ISSUES OF KINORASSOM CREATIVITY IN ART EDUCATION

Аннотация

This article will study the problems of art education, modern processes in fine and Applied Arts, thepromising development ofnational and world art education. Keywords:film, artist, television,art, education, image, viewer, screen, culture. Today, the problems of art education, modern processes in fine and applied arts, film and Television Arts occupy a special place in education in the research of the promising development of national and world art education. Because it reproduces, popularizes, and promotes Fine Arts. These functional features of cinema and television contribute significantly to artistic education and serve as an integral part of artistic education. With their own works created by screen art, the image is able to exert a powerful influence on the viewer and shape their artistic taste. The use of audiovisual products, be it works of screen culture in the form of works of cinema and television, or new technologies in the form of Internet resources, significantly expands the possibilities of artistic education in general, in particular, cinema attracts even more attention to education. Even at the initial stages of the general educational process, attention to film education, with the help of this tool, develops the spiritual consciousness, artistic taste and culture of the individual. Special attention should also be paid to television as a kind of screen art. There are countless analytical works created over the years on the topic of art, in particular on the Visual Arts, on the trends in the development of art, as well as on the new directions of shows, TV films and the documentary type of cinema. In the field of Film Studies, prominent artists of Uzbekistan, their work in the cinematographer, modern Fine Arts and trends in its development, themes related to fine arts in feature films and documentaries are studied separately. Alternatively, the work of artists of Uzbekistan in the cinema has not been sufficiently studied. Taking advantage of the possibilities of this conference, it is worthwhile to draw the attention of art critics to this problem. This article is an attempt to analyze the historical paths and the current state of activity of Uzbek film artists, the work of which, to one degree or another, contributed to the art of cinema, which does not occur as an art without a visual solution. As we all know, the art of cinema is the art of synthesis, in which the activities of each creator become a unique task and an integral part of the creation of a cinema together. The drawing, sketch, decor, dress created by the artist serve as a pictorial solution to the film and form its artistic character. This can also be seen on the example of the history of Uzbek cinema as well as the work of kinorassoms with their own expertise inmodern cinema. Somehow, in some cases, it is the artist's work that raises the film industry to the top with its expressive palette. The artist in the cinema is a screenwriter, the director is a participant in the creative team, in which the film works, along with such creators as the operator. In essence, it turns the scenario into a pictorial line (the literary basis of the film). He develops sketches, drawings of decorations, chooses props, chooses a place to photograph in nature, helps with the choice of decor. When a Film is made, the choice of a double is involved in the graphic decoration of the film (title, writing, etc. From such things as decor, props to the page1872 INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE ISSN:2692-5206,ImpactFactor:12,23 AmericanAcademicpublishers,volume05,issue05,2025 Journal: https://www.academicpublishers.org/journals/index.php/ijai location of them on the set, material realities arise. It becomes a movement. The skill of the artist depends on the emotional device of the film, as well as on whether the viewer believes or not. And the more an artist knows, the more he sees the objects of the time, the more reliable the universe he creates. As he gets a job on a cartoon, the staging artist initially reads the scenario, talks to the director, at which point the concept of the future decoration is manifested. Not always the artist relies on the period in which the event took place, in some cases he relies on his fantasy and that of the staging director, and relies on artistic texture. But even working on a historical film is not always easy to imagine about the past period. What about the 4th century? What did people's clothes look like? Historical information can be imagined from fragments of pottery held in museums, the rest must be conceived by the artist himself. This was followed by "Jesus Muhammad at-Termiziy" (directed by A.Mignorov) on the example of the film. The staging artist works under the direction of the director and the second director. He is assisted by assistants, as well as decorators, butaphors to a group of staging artists. Props, dress artists, Grimm artists are included, often the decorator performs the dut