THE CREATIVE WORK OF KHUDOYBERGAN DEVONOV IN THE DEVELOPMENT OF UZBEK DOCUMENTARY CINEMA

Аннотация

“This article provides information about the early creative works of Xudoybergan Devonov, the founder of Uzbek documentary cinema. It discusses the functions and categories of early documentary films, their significance, and the unique characteristics of the development ofthefield. Key words:Documentary chronicle,Feature, characteristic, oraspect (depending onthe context) Cinema has become an integral part of people's lives as a tool that shapes the worldview of individuals, nurtures high moral standards, and develops aesthetic taste. It plays a significant role in educating people, especially the younger generation, in the spirit of humanism, patriotism, purity, nobility, conscientiousness, respect for elders, love for labor, and hope and confidence for the future. The century-long development of Uzbek national cinema, which has passed through numerous stages of progress, today enjoys the attention and recognition of world filmmakers. The existence of a long-established school of mastery in the genres of feature films, popular science, documentary, and animated films is a testament to this cultural achievement. The history of documentary films in Central Asia undoubtedly brings to mind the mysterious frames captured by the first cinematographer, Khudoybergan Devonov. The first photographic image was taken by Khudoybergan Devonov in 1908. The year 1908 marked an important period in the birth of Uzbek cinema. Khudoybergan Devonov independently filmed the arrival of Khan Asfandiyar Khan of Khiva in 1910, capturing historical monuments, minarets, mosques, and other architectural gems on film. His early works, such as “Architectural Monuments of Our Land” (1913, 114-meter film) and “Views of Turkistan” (1916, 100-meter film), are considered uniquerelics that reflect thespirit ofthat time. In his early documentary and chronicle films, Devonov sought to reflect the life, customs, and landscapes of Khorezm. In 1929, films like “Working Women,” “Shorkol,” “Koza,” “Chigir,” “Tuzkon,” “Cotton Caravan,” “In the Fields of Khorezm,” and “The Drought Disaster”were filmed, which belong to this category. In depicting the different professions, the photographer paid special attention to capturing them closely, showing them in their work process. The "heroes" of these photographs are often depicted as sitting somewhere ("Spinners," "Oil Sellers," "Desert Furnace Workers"). Even in the work "The Khan's Hunter," the "hero" is shown sitting on horseback, holding two birds. This demonstrates Devonov's aim not just to take pictures of his contemporaries but to create an image ofthem as peoplebelonging to aparticular field. A small film frame depicting boats in the Amu Darya with their sails fluttering in the wind was part of Devonov’s first experience in cinematography. These frames are very brief but display incredibly beautiful and unique moments. Devonov captured the hard work of water page446 INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE ISSN:2692-5206,ImpactFactor:12,23 AmericanAcademicpublishers,volume05,issue04,2025 Journal: https://www.academicpublishers.org/journals/index.php/ijai extraction with a Chigir (a traditional irrigation device) in Khorezm, as well as the laborers' abilityto find joy and humoreven insuch tough conditions. Thanks to the work of this skilled photographer, people from other nations gained valuable insights into the historically rich land of Khorezm. Another chronicle frame filmed in 1910 shows the Khiva Khan leaving his palace. In this, the Khan is depicted on horseback, accompanied byhis courtiers, leaving the palace. At first glance, these may seem like veryshort and simple chronicle shots, but through these lively images, we can witness the true appearance oftheKhorezm kings and theirsoldiers, whilealso feeling the spiritofthetime. In every frame, Devonov's emotions and his relationship to the events are clearly visible. The frames where he mounted his large camera on a moving cart are particularly striking and leave onein awe. After the establishment of the Khorezm People’s Republic in 1920, Khudoybergan Devonov was appointed as the Minister of Finance. Due to his official duties, he frequently traveled to Moscow and brought new films. He worked as a correspondent for the "Sovkino" joint-stock company, and many of the films he shot were featured in the "Soyuzkinojournal" screenings. During this time, a number of films produced by Russian filmmakers began to enter theterritory of Uzbekistan. The first film in Uzbekistan was shown in 1897 in the “Old Jova” square. Starting from 1908, foreign films began to be screened in cities like Tashkent, Samarkand, Kokand, and others. These films were primarily brought byspecial emissaries from theUnited States, France, andRussia. It isassumed that mostof thesefilmsdepicted Eastern exotica. The history of Uzbek documentary cinema requires studying each phase in terms of how it addressed and solved the tasks of realistically portraying life. By the first