National Idea Issues in Modern Filmodramaturgy (On the Example of Erkin A’zam’s Film Dramas)

Аннотация

This article examines the development of the field of film dramaturgy, the reflection of the issue of the national idea in film dramaturgy. The work of Erkin A'zam in the field of film dramaturgy, the skill of incorporating the national idea into the work are analyzed. Keywords: Art, cinema, dramaturgy, ideology, literature, talent, director. solemn party congresses that took place only twenty or Introduction: Uzbek cinema has not been around for thirty years ago and the lofty words that were spoken long. However, during its almost century-long history, there, it becomes clear that all this was done to distract Uzbek cinema has overcome great creative milestones the people, to keep them away from the unresolved and produced such famous film directors as Nabi problems of life, and to warm their hearts with the Ganiyev, Sulaymon Khojayev, Komil Yormatov, Yoldosh rosary of communism. Azamov, Zohid Sobitov, Latif Fayziyev, Shuhrat Abbosov. Almost each of these artists represents a The current historical period, in which the process of specific era in the history of Uzbek cinema. The best saying goodbye to the communist past and building a films belonging to their work, in turn, are literal mirrors new society - a civil society - is underway, also requires of this era. It is no secret that, as in literary works, major changes in the world of literature and art. cinema created during the Soviet era is not devoid of No matter how talented and brilliant the films created the ideological influence of that era. It can even be said in the recent past were, no matter how they were shot that most of the films created from the 1920s to the by talented and brilliant film directors, these works 1990s, when Uzbek art cinema was born, were created have fulfilled their mission. Today's society, today's on the orders of the political and social system or under moviegoers need different films. The requirements the ideological influence of this system. Therefore, it is that today's society places on these works are that they natural that these films do not meet today's ideological be imbued with a national idea. requirements. This is the complete opposite of the abstract and But each work, whether it is a film or fiction, reflects harmful process of internationalization. Because the lives of people of a certain era, the life of society at internationalization leads to the loss of a person's a certain time. Therefore, it is absolutely not right to identity, to the deprivation of his national completely abandon them, as was the case in the characteristics. The national idea, on the other hand, is 1910s. These works reflect not only the appearance of aimed at ensuring that the signs and characteristics Uzbekistan in the 1920s-1980s, but also the life, labor that make up the national mentality of each people are and struggle of people of that era. We also know and preserved from generation to generation, and love the artists who demonstrated their art in them therefore, that art becomes a national phenomenon. through these films. Therefore, it is inevitable that One of the national values, perhaps the first and most these works will remain in the history of our cinema. important, which “has taken deep roots in the spiritual But with the turn of history, the times when communist life of the entire people and has become their spiritual ideas were heard are behind us. If we recall today the need and life demand,” is love for the Motherland. Love American Journal Of Philological Sciences 370 https://theusajournals.com/index.php/ajps American Journal Of Philological Sciences (ISSN – 2771-2273) for the Motherland is a characteristic inherent in all most of his life there, and now he is old. peoples. All peoples love their Motherland, dream of its However, it turns out that the reason for this hero's prosperity and well-being, and act in this way. This has desire to come to Uzbekistan was revenge on his friend risen to the level of national value among the Uzbek who had once betrayed him. This situation, although a people and, in general, among the peoples of the East. little, belittles the hero of the work before our eyes. Until now, no one knows of any Uzbek who left their However, Z. Musokov, despite this, sought to create Motherland and sought a homeland elsewhere. the image of this hero in the film as a loyal son of his But in recent years, as material values have become Motherland, and, one might say, he succeeded in this. more important, as well as the ideas about personal There is an important point here. Cinema, unlike life, a stable life, and a happy future have become fiction, is an art based on the image of action. If Z. clearer or have begun to change, the attitude towards Musokov had not based the film on a strong dramatic the Motherland has also changed. With the emergence situation related to revenge, if he had not revealed not of companies and suspicious individuals involved in the only the social, but also the spiritual r