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 651
THE ISSUE OF HERITAGE IN THE CHARACTERS OF MODERN UZBEK CINEMA
Tursunmetova Robiya Abdulla kizi
Doctor of Philosophy (PhD) in Art History,
Uzbekistan State Institute of Arts and Culture
Department of "Art History and Cultural Studies"senior lecturer
Annotation:
This article examines the fact that in modern Uzbek cinema there is a certain
consistency in creating the character of heroes and characters. It is analyzed that the characters
on the screen have such characteristics and features that they emdiv the worldview, spiritual
world and national consciousness typical of the Uzbek people, and have a national character.
Keywords:
Cinematography, modern Uzbek cinema, film, character, national character,
personage, issue of continuity, national consciousness, spiritual world, worldview.
The development of modern technologies, the internet, and artificial intelligence is
leading to a certain distance from cinema. Films that meet the interests of the viewer and at the
same time are artistically perfect, the creation of a contemporary character is becoming an
urgent issue throughout the world and remains one of the main factors that attract the viewer's
attention and ensure the vitality of a work of art. In the process of the rapid penetration of
innovative technologies into contemporary cinema, there is a striving to raise the artistic level
of films, for this purpose, attention is paid to the depiction of characters with natural,
convincing, and high moral qualities.
Today, in the art of cinema of Uzbekistan, attention is paid to the interpretation of the
image of the hero's character not as an ideal person, but as an ordinary person who is not free
from shortcomings, and in the image of a contemporary, attention is paid to the image of a
person who is lonely in his heart due to infidelity, heartlessness, and dishonesty, but is ready to
spiritually fight against various vices. In this process, shortcomings are observed in the
interpretation of characters in national films in terms of promoting universal ideas, the ability to
think and act globally, and in this regard, attracting foreign specialists and viewers. "If we want
to glorify the name of Uzbekistan throughout the world, we must do this first of all with the
help of cinema. It is through the art of cinema that we can conquer world screens and thereby
gain the attention of the world"
. In this regard, the study and analysis of problems arising in the
creation of characters in historical and contemporary films filmed in modern Uzbek cinema,
and the demonstration of their scientifically based solutions are of current importance.
As an example, if we take the film "The Great Amir Temur" (screenwriters A.Oripov,
B.Ahmedov, B.Sodikov, directors I.Ergashev, B.Sodikov, 1998), which was one of the first
attempts to create the image of historical figures, the work reflects the period of Amir Temur's
youth from 18 to 34 years old. During this period, a person begins to understand the ups and
downs of life more deeply, the concept of glorifying true feelings and values is formed, they
learn how to interact with people around them, strive to find their place in society, and lay the
foundation for their future. The film also depicts the main events of Timur's gradual rise to the
big stage, gaining love and respect among the people with his mature mind and intelligence, his
1
Mirziyoyev Sh.M. The President held a meeting on the development of national cinema art and the film industry
// Xalq so'zi. - Tashkent: 2017, December 30.
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 652
relationships with his close people and enemies, and finally, the establishment of a powerful
empire. In it, the process of our great ancestor's transformation from a young man, initially
somewhat inexperienced, observing the diverse relationships of people and drawing
conclusions for himself, into a just ruler, reflecting universal human ideas in his appearance and
character, is illuminated with a philosophical and psychological approach. This process
reflected Timur's ruthless attitude towards the enemies in the country, his iron will, and his
humanistic views. This was especially evident in the relationship between Timur and Ilyas
Khoja. The filmmakers tried to take a broader approach to the causes of the battle between
Timur and Ilyas Khoja, which entered history as the "Battle of Mud."
It is difficult to conclude that the image of this historical figure was fully embodied on
the screen due to the fact that B. Mukhammadkarimov did not sufficiently reflect the stature,
dignity, and determination characteristic of Amir Temur. This was due to the fact that the
directors did not give the actor a specific task. In many shots, the impression arises that B.
Mukhammadkarimov is instinctively performing his role. Therefore, it is necessary to continue
creative research on the portrayal of the image of Amir Temur on screen.
Poetic cinema, in particular films based on folklore, occupies a special place in the
modern cinema of Uzbekistan. Among them is a feature film based on the epic "Alpomish,"
which embodies the image of a hero, a high ideal of the Uzbek people, has been passed down
from generation to generation since ancient times and is considered an unparalleled work in the
repertoire of bakhshis, which was released on the big screen in 2000 and led to research on the
interpretation of folklore works on the screen during the period of independence. Directed by
X.Fayziyev (screenplay by U. Azim), this film fully reflects the unique spirit of the "Alpomish"
epic. "The creation of the film 'Alpomish' in new historical conditions is extremely realistic.
This hero, created by the people themselves and passed down from mouth to mouth to us, was
returned to the people through cinema"
. This film encompasses such goals as national self-
awareness, portraying the image of highly spiritual ancestors among the people on screen,
restoring ancient traditions and customs, and raising representatives of a harmoniously
developed generation through the promotion of examples of oral folk art.
The film "Elparvar" (director A.Ganiev, screenwriters A.Azamov, Y.Tuychiev, 2019)
also stands out in the heroic-poetic direction. This film, based on the story of A. Azamov,
depicts events related to the conquest of Central Asia by Genghis Khan in the late 12th - early
13th centuries and the struggle of our ancestors against the Mongol invaders. The main
character of the film, the young archer Muqbil, who fought against the enemy to save his
village, is transformed from a young boy thirsting for knowledge into a ruthless fighter against
the enemy throughout the film, reaching both spiritual and physical perfection. In the overall
atmosphere of the film, a fairytale spirit prevails. The appearance of the image of Jalaluddin
Manguberdi in the final part of the film breathed historical truth into the spirit of the film. The
film "Elparvar" is valuable for its ability to instill in the viewer's consciousness and heart such
high feelings as patriotism, humanism, selflessness, courage, determination, and faith.
In 2019, a film featuring the great scholar, distinguished muhaddith, and faqih Abu Isa
Muhammad ibn at-Termizi from our land was released on big screens. In the film "Abu Isa
Muhammad ibn at-Termizi," the events of the 9th century, when the hadith scholar lived, were
shown on the screen. It should be noted that director A.Mignorov managed to fulfill the
2
Khaitmatova S., Abulkasimova Kh. From the History of Art of Uzbekistan: Uzbek Cinema in the Period of
Independence. - Тошкент, 2018. - P. 7-8.
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 653
complex task of expressing the atmosphere of a long historical period through the locations,
costumes, and props in the film. This film can be noted as a documentary film. In it, the director
appropriately used the author's text to interpret certain plot events, express the inner psyche of
the main character, and describe important moments in his life. Abu Isa Muhammad ibn at-
Termizi, thanks to his many years of research and enormous contribution to the science of
hadith, is valued, honored, and respected not only in our land but also in many countries where
Islam is widespread and developed. This film served to understand him both as a scientist and
as a person.
A significant event in understanding the recent past was the film "Voiz" (Yu.Rozikov,
1998). "Voiz" introduced a new direction to the illumination of the historical theme, expanding
its genre-stylistic range. The film's events unfold during a very complex period of 1917-1937.
The main dramaturgical pillar is the evolution of the main character Iskandar's path from a
simple cart driver to a preacher-propagandist of the revolution and the Soviet government, the
drama of his thoughts and feelings, and all other events are united around him. Uzbek films like
"Voiz" defined such a new ideological position that subsequently films about the past 70 years
of life of the Uzbek people were created based on this very position. Particular attention was
paid to feature films depicting the Second World War and the atrocities of the former Soviet
regime.
One of the bright characters that appeared on screen was the image of Jamshid in the
feature film "Man," directed by Yu.Rozikov, who was portrayed on screen as a character with a
firm character. This simple, naive story of a teenager is skillfully unfolded by the filmmakers.
The main character of the work is a teenage boy Jamshid. His care for loved ones, sense of
responsibility, and seriousness in his thoughts and actions indicate that, despite his young age,
he is worthy of the title of man. He considers himself responsible for his brother's family, who
went to work to earn money.
In the film industry of Uzbekistan during the period of independence, there are feature
films with a high level of artistic and aesthetic approach. Among them, the film "Yol bo'lsin,"
directed by K.Kamolova in 2005, deserves special mention. It embodied the lofty traditions of
poetic cinema. The film is distinguished by its ideological and thematic weightiness,
philosophical and psychological spirit, rich visual culture, and visual aids. In it, the director's
admiration for our country and love for beautiful traditions are evident. The symbolism in the
film is expressed not only in its artistic and visual solution, but also in the characters. In the film,
the image of the main character Muhabbat, played by the actress Z.Nizomiddinova, is a symbol
of the feeling of love, bestowed by Allah, who is humiliated, beaten, deceived by the hero of A.
Rametov, who faces difficulties because of him, but still finds a person who wears it on his
neck as a precious "bead," and elevates the value of Muhabbat and glorifies her as a woman.
M.Abdulkhairov embodied this image on the screen. The actor was able to demonstrate a
philosophical-psychological character in the performance. This character attracts viewers'
attention with his half-heartedness, need for love and affection, and thirst.
The film "O'tov" (2007), based on the traditions of poetic cinema, directed by A.
Shahobiddinov and screenwritten by Yo.To'ychiyev, holds a special place in the new era of
Uzbek cinema. The feature film "O'tov" conveyed through philosophical generalizations the
truth that ancient values, emdiving the concept of family and the relationship between father
and son, can be destroyed by society, the system, and external factors. Only genuine feelings,
firm beliefs, and noble qualities can restore him, which is understood through the characters
portrayed in the film in a deeply psychological way.
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 654
The 1990s and 2000s witnessed significant changes in our society, marking a transition
to a market economy. This period encompassed unique achievements and shortcomings. One of
the painful problems of the period was migration. "The factors that caused some of our
compatriots to move abroad, for example, to the USA, and live there in the 90s of the 20th
century and the beginning of the 21st century cannot be considered the same. However, it
would not be an exaggeration to say that most of them are people who have weakened respect
for spiritual values and live with material worries. The film "Where is Paradise," based on the
dramatic novella by Erkin A'zam, depicts people belonging to this second group and their
spiritual crises"
The image of Jurakul (A. Rafikov) is one of the bright characters of the cinema
of the 2000s. Jurakul is portrayed as a true patriot, a person who loves his land, values his
native village and fellow villagers.
In the new millennium, young artists who have entered the cinema of Uzbekistan and
are finding their place are carrying out research that embodies the ideological and thematic
basis of expressing on the screen the fate, thoughts, dreams, and aspirations of a person who has
become weak, restless, and sick due to various conflicts of life and cruel games of fate, and
talking about the increasing disappearance of the concepts of kindness, respect, and honor. One
of such creative searches is the film "Hot Bread" (2018) by the screenwriter and director
U.Khamdamov. The warmth of hot bread is compared to the heart and love of a mother and
other loved ones. It is understood that all the characters in this film are people who are thirsty
for this warm bread. The truth about how hearts that don't enjoy the warmth of the heat
gradually grow cold is established in the film. Therefore, the thread of warm relationships
connecting the main characters in the film - Grandmother, Mother, and Grandchild - is broken.
Many films reflecting social problems in society, changes in the spiritual world of
people, and decline were created in modern Uzbek feature cinema. There were also films that
openly showed the problems between people, the degradation under the influence of material
interests, and sometimes artistically interpreted situations that seemed impossible to say. One
such feature film is director J. Kasimov's film "The Giant and the Dwarf" (2003). The state of
expressing problems through artistic images, which is one of the main features of social films,
was very strongly reflected in this film work. Among the elements that make up the new
formation, such as extortion, fraud, the desire for easy profit, resourcefulness in the show
business industry, and entrepreneurship, which arose in the current of the renewing society, the
characters of Polvon and Zulfiqor stand out, and they are also people who look to the future
with hope and optimism.
The 2008 film "The Old Man and the Grandson," created by R.Mukhammadjonov,
attracts attention with its richness of acute psychological situations and dramatic situations.
This film, one of the first directorial works of screenwriter R.Mukhammadjonov, at first glance
seems to reflect everyday issues. However, at the heart of everyday problems, the creator
strives to express social thoughts. The film raises the question of what will happen to children
of different ages when a father, addicted to wealth, leaves his family and builds another family
in the city, leaving his children in the village as living orphans, and the sick mother has no
means for either the material support of the family or raising children, and the answer to this is
expressed in the formation of adult consciousness after such conflicts in the life of the main
character Ganisher.
3
Karimov N. National Idea and Some Issues of Uzbek Feature Film. The Nature and Composition of Cinema
Telecommunications. Tashkent. 2010. P. 91-92.
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 655
In the modern era, the creators of national cinema have begun to proclaim in their films
that in the modern era, when the concept of traditional relations between fathers and children,
mutual respect, is rapidly developing, it is becoming increasingly devalued, and such vices as
indifference, heartlessness, and immorality are escalating. The feature film "Along the Water,"
directed by J. Kasimov, is one such film. It sings in mournful notes about human dignity. The
anguish of the heart caused by the regrets of the main character Bolta Mardon, the regret caused
by the negligence of his loved ones, and the confusion caused by the fact that he did not have
time to understand the truth of life and the true meaning of life in his old age caused these sad
notes to sound in high tones.
During the period of independence, it was revealed that there is a continuity in the
creation of characters in the cinema of Uzbekistan. From the point of view of the topic, a
number of films were analyzed, the images of the main characters of such films as "Amir
Temur," "Alpomish," "Abu Isa Muhammad ibn at-Termizi," "Abdullajon," "Voiz," "Erkak,"
"Yol bo'lsin," "Chashma," "Dev bilan pakana," "O'tov," "Jannat qaydadir," "Issiq non" were
studied, and a consensus was reached. In modern Uzbek cinema, the question of inheritance
arose in the interpretation of character. This issue is clearly visible in the interpretation of
character. Although the characters' personalities are endowed with unique individual aspects,
they are the integrity of a whole nature, complementing and continuing each other, possessing
high spiritual values and universal human qualities, and they are created in these films as
original representatives of the Uzbek nation. This continuity is especially relevant for the period
under study. The cinema of this period needed such heroes, which became a requirement of the
era of independence. Such outstanding heroes have become the favorite characters of modern
Uzbek cinema. Heroes like Amir Temur, Alpomish, Termizi, Bozorboy, Iskandar, Jamshid,
Meliboy, Orzubibi, Dev, Ubaydulloh, Jo'raqul, and Zulfiya, regardless of whether they are
historical or contemporary, are the spiritual strength of the Uzbek people.
Bibliography:
1. Mirziyoyev Sh.M. The President held a meeting on the development of national cinema art
and the film industry // Xalq so'zi. - Tashkent: 2017, December 30.
2. Abduvohidov, F. New trends in the staging of historical works (On the example of
Surkhandarya regional musical drama theater). Journal of Pedagogical Inventions and
Practices, 3, 79-82.
3. Muxtorova, M. (2023). УЗБЕКСКОЙ КИНОКОМЕДИИ–80 ЛЕТ! Жанровий
тематический обзор узбекской кинокомедии. Modern Science and Research, 2(10), 190-
197.
4. Karimov N. National Idea and Some Issues of Uzbek Feature Film. The Nature and
Composition of Cinema Telecommunications. Tashkent. 2010. P. 91-92.
5. Khaytmatova S., Abulkasimova Kh. From the History of Art of Uzbekistan: Uzbek Cinema
during the Independence Period. - Тошкент, 2018. - P. 7-8.
6. Khamidova, S. S. (2021). IN WESTERN CLASSICAL WORKS ACTIONAL
INTERPRETATIONS (ON THE EXAMPLE OF THE ROLE OF HAMLET IN THE
PLAY «HAMLET» BY HONORED ARTIST OF UZBEKISTAN TOKHIR
SAIDOV). Theoretical & Applied Science, (5), 190-192.
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 656
7. Mukhtorova, M. (2025). RESEARCH AND CHARACTER PROBLEMS IN UZBEK
FILMS (Using the example of films made in 2024). International Journal of Artificial
Intelligence, 1(1), 1337-1340.
8. Mufti-zade, G. A. (2024). The Peculiarities of Symbols and Symbolism in Theatrical
Art. JOURNAL OF INTELLECTUAL PRPERTY AND HUMAN RIGHTS, 3(11), 202-
205.
9. Muftizade, G. A. Characteristics of Symbols and Artistic Images. European Journal of
Humanities and Educational Advancements, 3(4), 175-177.
10. Vakhobovna N. K. Current Transformational Processes and Prospects for the Development
of Intercultural Cooperation in Uzbekistan //International Journal on Integrated Education.
– 2022. – Т. 5. – №. 5. – С. 132-136.
11. Якубов, Б. Ч. (2016). РАЗВИТИЕ ИСТОРИЧЕСКОЙ ТЕМЫ В УЗБЕКСКОЙ
ДРАМАТУРГИИ ПЕРИОДА НЕЗАВИСИМОСТИ. Theoretical & Applied Science,
(11), 158-163.
