중앙아시아 영화에 나타난 민족 정체성과 전통 문화 가치의 재발견 —카자흐스탄 역사영화의 영웅 부활 메커니즘을 중심으로—

Abstract

This paper describes the situation of movie industry and the exploration of new national identity through films in Kazakhstan, which supports film production most actively among the post-Soviet Central Asian countries. The Kazakhstan authorities take full advantage of history film-making and its repercussions in the administrative enforcement of nation’s political and cultural policy. Since Kazakhstan could easily get out of the financial difficulty after the collapse of the Soviet Union, the government tried to establish new historical perspectives of the Kazakh nation through the film-making of emphasizing national identity. Furthermore, Kazakhstan tried to escape from the influence of the Soviet Socialist Realism and excavate film materials corresponding to the establishment of a new view on history. Therefore, the problem of the new understanding of the nation’s history, the creation of hero myth to inspire Kazakh patriotism, and the expression of spiritual and cultural aim surveyed in this paper are the main barometer of the current Kazakh government to understand the paradigm of its politics, culture, and humanities. Also analyzed for this topic are nostalgia for the nomadic life revealed in <Mongol> and <Nomad> by Sergei Bordov, <Abai> by Ardak Amirkulov, <The Gift to Stalin> by Rustem Abdrashev. The reason Kazakh government focused to restore the lives of national heroes is that the story, which presupposes a collective worship, can facilitate the unity of the nation through the common perception. Based on this recognition, this paper focused on Kazakh hero movies, which provide the framework for Kazakhstan’s ‘New Eurasianism’, implementing the priorities of ethnic awareness and political stabilization.