THE ISSUE OF SCREENING UZBEK FOLK TALES

ABSTRACT

The article emphasizes that in today’s age of technological development, folk oral creativity serves to cultivate in the minds of young people a spirit of loyalty to centuries-old traditions and values of nations through increased attention. Folk tales also reflect the traditions that shaped a nation as a nation. The need to screen them and instill values in young people through folklore is shown in this article with reasonable examples.

Today’s youth does not know their history and national identity. Because grandparents never told them fairy tales. They don’t believe in miracles. Because they didn’t listen to the magical tales. There are young people who can’t even tell a fairy tale by heart. This is the tragedy of the century. The article analyzes examples of the importance and relevance of screen adaptation of folk tales. The article analyzes the first fairy tale film “Pakhtaoy” as well as films such as “Seventh Jin”, “Semurg”.

АННОТАЦИЯ

В статье подчеркивается, что в современную эпоху технологического развития устное народное творчество служит воспитанию в сознании молодежи духа преданности многовековым традициям и ценностям народов посредством повышенного внимания. Народные сказки также отражают традиции, формировавшие нацию как нацию. Необходимость их скрининга и привития ценностей молодежи посредством фольклора показана в данной статье на обоснованных примерах.

Сегодняшняя молодежь не знает своей истории и национальной идентичности. Потому что бабушка и дедушка никогда не рассказывали им сказок. Они не верят в чудеса. Потому что не слушали волшебных сказок. Есть молодые люди, которые даже не умеют произносить сказку наизусть. Это трагедия века. В статье анализируются примеры важности и актуальности экранизации народных сказок.в статье проанализированы первый сказочный фильм “Пахтаой” а также фильмы “Седьмой джин”, “Семург”.

Ключевые слова: сказка, кинематограф, герой, сюжет, событие, выездной сюжет, выездной герой, конфликт.

Keywords: fairy tale, cinema, hero, plot, event, traveling plot, traveling hero, conflict.

Introduction

There is probably no child in the world who has not listened to a fairy tale, who has not wandered through its magical world, who has not brought the heroes to life in various interpretations in their imagination. In magical fairy tales, existence is also depicted in a unique way. The horses can fly, the lambs can be blue, red, green, or they can walk in the clouds. In fairy tales, with the help of such zoomorphic auxiliaries, unusual events happen, which are normally unheard of. The screening of such magical-fantastic, animal, realistic, life or satirical fairy tales gives great pleasure to both filmmakers and the audience.

Fairy tale films are distinguished by their richness of fiction, mythological imagination, and deep reflection of people’s views. The plot of fairy-tale films also draws attention to magical objects, characters with strange characteristics, and magical space. The heroes of fairy tales and films, encountering supernatural phenomena and unusual creatures during their adventures, are also people connected to magic.

In fairy tale films, the characters perform magical deeds, go to or live-in magical places, possess magical things or try to acquire them, and also possess extraordinary abilities. Fairy tales and films are watched with great enthusiasm, both large and small, because they were able to create such a wonderful world. ‘A cinematic fairy tale is a separate genre. However, for the creation of the above types of feature films directors need a certain realistic background. The folklore component (suits, samples of material culture (furniture, dishes, textiles, etc.) plays an important role here. For Special Needs by Film Directors ritual or ritual actions are used in full or in fragments. This can be found as in a film, the content of which directly relates to folk art life and life, as well as in cinema, which has only an indirect connection to folk traditions, which, in turn, reinforces the content factor in a particular episode.’ [3. p. 429]

Folklore poetry is peculiarly manifested in cinema. It is distinguished by its discrete description, unusual detail, breadth, and lack of plot. Speaking about this, N. Yu. Sputnitskaya said: In poetic cinema, the place of the lyrical hero is occupied by the combination of images, the ‘artist-pragmatist’ who chooses the most effective artistic forms instead of the people. Syncretism is characteristic of play in folklore and cinema. [6. p. 14]

Methods

The article uses complex, comparative, traditional, critical-assessment, structural-functional analysis, typological, and contextual methods. In general, research methods were used for scientific concepts of system-structural analysis, observation, comparative, content analysis (analysis of documents), and interviews with experts.

Results and discussion

Cinema since Thomas Edison designed a kinescope, Etienne Jules Marais - a chronographer, Georges Demeny - a phonographer, Louis Jean Lumiere and Auguste Louis Lumiere - a cinematographer has used ethnic culture in various contexts. [3. p. 429] It cannot be said that a stable system of using the folklore component in cinema has emerged, but one can observe how filmmakers worked with folklore sources. It is also possible to propose a conditional classification based on the principle of embodying folklore in cinema.

Children of today’s technological age receive the necessary information through various gadgets, technical devices, and the internet. They stopped listening to stories today. This is precisely why the imagination of today’s youth is so narrow. This is the reason for the lack of creative thinking, love for values and traditions.

Today’s youth does not know their history and national identity because grandparents never told them fairy tales. They do not believe in miracles. Because they did not listen to the magical tales. There are young people who can not even tell a fairy tale by heart. This is the tragedy of the century. The article analyzes examples of the importance and relevance of screen adaptation of folk tales.

In general, this path was already tested in the mid-20th century by various national film schools. [6. P. 376] The first fairy tale film in the history of Uzbek cinema was ‘Pakhtaoy’ which was screened by director Komil Yormatov in 1952. The plot of the fairy tale-film tells the story of the importance of cotton in human life, the relationship between nature and humanity, the eternal struggle between good and evil. The film shows the adventures of young naturalist Hasan and the girl Pakhtaoy.

It is peculiar that in Uzbek fairy tales, the marvel is depicted in an anthropomorphic form or through characters in the form of a person. For example, the image of Pakhtaoy by Komil Yormatov is an example of this. Pakhtaoy attracts attention with its magical power, strange qualities, and mysterious appearance.

There are also images of birds such as swallows, crows, nightingales, storks, and Humo, which are often depicted in epic tales, creating a unique sequence of events in expressing the wishes of the people. The film presented a life-affirming plot with the help of a Semurgh bird. There are different views on whether or not the bird is alive.

It is said that the Semurgh bird lives on the tree of knowledge, and therefore it is also called an all-knowing bird. All the birds in the world believe in the Semurgh and know that one day it will save them if they are in trouble. If the situation in the world of birds deteriorates, if they face problems, they wait for Semurgh. But one day it disappeared without a trace. The birds were alarmed and discouraged by this incident. At that moment, a bird flew from a distant land and brought the feathers of a wormwood. The birds, realizing that Simurgh was alive, went on their way to find him. But Semurgh’s abode was on Mount Kaft, higher than the clouds. To get there, they had to go through seven deep valleys. Nevertheless, the birds got out on the road, many of them slipped on the way and fell into the ravine. Seeing the danger, some of the birds even went back. The nightingale was one of the first to return home, followed by the parrot, followed by the eagle, the owl, and the silver fin tuna.

And thirty brave birds, having traversed the valley of seven hardships, difficulties, and horrors, found the nest of the said wormwood on Mount Kaft. These thirty brave birds looked like they were themselves. Each of the thirty brave birds that overcame the astonishment and horror of the seven valleys was a semurg. The meaning of the word ‘simurgh’ is thirty birds.

The fairy tale-film also tells the story of Semurgh’s wisdom, intelligence, and courage. The bird speaks like a human, and its appearance is described as a beautiful girl, like that of humans. In the performance of Guli Khamroev, prima ballerina of the Alisher Navoi Academic Grand Theater of Opera and Ballet, the image of Semurg is unique.

The themes of fairy tales live in the wise depths of human instinct, somewhere there, in sacred basements, under seven or ten iron columns, where the nodes of national existence and national character are tied and where they wait for resolution, accomplishment and freedom. Neither a haughty man nor a coward, nor a little believer nor a crook can penetrate the depths of this national spiritual experience. [2. p. 6] Thanks to the same characteristic of fairy tales, which is close to hearts, fairy tales and films are watched with great interest by both young and old people.

The fairy tale-film ‘Magic Cap 1.2’ was directed by Sarvar Karimov and filmed in 2012, 2013. The story-film was screened based on the story ‘The Magic Cap’ by Khudoyberdi Tukhtaboev. The sincerity of the writer’s works, the unique depiction of children’s characters, led to the emergence of a new image in Uzbek children’s literature, such as Chippolina, Aldar Kosa, and Nasriddin Efendi. This image was definitely Khoshimjon. A cheerful, cheerful, brave, and kind image wants to do good to its fellow villagers and gain their respect and recognition. Along this path, the film depicting his experiences was also successful.

The charming helper, the magic hat, who accompanied Hashimjan in his adventures, is depicted as a plot-driven character in the work. ‘The storyteller is absolutely free to choose the nomenclature and attributes of the characters. Theoretically, the freedom here is absolute. However, it must be said that the people here do not take advantage of this freedom. Just as functions are repeated, characters are also repeated.’ [4. p. 68]

There are many works related to magical tools in Uzbek folklore, Uzbek classical literature, and world literature. In folk tales, such as boiling pot, open table, hammer; in folk epics, giants or horses give incense to the heroes of the work; in folklore and classical literature, such magical tools as the mirror of the world, a magic mirror, a mysterious chest, a mysterious comb are often depicted in adventure works; in world literature, such images as a magic hoe are often depicted in adventure works. Khudoyberdi Tukhtaboev’s use of the ‘magic hat’ of the Uzbek national headwear without the use of traditional magical tools is both national and novel.

In the film, the events related to Hashimjon’s dream of becoming a good career without studying are adventure, if he wears a magic cap, he will not be seen, if he puts his hand in his pocket with the help of the cap, he will have a diploma, his height will be extended with the help of the cap, such as fiction elements, while Hashimjon’s detective elements are revealed in exposing the misdeeds of Sorakhan the fortune teller, Danak qori, Bodom qori, and Yongok qori.

There were periods in the history of culture that were characterized by increased interest in folklore. Each time there were reasons for this, and accordingly, such interest took various forms - collective activity was activated. The number of publications of works of folk art increased, the performances of folk singers and musicians began to enjoy a special success among the audience; professional composers, writers, and playwrights intensively worked on and used folk legends, traditions, songs, and fairy tales in their work; under the slogan of nationalism, new artistic trends emerged, although folklore was often considered. [1. p. 7] Through this study, we have considered the issue of reflecting folklore in cinema. In today’s technological age, it is important and important to screen national values and centuries-old traditions.

Conclussion

In conclusion, it can be said that the uniqueness of fairy tales and films is linked to the fact that fairy tale creativity has been formed since ancient times, that they are imbued with the blood of peoples, that they are constantly developing within the framework of existing traditions, with diverse national values, customs and rich rituals, beliefs, and diverse worldviews. In world cinema, it is necessary to increase attention to fairy tales, continue existing traditions, invent new plots, characters, events, and enrich the world of fairy tales. Then the plot of the fairy tale will be improved, enriched and renewed by new motifs and interpretations. As a result, the national originality and originality of the most attractive direction in film art are ensured.

Research shows that oral folk art, folklore have always interested humanity, and the filming of this unique cultural heritage, its transmission to the audience through films, has always been relevant and significant.

The use of characters created by the people, the long-standing tradition of ensuring the success of films by bringing popular characters to the screen among the people, has always justified itself. This tradition is popular not only among Uzbek filmmakers, but also in the world cinema.

There are many more examples of the use of the folklore component in world cinema. The films discussed demonstrate the many aspects and possibilities of implementing folk culture on the screen in the format of feature films - from to Types of characters before musical design. At the same time, it is worth noting that the genre diversity in cinema and folk traditions not only give diverse results in cinema on the screen, but also reveal the different essences of a particular tradition.  ‘The hero and helper, the pest and the giver provide rich material for the imagination of filmmakers. Characteristic performances were secured thanks to Rowe’s films for V. Altai, L. Queen, P. Pavlenko, and finally - A. Khwyley, who became the most famous Soviet Santa Claus and worked for a long time on the Kremlin New Year's Arches.’ [ 5 p. 6].

References:

1. Gusev V.A. Folklore and socialist culture. (Problems: contemporary folklore) // Modernity and folklore: Articles and materials. – Moscow: Muzyka, 1977. - PP. 7-27.
2. Ilyin I. The spiritual meaning of a fairy tale// The Lonely Artist - Moscow: Art, 1993. - PP. 348.
3. Moreva E.A. The meaning-forming function of folklore in cinema // Culture and Civilization. 2016, Vol.6, Is. 5B. - PP. 428-437.
4. Propp V.Ya. Morphology of the fairy tale. - Moscow: Labyrinth, 2001. - PP. 68.
5. Sputnitskaya N.Yu. Some modifications of a folk tale in cinema: an attempt at theoretical research. Telekinet. 2019, September. #3(8). - PP. 14-18.
6. Wittern-Keller L. (2008) Freedom of the screen: legal challenges to state film censorship, 1915-1981. Lexington: University Press of Kentucky. URL: https://archive.org/details/freedomofscreenl0000witt/page/n5/mode/2up