Ministry of culture and sport of the republic of Kazakhstan

Kazakh national academy of arts of T.K. Zhurgenov

UDK 791.43 А12 As the manuscript

Faculty "Cinema and TV"

"Direction of Television and Operator Art" department

Abishova Sholpan Sunnatullakyzy

The important of the image of the hero in a documentary film

PAPER

The master thesis on competition

Academic degree of the master of art criticism sciences

in 6M040600 "Direction",

specialization "Direction of cinema and television"

(scientific and pedagogical direction)

Research supervisor:

Associate professor,

Akchalov E.E.

Almaty 2016

The structure is consists of: normative references, definitions and abbreviations, introduction, 4 chapters of the key,20 figure, 1 diagram, 7 tables, conclusion, list of references and application, dissertation volume is 109 pages.

The key words: cinematography, images, hero, mythology, airtime, format, subject, film language, change.

Over the past thirty years,the Kazakhstan’s socio-political system has undergone a number of significant changes in the search for the new mechanisms of functioning associated with the completion of the socialist stage of our history and attempts to modernize, based on the example of Western democracies. The educational function of the documentary screen was enormous, documentary image formed positive hero of his time. "As the giant panels assembled from fragments of mosaic preserving its generic quality, but transformed by the context of the author's intention, as well as individual portraits, and the facts of life of people gathered film documentalists in special fabric, where each frame and the fact that exactly corresponded to reality, but put together create an ideal image the same Soviet man. This image is carried in all the laws of the ideal model of the individual and the rules of his existence, which were part of the canonical speculative scheme. But the impact of this on-screen canon audience was huge, since it was formed from fragments of recognizable reality and therefore felt to be vital, existing "

The heroes of our time in the image of modern documentaries are cause for debate among the tv experts, and often cause criticism from the rank and file viewers. In pursuit of TV ratings habitually turns its attention to momentary scandal, documentaries devoted to private life TV stars or politicians and scandals associated with them. Although we can not assert that teledokumentalistika completely ignores the people whose activities are aimed at the transformation of the surrounding reality, those who really fits in the traditional sense of a positive social character. In today's world cinema often plays the role of buffoon, designed to entertain the public. Movie theaters are crowded action-movies, fantasy and animation, which are the target audience. He writes in his book "Partisan Camera» Film Critics Muratov S.A., the onscreen documentary connected three elements: the ability to record what is happening in real life at the camera, the subjectivity of the author's approach and, consequently, the image of reality in the frame.

That is what is being proposed to show the viewer, already is the result of the interpretation of the sponsors. The viewer sees the proposed picture of reality, reconstituted with the camera. How does it look in reality, he does not know.

Unfortunately, recently disappeared from the big screen documentary films. The history of the Kazakh documentary cinema is inextricably linked with the history of the Soviet documentaries. In today's film-documentary films are two-faced. On the one hand, it is standardized journalistic investigation of the TV, on the other hand a documentary with the author's point of view, and therefore filled with original art techniques and copyright message. Despite this our kinoterritorii problematic picture of things in terms of film language, documentary lives, changes shape, develops visual, expressive means.

The problem with this study is that, on the one hand, the very essence of a biographical documentary of the project is the story of real events that occurred in the past or ongoing at present. A project of this type, as a rule, should be based on the facts, follow the biography of the hero, and as a result, can claim to objectivity. But, on the other hand, despite the documentary nature of such projects, they do not always reflect a person's life impartially, as it is. Biographical documentary TV project is designed for a mass audience, and to attract the attention of an increasing number of spectators, must entertain, offering them a lot of bright moments and strong emotions and plot twists. The desire to show the life of the hero as a more vibrant as possible, dramatic, exciting and interesting, leads to the use of special artistic techniques, which, in turn, give the film a dramatic color. Thus, it turns out that on the one hand, the TV project is a documentary as the story about the life of a real person, and on the other, with the advent of its dramatization, loses its documentary nature.

Based on the foregoing, the relevance of this study, the identification of crisis situations and issues of contemporary forms of content documentary. After some investigation in this direction will become apparent solutions to a number of problems in the development of film language in the documentary of Kazakhstan. The premise of the research topic was the study of the development of the documentary kinematogrofa Kazakhstan's independence from the beginning to the present day in terms of changing film language. Therefore, in this paper, it is important designation of the main stages of change of cinematic language of documentary film in the process of global and domestic context.

It should be noted that today the modern documentary of Kazahsatan is in a crisis situation. There is a separation of a television documentary and independent documentary image as media products and festival movement ignore domestic problems of film language, developed in nonfiction filmmaking. Further, as a result, the problem of lack of demand should be of such a film viewer. The viewer is not interested in promoting the documentary shows due to a problem of artistic perception, which in turn arose from the decline of the level of education issues. Modern society no longer read books, interested in history, viewers want to see a beautiful picture in front of you rather than the true reality. We don’t know all the names of the country defenders, our writers, actors, but we know all fictional characters ranging from Harry Potter ending characters in the film Twilight.

The object of study: the documentary world and domestic cinema.

Subject of research: the transformation of film language in the documentary cinema of Kazakhstan, the dramatization of the effect in the construction of the biographical documentary television projects in the Kazakhstan television.

Tasks: Consider the main stages of the evolution of film language in the world cinema documentary analysis climactic points in the visual development tools and their use.

To analyze the experience of the Kazakh documentaries, as well as to consider specific techniques and elements of cinematic language inherent to non-game pictures of the Soviet era.

Consider the concept of a biographical documentary TV project, and to identify differences between the biographical documentary film portrait of the TV project.

Consider approaches to the typology of the expressive means of the screen. Identify the key means of expression of the screen, which are used for the dramatization of the story, as well as methods for their use.

Consider the way of building the story in the biographical documentary TV projects.

To write operation uses several basic methods:

Historical and theoretical analysis.

Comparative analysis.

The typological analysis.

Analysis of the content (for the study of artistic means of expression, used for the dramatization of the story of documentary biographical films).

Structural analysis (analysis of the structure of the biographical documentary television projects and determination of the place of dramatization in their construction).

Since contemporary documentary cinema is less popular with the audience, the extent of knowledge of the theme is lower than in the direction of the feature films.

On the subject of this study utilized the works of documentary filmmakers of the world: Vertov "Articles, blogs, ideas," A.Peleshyana "My Movie", as the electronic version of the master-class in VKIKe "I installation installation of killing" G.Franka "Map Ptolemy "M.Merkel" Perpetual motion "; domestic - A.Baygozhinoy "I am 20 years," most of the supporting literature was easy Zh.Sadulya, G.Aristarko, S.Freyliha, L.Dzhulay, O.Neychay and G.Ratnikova, S.Drobashenko, A.Svobodina As well as additional textbooks "Documentaries Central Azy" G.Abikeevoy "Kinospravochnik" "Zhibek Zholy" publishing house, "Cinema Encyclopedia of Kazakhstan". Sh.Aymanova ". In his writings and articles, documentary films focused topics Kazakh film critics K.Siranov, B.Nogerbek, K.Aynagulova.

There are fundamental works on documentary films - works Belyaeva, GS Prozhiko,VS Sappaka, SA Muratova A. Yu Yurovsky and so on. About heroism and its transformation in the course of history wrote George. Vico, GWF Hegel, Freud, CG Jung, Mamardashvili, J. Huizinga and others. Since the 2000s, steel appear dissertation devoted to change the concept of heroism and its role in modern society. It works Suravnevoy VI, Smirnov, M. Loshmanovoy. The place of documentary cinema in the modern mass media wrote structure S. Sychev, K. Shergova.

There are works devoted to television documentaries: The works of the first group of scientists devoted to the theory and history of documentary television documentary biographica l films-portraits (William Buckland, AA Novikov, GS Prozhiko, M. Rabiger, E. Razlogov). A second group of researchers examines how built up in the drama documentary TV projects (YN Arabs, IK Belyaev,GN Brovchenko, RV Gudyakov, AA Novikov, F. Truffaut, KA Shergova). The works of the third group of scientists dedicated to the means of expression screen, which can be used for the dramatization of the TV project (NL Goryunov, Y Lotman, SA Muratov, VF Poznin, KE Razlogov, YG Tsivyan).

Metodolgicheskaya basis for the study:

The basis of the thesis - an interdisciplinary approach. Use the principle of historicism, the problem of t Structurally-analytical method assumes as an objective research study of the structure of the documentary, and focused on the identification of both its structural elements and design of hierarchical levels and their relationships;

Rather-comparative method of study documentary kinematogrofa used to detect a variety of facts and realities, as well as by determining the structure of the invariant films;interview method involves working the primary sources; the purpose of the method was to obtain information about the inaccessible film, evaluation of the spectrum of the author targets set in the works;

The historical method of film studies - research method based on the study of the origin, formation of kinematogrofa objects (in this case, the documentary) in chronological order. Through the use of this is achieved in depth understanding of the problems and it is possible to formulate a more informed recommendations for new research facilities. His techniques were used for the study of multi-forms of film language;

film studies methods include specificity of cinema, the essence of the nature of the visual arts.

The scientific novelty of the work:

Identification of means of expression documentary film at certain stages of the evolution of film language;

Analysis of the experience of Kazakhstan documentaries;

Characteristic of certain stages of the domestic documentary films;

Critical analysis of contemporary documentary film-making;

Research tendency in a television documentary cinema of Kazakhstan and their detection on the viewer's taste;

Determining the status and quality of the author's documentary film language of Kazakhstan;

language development paths Offer Documentary Film and output capabilities of this type of kinematogrofa to the viewer;

The practical significance of the work:

The results of this research can be used to practice directly creators biographical documentary projects (directors, producers and writers) to determine what kind of dramatization mechanisms are needed in their work. With the help of this study, from the directors appear to trace in what moments are commonly used certain means of expression of the screen to make the film more entertainment and drama, and use this information at the stage of creating the script of his film. In addition, this work can serve as a starting point for further, more extensive study of documentary cinema.

Empirical base made documentary films and projects, taken from 1925 to 2016 as the "Arrival of a Train at the station" La Ciotat Lumiere, "Nanook of the North" by Robert Flaherty, "The man with the machine" by Dziga Vertov, "Triumph of the Will" A.Pelyashen, "Ordinary fascism" Mikhail Romm, "Turksib" 1929. "the beginning of a long journey" Siranov, "Jean Arch" Sh.Aymanov, "interval" S.Azimov, "Uncle Bob" A.Ernazarov, "Chronicle of an undeclared demonstration" in 1991 year, "Happiness" 1995 "Domusylmanskoe beliefs" B.Gafu, "Touching eternity" A.Mashani, "Nevada Kazakhstan» Sh.Aymanov, "The Mystery of open palm" O.Abishev and others

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