Soviet period include films such asMaftuningman (1958),Mahallada duv-duv gap (1960), andShum bola (1977).
1. Ten Years Under the Winds of Different Ideologies (Gulnara Abikeeva)http://www.kinokultura.com/CA/A2tenyears.html
2. Central Asian Films (Jared Rapfogel)http://www.sensesofcinema.com/2003/feature-articles/central_asian_films/
3. Young Kazakh Filmmakers: New “New Wave” on the Road (Jane Knox-Voina)http://www.kinokultura.com/2010/27-knoxvoina.shtml
