The Visualization Of Historical Narratives And National Fables

In September and October,2013, Chairman and Genral Secretary Xi Jinping visited Central Asia and Southeast Asia respectively and put forward the construction of the economic zone of "Silk Road" and "Marine Silk Road". Concisely called "One Belt And One Road", the strategic vision prompted discussions and research in both economic and cultural fields. The areas covered by "One Belt And One Road" not only witnessed the economic development but also carried some cultural memories of the countries alongside. With the realization of this strategic vision, there is bound to be a better mutual understanding and cooperation between the countries involved despite their different cultural backgrounds and religious beliefs. It provides a rare opportunity for the integration of all these excellent cultures. Kazakhstan, As our neighbor of central Asia, is a country imbedded with a long history of the Silk Road., have colourful prairie culture、religion culture and nation culture.In recent years, Kazakhstan economy rise at a rapid speed, Its cultural and artistic achievements have come out and becoming a rising star in Central Asia。Film, as a kind of modern art, is a kind of representation and reflection of life., presenting the results of human civilization and cultural patterns.The artistic characteristic of the film is that it can record the real world with the realistic image, and express emotions and ideas in the human heart by variety of narrative.Because of various reasons, Kazakhstanian films have always been ignored by the academia of film for long, since it doesn’t have a long history and lacks influential representatives. But in recent years, with Kazakhstanian films frequently wining awards in international film festivals, such as "Marry Me Figure Class", "Crime and Punishment", "The King of Mongolia", and "Trees", Kazakhstanian films have entered the international vision. They are, these representatives for example, full of the Kazakhstanian national temperament and conveying philosophical and artistic thinking. Based on historical narratives and national allegories,Kazakhstanian films have been largely influenced by the nomadic culture, authoritarian rule and modern fables. From these three angles, this essay will panoramically offer a discussion and analysis of the history and status quo of Kazakhstanian films.It will offer an introductory overview of the Kazakhstanian national culture with a consideration of the cultural roots and national identities. Also it provides a glimpse of the individual plight caused by a clash between the traditional animal husbandry and modern industrialization. Last but not least, it also touches upon the traditions of myth narrative and its difference between modern allegorical narratives.Due to the language barrier and the limit of the range of films available for study, this essay catered to Chinese readers with some of the Kazakhstanian films which are comparatively more influential and easier to accept as representatives. The theories it applies include ethnology, cultural geography, cultural anthropology, semiotics, structuralism theory and other academic thoughts and theory for text analysis. It aims to provide a study of the Kazakhstanian films from a multi-level, multi-angle perspective, in order to probe into the artistic characters and achievements of the Kazakhstanian films, meanwhile seeking a global discourse which links the Kazakhstanian film with Chinese cinema.In this essay, the first part mainly analyzes the Kazakhstanian nationality with theoretical elaborations in ethnology and cultural geography and a refined analysis of their representations in films. It analyzes the regional landscapes, mental codes, ethnic concept, etc. It aims to decode the geography characteristics of the nomadic culture shaped in its national cinema. It also draws a comparative study between the Kazakhstanian films and the similar genres in Chinese national cinema, to further grasp film show under the visual angle of the nomadic culture.As discussed above, the second part provides a vision of the Kazakhstanian films under the authoritarian rule of the Soviet Union. With some detailed textual analysis, this chapter is focused on the national identity of Kazakhstan a post-colonial country through a thorough study of cultural landscape, characterization, ideological infiltration, transportation and political hegemony. To sum up, this chapter offers an analysis of the plight of post-colonial cultural developed in Kazakhstan.in the meantime, campared with the Reflective film created by Russian director after the break up of the Soviet Union, Thinking about the history and present situation of Kazakhstan from multiangle, multiview and different text reference.The third part relates the Kazakhstanian films with theoretical thinking in semiotics, structuralism and genre studies in filmology. It deconstructs the modern fables and mythological paradigms of Kazakhstan.Discussing how to continue the unique cultural expression of our nation under the huge commercial appeal of Kazakhstan movie, At the same time, it attempts to connect the contemporary discourse of "One Belt And One Road" with the elaboration above, in order to explore ways of breakthrough for the development of Kazakhstanian films.