ABSTRACT

This article explores the phenomenon of Partisan Cinema in Kazakhstan in the 2010s in a historical and social context. It explains the funding situation in Kazakhstani film production in order to contextualise the rise of an independent cinema, and places the emergence of socially engaged cinema in the context of early Kazakh experiences with film in the 1930s and the Kazakh New Wave of the late Soviet era. The key films of the movement are analysed, including Adilkhan Yerzhanov’s Constructors and The Owners, as well as Zhosulan Poshanov’s Toll Bar. The absurdism in Yerzhanov’s The Plague at the Karatas Village is singled out and shown as a typical feature of Partisan cinema as it engages with the impossibility of social change, both thematically and stylistically. The framework for this socially engaged cinema is connected to the social realism of the 1950s and 1960s as manifest in the British group of the Angry Young Men. This connection, as well as the principle of Partisan Cinema, are set out in the group’s Manifesto of 2014, appended to this article.

摘要

本文在历史和社会背景下探讨了 2010 年代哈萨克斯坦的党派电影现象。它解释了哈萨克斯坦电影制作的资金状况，以便将独立电影的兴起置于背景中，并将社会参与电影的出现置于 1930 年代早期哈萨克斯坦电影经历和苏联后期哈萨克新浪潮的背景下. 分析了该运动的关键电影，包括 Adilkhan Yerzhanov 的Constructors和The Owners，以及 Zhosulan Poshanov 的Toll Bar。叶尔扎诺夫《卡拉塔斯村的瘟疫》中的荒诞主义被挑选出来并作为党派电影的典型特征展示，因为它在主题和风格上都涉及到社会变革的不可能性。这种社会参与电影的框架与 1950 年代和 1960 年代的社会现实主义有关，这在英国愤怒的年轻人中就体现出来了。这种联系，以及党派电影的原则，载于该组织的 2014 年宣言，附于本文。