MODERN PERSPECTIVE ON THE PORTRAIT OF A HISTORICAL PERSON

Аннотация

This article analyzes some of the historical films that have received great attention in Uzbek cinema in recent years. Such important features as issues of historicity and artistry, artistic integrity, and a modern view of history are investigated and considered from the point of viewofthemost important places. Keywords:history, historicity, historical figure, artistic perception, artistic integrity, historical genre, historical-combat films, enlightenment. In cinema, the theme of history occupies a special place. Creators have always treated the historical genre with special admiration, love, and interest. While some are interested in historical events, for others it is important to study the activities of historical figures. As a result of such approaches, such types of historical films as historical-legendary, historical-battle, historical-portrait, historical-social appeared. Among them, naturally, the historical portrait is the most frequently used, and the activities of historical figures are reflected in cinematography either due to the personal aspirations of the creator, or for anniversaries and other reasons. In particular, themain part ofhistorical feature films created in 2024also belonged to thiscategory. Thefilm about thebeloved son ofthe fraternal Karakalpak people, thepoet and enlightener Ajiniyaz, although artistic, is also dominated by documentary elements. According to themethod used by director Kudrat Atajanov, the life of the historical figure Ajiniyaz comes to the homeland of a Karakalpak girl living in America, who wants to do a scientific work about him, and unites with the young historian in the process of communication. This is a very correct approach to revealing the idea of the film. After all, the authors note that Ajiniyaz was not only a thinker, enlightener, poet, and calligrapher who lived in history, but also that centuries later, the unity of the people, they seem to want to draw attention to, emphasize, and remind that it is a symbol that preserves, conveys, and absorbs the values and identity of the nation. However, in the film, as a result of the mutual acquaintance, rapprochement, and mutual affection of modern heroes, this line is brought to the forefront, and the presentation of Ajiniyaz's life and work through interviews with certain scholars gives the impression that historical events serve as a background and uniteyoung people. One of the film's main achievements is its striving to give the viewer feedback. In particular, after his uncle and teacher Elmurod Akhun gave Ajiniyaz all his knowledge, he urged himnot to stop and wanted tosend him to theShergozikhan madrasah inKhiva. Naturally, this is associated with large expenses. To achieve his goal, he gathered the wealthy in the village and sought their advice. It is noteworthy that Elmurod Akhun, speaking about Ajiniyaz's talent, emphasizes that to develop the nation and educate future generations, he needs to be even more knowledgeable. This isvery noteworthy fortoday's youth. Not toget a diploma, achieve acareer, become rich, or live well! Creators have skillfully demonstrated that knowledge is necessary for the benefit of the country, and that the prosperity and future of the nation depend on knowledge. page288 INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE ISSN:2692-5206,ImpactFactor:12,23 AmericanAcademicpublishers,volume05,issue04,2025 Journal: https://www.academicpublishers.org/journals/index.php/ijai At this point, the social function of cinema also emerges, indicating where the changes and priority goals occurring in our society today are nourished, and that the heritage of ancestors like Ajiniyaz is notbeing studiedin vain. Muzaffarxon Erkinov's film "Maxtumquli" follows the traditional path of historical portrait films,beginning withthe protagonist's journey towards agreat goal. Throughout thepainting, the life of a historical figure is illuminated based on historical facts. Of course, based on the requirements of the feature film, enemies who obstruct the hero's goal and the conflict that arises withthem are also expressed. The director's skill in constructing the film's events lies in his ability to skillfully synthesize historical facts with artistic fabric. Makhtumkuli's studies in Bukhara and Khiva, the death of his brother, wife, and child - all of this happened. The line connecting the corrupt teacher and his nephew is a product of the authors' artistic fantasy and is a product of the film's artistry, the desire to build tension and conflict. Unfortunately, in the historical films created in recent years, the synthesis of historicism and artistry, facts and fiction was not well formed, they were separated from each other, as a result of which the main criterion of directing - artistic integrity - was lacking. It should be noted with confidence that Muzaffarkhon Erkinov has achieved somesuccess inthis regard in thecurrent film. Ma’lumki, kino san’atida voqea, tasvir va ma’no kabi uch qatlam muhim