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THE CREATIVE WORK OF KHUDOYBERGAN DEVONOV IN THE
DEVELOPMENT OF UZBEK DOCUMENTARY CINEMA
Nazarova Gavkhar Rinatovna
Teacher (PhD) at the Department of Art History and Cultural Studies,
Uzbekistan State Institute of Arts and Culture Uzbekistan, Tashkent
e-mail:gavhar2190@mail.ru
Abstract:
“
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 of the field.
Key words:
Documentary chronicle
, Feature, characteristic, or aspect (depending on the 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 unique relics that reflect the spirit of that 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 of them as people belonging to a particular 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
INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 04,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 447
extraction with a Chigir (a traditional irrigation device) in Khorezm, as well as the laborers'
ability to find joy and humor even in such 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 by his courtiers, leaving the palace. At first glance, these may seem like very short
and simple chronicle shots, but through these lively images, we can witness the true appearance
of the Khorezm kings and their soldiers, while also feeling the spirit of the time.
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 one in 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
the territory 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 by special emissaries from the United States, France,
and Russia. It is assumed that most of these films depicted 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 half of the 1920s,
the main focus was on establishing industry, collectivizing agriculture, and addressing cultural
construction. By this time, the aesthetic taste and education of the audience had significantly
changed and improved. Therefore, the ideological and thematic content of artistic works had to
become deeper and broader. Life demanded ideological and artistic excellence from these
works. In the 1930s, Uzbek documentary cinema developed based on the trends of realistically
portraying life. The post-war development phase of documentary cinema in the republic
spanned from 1946 to 1955. During this period, the focus was on reconstructing and further
elevating the republic's economy and culture based on new economic and historical conditions.
Under such circumstances, documentary cinema also attempted to restructure its work and
thematic content. A key internal task of cinema during this period was to train specialists in
various fields of documentary filmmaking. During this time, the founders of the republic’s
artistic cinematography, such as N. G’aniyev and K. Yormatov, also worked in the field of
documentary cinema. Later, prominent figures in Uzbek cinematography, such as Y. Azamov,
L. Fayziev, and Z. Sobitov, as well as cinematographers like M. Krasnyanskiy, N. Ryadov, A.
Pann, and several screenwriters and composers, also worked in documentary cinema.
Director-cinematographer M. Qayumov, directors V. Usova, N. Dolinskiy,
cinematographers Sh. Zohidov, A. Saidov, O. Tursunov, A. Rahmonov, K. Muhammedov, P.
Rasulev, N. Vasliyev, sound operators J. Ahmedov, G. Senchilo, A. Kudryashev, and others
formed the core of the documentary filmmakers during this period. The thematic scope of
documentary cinema in the republic expanded further, enriched with visual, event-driven, and
cinematic essay genres. From the perspective of that time, the main goal was to create portraits
of laborers, bring them to the forefront, and show the public exemplary figures to inspire them
to work even harder.
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Journal:
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M. Qayumov's films are remarkable both in terms of their themes and ideologies. His
work is particularly notable for the creation of film portraits of figures such as academic S.P.
Tolstoy, T. Qori-Niyoziy, Abror Hidoyatov, Tamarokhonim, Mukarrama Turg‘unboyeva,
Galiya Izmaylova, and others. These portraits are now considered significant historical
documents.
In the documentary chronicles of this period, the portrayal of art, agriculture, science, and
the figures of artistic luminaries began to acquire more impactful and refined expressions.
Cinematographer P. Rasulev, in his works, focused on creating film portraits of leaders in
agriculture.
A. Rahmonov, recalling this tendency observed in Uzbek documentary cinema, shares the
following in his memoirs: "In Pop district, in the village of G'urumsoy, I had to film the
mechanizer Melikoz Umrzoqov. As you know, Melikoz was one of the pioneers in introducing
advanced agro-technology and complex mechanization in cotton growing. I was captivated by
Melikoz's devotion and human qualities. When the village of G'urumsaroy was flooded, I
followed Melikoz on horseback with the film camera, who displayed these qualities. Later, I
handed over all the materials to the director. When I later inquired, I found that the director, in
panic, had lost the materials so that no one would see them..." Thus, some of the real-life
conflicts and hardships characteristic of the years of economic reconstruction were avoided.
Instead of showing the struggles for the development of the society's economy and culture,
there emerged a tendency to present life superficially, with embellishments.
For example, while 255 news stories were filmed for local use in 1954, 130 of them were
dedicated to Tashkent city and Tashkent region. During this period, dozens of films in genres
such as film portraits, life essays, event-driven, and visual reviews were created. Films like
“The Cotton Farmer's Daughter” (1948), “Kanash” (1952), and other film essays were
dedicated to the respected figures of labor and science. Films like “The Daughters of the
People” (1951) and “Textile Workers” (1952) are considered “life essays” by genre. In the
history of Uzbek documentary cinema, the visual-review genre occupies a special place during
this period. This genre served to introduce viewers to the geographical features, natural
resources, economic and ethnographic characteristics, and the active labor processes of the
region’s people. During these years, films such as “The Four-Gated City” (1946), “In the
Karakalpak Region” (1949), “The Fergana Valley” (1952), “Along the Amu Darya” (1952),
“Samarkand” (1953), and others were produced.
In conclusion, as discussed above, an analysis was made of European-style documentary
film genres and their evolutionary development phases. Films from different genres and
countries were reviewed.
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INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 04,2025
Journal:
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